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==英语笔译 李思源 Li Siyuan 202170081575 CE==<br />
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<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center><br />
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<center>Li Siyuan</center><br />
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===Abstract===<br />
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The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.<br />
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===Key words===<br />
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Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt<br />
<br />
===Introduction===<br />
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.<br />
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment<br />
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.<br />
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.<br />
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.<br />
<br />
===Literature Review===<br />
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).<br />
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).<br />
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).<br />
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.<br />
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===Methods and Theories===<br />
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.<br />
<br />
===An introduction to the translator's subjectivity===<br />
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).<br />
<br />
===Cultural transmission in translation===<br />
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.<br />
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)<br />
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.<br />
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)<br />
The original text is translated one by one to show the original ecological scene.<br />
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)<br />
The original text shows the backward means of production at that time, using cattle to plow the land.<br />
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)<br />
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。<br />
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)<br />
The original text shows the good ecological environment at that time.<br />
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)<br />
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。<br />
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)<br />
The text presents the ecological topics that farmers were concerned about at that time.<br />
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)<br />
译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。<br />
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.<br />
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===A Study on Detailed Translation===<br />
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.<br />
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)<br />
The original text presents the state of backward production tools and daily necessities at that time.<br />
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)<br />
Literal translation is adopted to maintain the cultural characteristics of the original text.<br />
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)<br />
The original text presents the age and costume characteristics of material scarcity at that time.<br />
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)<br />
原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。<br />
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)<br />
The original text presents the enclosure architecture and the ecology around the enclosure at that time.<br />
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)<br />
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。<br />
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.<br />
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===Translation Studies of Socio-cultural and Religious Cultures===<br />
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.<br />
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)<br />
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)<br />
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。<br />
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)<br />
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.<br />
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)<br />
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.<br />
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.<br />
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.<br />
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===Conclusion===<br />
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.<br />
<br />
===References===<br />
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.<br />
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.<br />
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.<br />
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.<br />
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.<br />
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.<br />
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.<br />
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.<br />
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103. <br />
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==英语笔译 李婷 Li Ting 202170081576 MW==<br />
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Abstract===<br />
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.<br />
<br />
''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.<br />
<br />
===Key words===<br />
''The Border Town''; Eco-Translatology; three-dimensional transformation<br />
<br />
===Introduction===<br />
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)<br />
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''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)<br />
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As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)<br />
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This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.<br />
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===Literature Review===<br />
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.<br />
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Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)<br />
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The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)<br />
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)<br />
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The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)<br />
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Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.<br />
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The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .<br />
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All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.<br />
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===Methods and Theories===<br />
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.<br />
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'''1.The Origin of Eco-Translatology'''<br />
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Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.<br />
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Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)<br />
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'''2.Some Core Concepts'''<br />
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In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.<br />
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'''2.1 Translation as Adaptation and Selection'''<br />
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The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.<br />
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'''2.2 Three-dimensional Transformation'''<br />
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Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one. <br />
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The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
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Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.<br />
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Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
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'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''<br />
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The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)<br />
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The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)<br />
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===Case Study===<br />
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)<br />
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'''1. Linguistic Dimension'''<br />
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The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)<br />
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Example 1:<br />
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Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）<br />
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Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）<br />
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The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)<br />
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Example 2:<br />
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SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）<br />
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TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）<br />
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"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)<br />
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'''2. Cultural Dimension'''<br />
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Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.<br />
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Example 3:<br />
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SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）<br />
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TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）<br />
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"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.<br />
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Example 4:<br />
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SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）<br />
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TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）<br />
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Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)<br />
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Example 5:<br />
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SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）<br />
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TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）<br />
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Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.<br />
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When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.<br />
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'''3. Communicative Dimension'''<br />
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In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
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Example 6:<br />
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SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）<br />
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TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）<br />
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"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.<br />
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Example 7:<br />
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SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）<br />
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TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）<br />
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Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.<br />
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===Conclusion===<br />
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.<br />
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*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123. <br />
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*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.<br />
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*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.<br />
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*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.<br />
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*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.<br />
<br />
*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28. <br />
<br />
*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.<br />
<br />
*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96. <br />
<br />
*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.<br />
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*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209. <br />
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*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh<br />
<br />
*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh<br />
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*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.<br />
<br />
*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.<br />
<br />
*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95. <br />
<br />
*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.<br />
<br />
==英语笔译 李欣 Li Xin 202170081577 CE==<br />
<br />
<br />
<center>'''The dissemination of Chinese Classics in modern media'''</center><br />
<br />
<center>Li Xin</center><br />
<br />
===Abstract===<br />
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578 MW==<br />
<br />
<center>'''On the Translation of The Moon and Sixpence'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.<br />
<br />
In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.<br />
===Key words===<br />
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation<br />
===Introduction===<br />
1.A Brief Introducation to William Somerset Maugham<br />
<br />
William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.<br />
<br />
As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on. <br />
<br />
Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.<br />
<br />
In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.<br />
<br />
2.A Brief Introduction to The Moon and Sixpence<br />
<br />
The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.<br />
<br />
The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”<br />
<br />
The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.<br />
<br />
3.A Brief Introduction to the Translater and Translating Verisons<br />
<br />
The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm. <br />
<br />
Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.<br />
<br />
Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.<br />
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.<br />
<br />
===Literature Review===<br />
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.<br />
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.<br />
<br />
Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.<br />
<br />
Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.<br />
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.<br />
<br />
The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.<br />
<br />
===Methods and Theories===<br />
1.The Translator's Role in Traditional Translation Studies<br />
<br />
From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.<br />
<br />
The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.<br />
<br />
1.The Translator’s subjectivity <br />
<br />
Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)<br />
<br />
2. Factors of Affecting Translator's Subjectivity<br />
<br />
Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.<br />
<br />
The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。<br />
<br />
===Subtitle 1 Analysis on Translating Cases ===<br />
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.<br />
<br />
1.Translator's Subjectivity in Semantic Comprehension and Interpretation<br />
<br />
In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:<br />
<br />
（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)<br />
<br />
傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）<br />
<br />
陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）<br />
<br />
李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）<br />
<br />
In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.<br />
<br />
Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.<br />
<br />
Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.<br />
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.<br />
<br />
2. Translation Strategies in the Choice of Translator’s Subjectivity<br />
<br />
中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。<br />
<br />
Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.<br />
<br />
(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)<br />
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）<br />
<br />
In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.<br />
<br />
Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.<br />
<br />
(3)He followed me, and entered the apartment on my heels.(P98)<br />
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傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)<br />
<br />
陈译：他尾随我进入公寓。（P180）<br />
<br />
李译：他跟在我身后，紧贴着我走进了房间。（P179）<br />
<br />
The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.<br />
<br />
Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.<br />
<br />
3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance<br />
<br />
Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.<br />
<br />
(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)<br />
<br />
傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)<br />
<br />
陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)<br />
<br />
李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)<br />
<br />
According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."<br />
<br />
The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.<br />
<br />
Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.<br />
<br />
4. Translator's Subjectivity in Language Style<br />
<br />
As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:<br />
<br />
(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)<br />
<br />
傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）<br />
<br />
陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）<br />
<br />
李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）<br />
<br />
This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.<br />
<br />
===Conclusion===<br />
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.<br />
<br />
This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.<br />
<br />
In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.<br />
<br />
To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.<br />
===References===<br />
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House<br />
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.<br />
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.<br />
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.<br />
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp. <br />
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.<br />
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.<br />
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.<br />
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University<br />
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579 CE==<br />
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center><br />
<br />
<center>Li Yuan</center><br />
<br />
===Abstract===<br />
<br />
''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.<br />
<br />
===Key words===<br />
<br />
''The Art of War''; the science of communication; English translation; reception; inspiration<br />
<br />
===Introduction===<br />
<br />
''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).<br />
<br />
Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).<br />
<br />
Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.<br />
<br />
===Literature Review===<br />
<br />
By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).<br />
<br />
Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).<br />
<br />
The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.<br />
<br />
===Communication Theory--Lasswell's "5W Model"===<br />
<br />
The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.<br />
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication: <br />
Convenient way to describe an act of communication is to answer the following questions:<br />
Who<br />
Says What<br />
In Which Channel<br />
To Whom<br />
With What Effect?<br />
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).<br />
<br />
This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the <br />
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.<br />
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation <br />
process from the perspective of communication science.<br />
<br />
===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===<br />
<br />
The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.<br />
<br />
First Phase: 1905 to the 1930s<br />
<br />
The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).<br />
<br />
Second Phase: the 1940s to the 1980s<br />
<br />
One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.<br />
<br />
Third phase: the 1990s to present<br />
<br />
After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.<br />
<br />
===Insights from Reception of English Translations of ''The Art of War'' in the West from the Perspective of Communication===<br />
<br />
From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers. <br />
<br />
Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.<br />
<br />
===Conclusion===<br />
<br />
''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.<br />
<br />
===References===<br />
<br />
*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.<br />
<br />
*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.<br />
<br />
*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.<br />
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.<br />
<br />
*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.<br />
<br />
*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.<br />
<br />
*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581 MW==<br />
On the Reception of Vanity Fair in China<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582 CE==<br />
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
This is a paragraph. (Wang 2021:423)<br />
<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583 MW==<br />
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.<br />
<br />
===Key words===<br />
lyrics translation; Chinese music; Chinese into English<br />
<br />
===Introduction===<br />
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.<br />
<br />
===Standards to Be Followed in the Translation of Songs===<br />
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.<br />
<br />
(1)General Standards<br />
<br />
As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.<br />
<br />
The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).<br />
<br />
Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.<br />
<br />
To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.<br />
<br />
(2)Special Standards<br />
<br />
In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:<br />
<br />
First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)<br />
<br />
Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.<br />
<br />
Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.<br />
<br />
===Instance Analysis===<br />
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.<br />
<br />
(1)Analysis of Ancient Style Music<br />
<br />
First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.<br />
<br />
Example 1:<br />
<br />
Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。<br />
<br />
English Version: Thoughts of you are like a river, comforting chilling my soul.<br />
<br />
In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.<br />
<br />
Example 2:<br />
<br />
Chinese Version : 凉凉三生三世恍然如梦<br />
<br />
English Version: Past present and future<br />
<br />
In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.<br />
<br />
（2）Analysis of Pop Music<br />
<br />
Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)<br />
<br />
Example 3:<br />
<br />
Chinese Version: 怎么二十多年到头来 还在人海里浮沉<br />
<br />
English Version: How come after all that I've been through I still suffer vicissitudes<br />
<br />
This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability<br />
<br />
Example 4:<br />
<br />
Chinese Version: 像我这样碌碌无为的人 你还见过多少人<br />
<br />
English Version: Someone busy with his needs I'm sure you know quite a few<br />
<br />
This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.<br />
<br />
===Conclusion===<br />
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.<br />
<br />
===References===<br />
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.<br />
<br />
Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.<br />
<br />
Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.<br />
<br />
Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34<br />
<br />
Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584 CE==<br />
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja<br />
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Abstract<br />
Key words<br />
1.Introduction<br />
2.Value of Communication<br />
3.Content of Communication<br />
4.Feasible Procedures of Translation<br />
5.Platform for Translation and Communication<br />
Conclusion<br />
References<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Classics_2&diff=14633820220630 Classics 22022-07-04T00:58:08Z<p>Li Yuan: /* References */</p>
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==This is the final exam paper website no. 1==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575 CE==<br />
<br />
<br />
<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Abstract===<br />
<br />
The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.<br />
<br />
===Key words===<br />
<br />
Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt<br />
<br />
===Introduction===<br />
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.<br />
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment<br />
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.<br />
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.<br />
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.<br />
<br />
===Literature Review===<br />
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).<br />
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).<br />
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).<br />
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.<br />
<br />
===Methods and Theories===<br />
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.<br />
<br />
===An introduction to the translator's subjectivity===<br />
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).<br />
<br />
===Cultural transmission in translation===<br />
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.<br />
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)<br />
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.<br />
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)<br />
The original text is translated one by one to show the original ecological scene.<br />
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)<br />
The original text shows the backward means of production at that time, using cattle to plow the land.<br />
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)<br />
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。<br />
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)<br />
The original text shows the good ecological environment at that time.<br />
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)<br />
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。<br />
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)<br />
The text presents the ecological topics that farmers were concerned about at that time.<br />
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)<br />
译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。<br />
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.<br />
<br />
===A Study on Detailed Translation===<br />
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.<br />
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)<br />
The original text presents the state of backward production tools and daily necessities at that time.<br />
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)<br />
Literal translation is adopted to maintain the cultural characteristics of the original text.<br />
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)<br />
The original text presents the age and costume characteristics of material scarcity at that time.<br />
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)<br />
原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。<br />
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)<br />
The original text presents the enclosure architecture and the ecology around the enclosure at that time.<br />
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)<br />
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。<br />
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.<br />
<br />
===Translation Studies of Socio-cultural and Religious Cultures===<br />
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.<br />
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)<br />
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)<br />
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。<br />
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)<br />
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.<br />
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)<br />
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.<br />
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.<br />
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.<br />
<br />
===Conclusion===<br />
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.<br />
<br />
===References===<br />
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.<br />
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.<br />
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.<br />
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.<br />
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.<br />
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.<br />
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.<br />
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.<br />
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103. <br />
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.<br />
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.<br />
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==英语笔译 李婷 Li Ting 202170081576 MW==<br />
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Abstract===<br />
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.<br />
<br />
''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.<br />
<br />
===Key words===<br />
''The Border Town''; Eco-Translatology; three-dimensional transformation<br />
<br />
===Introduction===<br />
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)<br />
<br />
''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)<br />
<br />
As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)<br />
<br />
This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.<br />
<br />
===Literature Review===<br />
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.<br />
<br />
Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)<br />
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)<br />
<br />
Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.<br />
<br />
The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .<br />
<br />
All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.<br />
<br />
===Methods and Theories===<br />
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.<br />
<br />
'''1.The Origin of Eco-Translatology'''<br />
<br />
Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.<br />
<br />
Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)<br />
<br />
'''2.Some Core Concepts'''<br />
<br />
In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.<br />
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'''2.1 Translation as Adaptation and Selection'''<br />
<br />
The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.<br />
<br />
'''2.2 Three-dimensional Transformation'''<br />
<br />
Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one. <br />
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The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.<br />
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Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
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'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''<br />
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The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)<br />
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The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)<br />
<br />
===Case Study===<br />
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)<br />
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'''1. Linguistic Dimension'''<br />
<br />
The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)<br />
<br />
Example 1:<br />
<br />
Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）<br />
<br />
Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）<br />
<br />
The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)<br />
<br />
Example 2:<br />
<br />
SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）<br />
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TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）<br />
<br />
"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)<br />
<br />
'''2. Cultural Dimension'''<br />
<br />
Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.<br />
<br />
Example 3:<br />
<br />
SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）<br />
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TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）<br />
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"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.<br />
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Example 4:<br />
<br />
SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）<br />
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TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）<br />
<br />
Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)<br />
<br />
Example 5:<br />
<br />
SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）<br />
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TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）<br />
<br />
Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.<br />
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When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.<br />
<br />
'''3. Communicative Dimension'''<br />
<br />
In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
Example 6:<br />
<br />
SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）<br />
<br />
TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）<br />
<br />
"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.<br />
<br />
Example 7:<br />
<br />
SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）<br />
<br />
TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）<br />
<br />
Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.<br />
<br />
===Conclusion===<br />
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.<br />
<br />
===References===<br />
*Hall E T .(1976).Beyond Culture. chicago.<br />
<br />
*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.<br />
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*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123. <br />
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*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.<br />
<br />
*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh<br />
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*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.<br />
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*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.<br />
<br />
*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.<br />
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*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28. <br />
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*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.<br />
<br />
*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96. <br />
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*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.<br />
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*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209. <br />
<br />
*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh<br />
<br />
*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh<br />
<br />
*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.<br />
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*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.<br />
<br />
*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95. <br />
<br />
*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.<br />
<br />
==英语笔译 李欣 Li Xin 202170081577 CE==<br />
<br />
<br />
<center>'''The dissemination of Chinese Classics in modern media'''</center><br />
<br />
<center>Li Xin</center><br />
<br />
===Abstract===<br />
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578 MW==<br />
<br />
<center>'''On the Translation of The Moon and Sixpence'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.<br />
<br />
In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.<br />
===Key words===<br />
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation<br />
===Introduction===<br />
1.A Brief Introducation to William Somerset Maugham<br />
<br />
William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.<br />
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As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on. <br />
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Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.<br />
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In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.<br />
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2.A Brief Introduction to The Moon and Sixpence<br />
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The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.<br />
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The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”<br />
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The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.<br />
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3.A Brief Introduction to the Translater and Translating Verisons<br />
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The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm. <br />
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Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.<br />
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Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.<br />
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.<br />
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===Literature Review===<br />
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.<br />
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.<br />
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Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.<br />
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Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.<br />
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.<br />
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The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.<br />
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===Methods and Theories===<br />
1.The Translator's Role in Traditional Translation Studies<br />
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From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.<br />
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The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.<br />
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1.The Translator’s subjectivity <br />
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Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)<br />
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2. Factors of Affecting Translator's Subjectivity<br />
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Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.<br />
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The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。<br />
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===Subtitle 1 Analysis on Translating Cases ===<br />
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.<br />
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1.Translator's Subjectivity in Semantic Comprehension and Interpretation<br />
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In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:<br />
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（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)<br />
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傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）<br />
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陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）<br />
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李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）<br />
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In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.<br />
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Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.<br />
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Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.<br />
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.<br />
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2. Translation Strategies in the Choice of Translator’s Subjectivity<br />
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中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。<br />
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Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.<br />
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(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)<br />
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）<br />
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In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.<br />
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Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.<br />
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(3)He followed me, and entered the apartment on my heels.(P98)<br />
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傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)<br />
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陈译：他尾随我进入公寓。（P180）<br />
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李译：他跟在我身后，紧贴着我走进了房间。（P179）<br />
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The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.<br />
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Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.<br />
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3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance<br />
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Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.<br />
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(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)<br />
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傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)<br />
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陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)<br />
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李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)<br />
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According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."<br />
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The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.<br />
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Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.<br />
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4. Translator's Subjectivity in Language Style<br />
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As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:<br />
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(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)<br />
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傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）<br />
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陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）<br />
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李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）<br />
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This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.<br />
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===Conclusion===<br />
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.<br />
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This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.<br />
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In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.<br />
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To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.<br />
===References===<br />
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House<br />
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.<br />
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.<br />
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.<br />
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp. <br />
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.<br />
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.<br />
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.<br />
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University<br />
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.<br />
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==英语笔译 李媛 Li Yuan 202170081579 CE==<br />
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center><br />
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<center>Li Yuan</center><br />
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===Abstract===<br />
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''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.<br />
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===Key words===<br />
<br />
''The Art of War''; the science of communication; English translation; reception; inspiration<br />
<br />
===Introduction===<br />
<br />
''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).<br />
<br />
Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).<br />
<br />
Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.<br />
<br />
===Literature Review===<br />
<br />
By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).<br />
<br />
Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).<br />
<br />
The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.<br />
<br />
===Communication Theory--Lasswell's "5W Model"===<br />
<br />
The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.<br />
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication: <br />
Convenient way to describe an act of communication is to answer the following questions:<br />
Who<br />
Says What<br />
In Which Channel<br />
To Whom<br />
With What Effect?<br />
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).<br />
<br />
This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the <br />
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.<br />
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation <br />
process from the perspective of communication science.<br />
<br />
===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===<br />
<br />
The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.<br />
<br />
First Phase: 1905 to the 1930s<br />
<br />
The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).<br />
<br />
Second Phase: the 1940s to the 1980s<br />
<br />
One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.<br />
<br />
Third phase: the 1990s to present<br />
<br />
After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.<br />
<br />
===Insights from Reception of English Translations of ''The Art of War'' in the West from the perspective of communication===<br />
<br />
From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers. <br />
<br />
Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.<br />
<br />
===Conclusion===<br />
<br />
''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.<br />
<br />
===References===<br />
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*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.<br />
<br />
*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.<br />
<br />
*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.<br />
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.<br />
<br />
*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.<br />
<br />
*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.<br />
<br />
*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581 MW==<br />
On the Reception of Vanity Fair in China<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582 CE==<br />
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
This is a paragraph. (Wang 2021:423)<br />
<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583 MW==<br />
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.<br />
<br />
===Key words===<br />
lyrics translation; Chinese music; Chinese into English<br />
<br />
===Introduction===<br />
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.<br />
<br />
===Standards to Be Followed in the Translation of Songs===<br />
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.<br />
<br />
(1)General Standards<br />
<br />
As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.<br />
<br />
The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).<br />
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Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.<br />
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To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.<br />
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(2)Special Standards<br />
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In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:<br />
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First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)<br />
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Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.<br />
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Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.<br />
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===Instance Analysis===<br />
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.<br />
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(1)Analysis of Ancient Style Music<br />
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First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.<br />
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Example 1:<br />
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Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。<br />
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English Version: Thoughts of you are like a river, comforting chilling my soul.<br />
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In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.<br />
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Example 2:<br />
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Chinese Version : 凉凉三生三世恍然如梦<br />
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English Version: Past present and future<br />
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In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.<br />
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（2）Analysis of Pop Music<br />
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Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)<br />
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Example 3:<br />
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Chinese Version: 怎么二十多年到头来 还在人海里浮沉<br />
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English Version: How come after all that I've been through I still suffer vicissitudes<br />
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This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability<br />
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Example 4:<br />
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Chinese Version: 像我这样碌碌无为的人 你还见过多少人<br />
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English Version: Someone busy with his needs I'm sure you know quite a few<br />
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This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.<br />
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===Conclusion===<br />
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.<br />
<br />
===References===<br />
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.<br />
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Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.<br />
<br />
Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.<br />
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Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34<br />
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Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584 CE==<br />
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja<br />
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Abstract<br />
Key words<br />
1.Introduction<br />
2.Value of Communication<br />
3.Content of Communication<br />
4.Feasible Procedures of Translation<br />
5.Platform for Translation and Communication<br />
Conclusion<br />
References<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Classics_2&diff=14633720220630 Classics 22022-07-04T00:57:25Z<p>Li Yuan: /* The History and Characteristics of the English Translation of The Art of War in the West from the Perspective of Communication */</p>
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==英语笔译 李思源 Li Siyuan 202170081575 CE==<br />
<br />
<br />
<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center><br />
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<center>Li Siyuan</center><br />
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===Abstract===<br />
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The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.<br />
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===Key words===<br />
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Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt<br />
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===Introduction===<br />
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.<br />
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment<br />
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.<br />
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.<br />
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.<br />
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===Literature Review===<br />
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).<br />
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).<br />
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).<br />
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.<br />
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===Methods and Theories===<br />
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.<br />
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===An introduction to the translator's subjectivity===<br />
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).<br />
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===Cultural transmission in translation===<br />
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.<br />
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)<br />
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.<br />
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)<br />
The original text is translated one by one to show the original ecological scene.<br />
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)<br />
The original text shows the backward means of production at that time, using cattle to plow the land.<br />
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)<br />
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。<br />
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)<br />
The original text shows the good ecological environment at that time.<br />
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)<br />
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。<br />
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)<br />
The text presents the ecological topics that farmers were concerned about at that time.<br />
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)<br />
译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。<br />
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.<br />
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===A Study on Detailed Translation===<br />
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.<br />
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)<br />
The original text presents the state of backward production tools and daily necessities at that time.<br />
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)<br />
Literal translation is adopted to maintain the cultural characteristics of the original text.<br />
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)<br />
The original text presents the age and costume characteristics of material scarcity at that time.<br />
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)<br />
原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。<br />
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)<br />
The original text presents the enclosure architecture and the ecology around the enclosure at that time.<br />
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)<br />
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。<br />
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.<br />
<br />
===Translation Studies of Socio-cultural and Religious Cultures===<br />
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.<br />
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)<br />
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)<br />
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。<br />
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)<br />
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.<br />
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)<br />
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.<br />
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.<br />
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.<br />
<br />
===Conclusion===<br />
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.<br />
<br />
===References===<br />
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.<br />
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.<br />
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.<br />
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.<br />
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.<br />
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.<br />
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.<br />
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.<br />
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103. <br />
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.<br />
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.<br />
<br />
==英语笔译 李婷 Li Ting 202170081576 MW==<br />
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Abstract===<br />
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.<br />
<br />
''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.<br />
<br />
===Key words===<br />
''The Border Town''; Eco-Translatology; three-dimensional transformation<br />
<br />
===Introduction===<br />
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)<br />
<br />
''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)<br />
<br />
As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)<br />
<br />
This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.<br />
<br />
===Literature Review===<br />
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.<br />
<br />
Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)<br />
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)<br />
<br />
Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.<br />
<br />
The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .<br />
<br />
All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.<br />
<br />
===Methods and Theories===<br />
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.<br />
<br />
'''1.The Origin of Eco-Translatology'''<br />
<br />
Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.<br />
<br />
Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)<br />
<br />
'''2.Some Core Concepts'''<br />
<br />
In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.<br />
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'''2.1 Translation as Adaptation and Selection'''<br />
<br />
The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.<br />
<br />
'''2.2 Three-dimensional Transformation'''<br />
<br />
Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one. <br />
<br />
The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.<br />
<br />
Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''<br />
<br />
The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)<br />
<br />
The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)<br />
<br />
===Case Study===<br />
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)<br />
<br />
'''1. Linguistic Dimension'''<br />
<br />
The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)<br />
<br />
Example 1:<br />
<br />
Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）<br />
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Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）<br />
<br />
The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)<br />
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Example 2:<br />
<br />
SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）<br />
<br />
TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）<br />
<br />
"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)<br />
<br />
'''2. Cultural Dimension'''<br />
<br />
Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.<br />
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Example 3:<br />
<br />
SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）<br />
<br />
TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）<br />
<br />
"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.<br />
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Example 4:<br />
<br />
SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）<br />
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TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）<br />
<br />
Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)<br />
<br />
Example 5:<br />
<br />
SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）<br />
<br />
TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）<br />
<br />
Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.<br />
<br />
When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.<br />
<br />
'''3. Communicative Dimension'''<br />
<br />
In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
Example 6:<br />
<br />
SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）<br />
<br />
TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）<br />
<br />
"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.<br />
<br />
Example 7:<br />
<br />
SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）<br />
<br />
TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）<br />
<br />
Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.<br />
<br />
===Conclusion===<br />
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.<br />
<br />
===References===<br />
*Hall E T .(1976).Beyond Culture. chicago.<br />
<br />
*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.<br />
<br />
*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123. <br />
<br />
*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.<br />
<br />
*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh<br />
<br />
*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.<br />
<br />
*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.<br />
<br />
*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.<br />
<br />
*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28. <br />
<br />
*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.<br />
<br />
*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96. <br />
<br />
*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.<br />
<br />
*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209. <br />
<br />
*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh<br />
<br />
*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh<br />
<br />
*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.<br />
<br />
*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.<br />
<br />
*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95. <br />
<br />
*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.<br />
<br />
==英语笔译 李欣 Li Xin 202170081577 CE==<br />
<br />
<br />
<center>'''The dissemination of Chinese Classics in modern media'''</center><br />
<br />
<center>Li Xin</center><br />
<br />
===Abstract===<br />
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578 MW==<br />
<br />
<center>'''On the Translation of The Moon and Sixpence'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.<br />
<br />
In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.<br />
===Key words===<br />
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation<br />
===Introduction===<br />
1.A Brief Introducation to William Somerset Maugham<br />
<br />
William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.<br />
<br />
As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on. <br />
<br />
Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.<br />
<br />
In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.<br />
<br />
2.A Brief Introduction to The Moon and Sixpence<br />
<br />
The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.<br />
<br />
The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”<br />
<br />
The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.<br />
<br />
3.A Brief Introduction to the Translater and Translating Verisons<br />
<br />
The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm. <br />
<br />
Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.<br />
<br />
Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.<br />
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.<br />
<br />
===Literature Review===<br />
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.<br />
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.<br />
<br />
Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.<br />
<br />
Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.<br />
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.<br />
<br />
The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.<br />
<br />
===Methods and Theories===<br />
1.The Translator's Role in Traditional Translation Studies<br />
<br />
From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.<br />
<br />
The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.<br />
<br />
1.The Translator’s subjectivity <br />
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Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)<br />
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2. Factors of Affecting Translator's Subjectivity<br />
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Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.<br />
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The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。<br />
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===Subtitle 1 Analysis on Translating Cases ===<br />
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.<br />
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1.Translator's Subjectivity in Semantic Comprehension and Interpretation<br />
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In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:<br />
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（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)<br />
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傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）<br />
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陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）<br />
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李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）<br />
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In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.<br />
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Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.<br />
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Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.<br />
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.<br />
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2. Translation Strategies in the Choice of Translator’s Subjectivity<br />
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中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。<br />
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Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.<br />
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(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)<br />
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）<br />
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In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.<br />
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Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.<br />
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(3)He followed me, and entered the apartment on my heels.(P98)<br />
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傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)<br />
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陈译：他尾随我进入公寓。（P180）<br />
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李译：他跟在我身后，紧贴着我走进了房间。（P179）<br />
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The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.<br />
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Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.<br />
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3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance<br />
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Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.<br />
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(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)<br />
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傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)<br />
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陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)<br />
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李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)<br />
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According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."<br />
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The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.<br />
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Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.<br />
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4. Translator's Subjectivity in Language Style<br />
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As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:<br />
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(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)<br />
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傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）<br />
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陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）<br />
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李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）<br />
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This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.<br />
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===Conclusion===<br />
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.<br />
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This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.<br />
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In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.<br />
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To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.<br />
===References===<br />
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House<br />
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.<br />
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.<br />
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.<br />
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp. <br />
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.<br />
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.<br />
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.<br />
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University<br />
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.<br />
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==英语笔译 李媛 Li Yuan 202170081579 CE==<br />
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center><br />
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<center>Li Yuan</center><br />
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===Abstract===<br />
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''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.<br />
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===Key words===<br />
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''The Art of War''; the science of communication; English translation; reception; inspiration<br />
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===Introduction===<br />
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''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).<br />
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Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).<br />
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Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.<br />
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===Literature Review===<br />
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By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).<br />
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Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).<br />
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The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.<br />
<br />
===Communication Theory--Lasswell's "5W Model"===<br />
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The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.<br />
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication: <br />
Convenient way to describe an act of communication is to answer the following questions:<br />
Who<br />
Says What<br />
In Which Channel<br />
To Whom<br />
With What Effect?<br />
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).<br />
<br />
This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the <br />
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.<br />
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation <br />
process from the perspective of communication science.<br />
<br />
===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===<br />
<br />
The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.<br />
<br />
First Phase: 1905 to the 1930s<br />
<br />
The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).<br />
<br />
Second Phase: the 1940s to the 1980s<br />
<br />
One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.<br />
<br />
Third phase: the 1990s to present<br />
<br />
After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.<br />
<br />
===Insights from Reception of English Translations of ''The Art of War'' in the West from the perspective of communication===<br />
<br />
From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers. <br />
<br />
Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.<br />
<br />
===Conclusion===<br />
<br />
''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.<br />
<br />
===References===<br />
<br />
*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.<br />
*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.<br />
*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.<br />
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.<br />
*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.<br />
*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.<br />
*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581 MW==<br />
On the Reception of Vanity Fair in China<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582 CE==<br />
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
This is a paragraph. (Wang 2021:423)<br />
<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583 MW==<br />
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.<br />
<br />
===Key words===<br />
lyrics translation; Chinese music; Chinese into English<br />
<br />
===Introduction===<br />
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.<br />
<br />
===Standards to Be Followed in the Translation of Songs===<br />
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.<br />
<br />
(1)General Standards<br />
<br />
As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.<br />
<br />
The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).<br />
<br />
Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.<br />
<br />
To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.<br />
<br />
(2)Special Standards<br />
<br />
In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:<br />
<br />
First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)<br />
<br />
Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.<br />
<br />
Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.<br />
<br />
===Instance Analysis===<br />
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.<br />
<br />
(1)Analysis of Ancient Style Music<br />
<br />
First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.<br />
<br />
Example 1:<br />
<br />
Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。<br />
<br />
English Version: Thoughts of you are like a river, comforting chilling my soul.<br />
<br />
In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.<br />
<br />
Example 2:<br />
<br />
Chinese Version : 凉凉三生三世恍然如梦<br />
<br />
English Version: Past present and future<br />
<br />
In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.<br />
<br />
（2）Analysis of Pop Music<br />
<br />
Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)<br />
<br />
Example 3:<br />
<br />
Chinese Version: 怎么二十多年到头来 还在人海里浮沉<br />
<br />
English Version: How come after all that I've been through I still suffer vicissitudes<br />
<br />
This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability<br />
<br />
Example 4:<br />
<br />
Chinese Version: 像我这样碌碌无为的人 你还见过多少人<br />
<br />
English Version: Someone busy with his needs I'm sure you know quite a few<br />
<br />
This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.<br />
<br />
===Conclusion===<br />
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.<br />
<br />
===References===<br />
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.<br />
<br />
Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.<br />
<br />
Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.<br />
<br />
Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34<br />
<br />
Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584 CE==<br />
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja<br />
<br />
Abstract<br />
Key words<br />
1.Introduction<br />
2.Value of Communication<br />
3.Content of Communication<br />
4.Feasible Procedures of Translation<br />
5.Platform for Translation and Communication<br />
Conclusion<br />
References<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14633620220630 Culture 22022-07-04T00:55:59Z<p>Li Yuan: /* References */</p>
<hr />
<div>Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]] <br />
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==This is the final exam paper website no. 2==<br />
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]<br />
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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
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<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
<br />
===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
<br />
===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
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Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
<br />
===Proverbs===<br />
<br />
Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
<br />
===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
<br />
In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
<br />
However, the Tang Dynasty considered chubby women as beautiful.<br />
<br />
The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
<br />
According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
<br />
The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
<br />
In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
<br />
===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
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===Some common cultural implications of Chinese lantern===<br />
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Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
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===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
<br />
===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
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'''3. Regional Features in Cuisine Names''' <br />
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There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
<br />
The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
<br />
Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
<br />
===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
<br />
===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
<br />
* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
<br />
* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
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* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
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* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
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* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
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* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
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* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
<br />
===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
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The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
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Mapo Tofu：麻婆豆腐<br />
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Shrimp with green Vegetable：翡翠虾仁<br />
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Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
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Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
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Cut: 切 chop：剁 split：劈 scrape：剔<br />
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Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
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Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
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stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
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Corn Meatballs：玉米肉丸<br />
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Sweet and Sour Fish：糖醋鱼<br />
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Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
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Diced Chicken with Cashew Nuts：腰果鸡丁<br />
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Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
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Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
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Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
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Pork Cooked with Green Chili：辣椒炒肉<br />
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Scrambled Egg with Tomato：番茄炒蛋<br />
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Hairy Crabs：大闸蟹<br />
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Golden Coin-shaped Scallops：金钱干贝<br />
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Sour and Hot Diced Chicken：酸辣鸡丁<br />
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Sweet and Sour Ribs：糖醋排骨<br />
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Cola Chicken Wings：可乐鸡翅<br />
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Braised Meat Balls in Brown Sauce：红烧狮子头<br />
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Tai Chi Shaped Taro：太极芋头<br />
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Stewed Assorted Delicacies：全家福<br />
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Wishful Bamboo Shoots：如意笋<br />
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Wen Si Tofu：文思豆腐<br />
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Dongpo Meat：东坡肉<br />
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Peking Duck：北京烤鸭<br />
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West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
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Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
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Meat in Tomato Sauce：乾隆樱桃肉<br />
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Murrel with Fresh Vegetables：将军过桥<br />
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Changban Slope：长坂坡<br />
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Two Winter：二冬<br />
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Three Delicacies：三鲜<br />
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Three Shreds：三丝<br />
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Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
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Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
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Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
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Fried Magnolia Slices：炒玉兰片<br />
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Fried Bamboo Shoots Slices：炒笋片<br />
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Salted Pork in Jelly：水晶肴肉<br />
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Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
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Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
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Mirror Box Tofu：镜箱豆腐<br />
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Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
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Shrimp Ring with Green Vegetable：翡翠虾环<br />
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Golden Eggs：金钱蛋<br />
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Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
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Farewell My Concubine：霸王别姬<br />
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Chicken Slices with Hibiscus：芙蓉鸡片<br />
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Scallops with Hibiscus：芙蓉干贝<br />
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Clams with Hibiscus：芙蓉青蛤<br />
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The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
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The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
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Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
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Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
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Crusade against daddy：早生贵子<br />
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Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
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The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
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Siraitia Grosvenorii：罗汉果<br />
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Prajna Dishes：般若菜<br />
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Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
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Yin and Yang Fish：阴阳鱼<br />
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Heaven and Earth Eggs：乾坤蛋<br />
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Mutton eaten with hands：手抓羊肉<br />
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Sweet and Sour Pork：咕咾肉<br />
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Pearl Bean Curd：珍珠豆腐<br />
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Golden Prawn：金钱明虾<br />
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Crispy Duck：脆皮八宝鸭<br />
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Spiced Beef：五香牛肉<br />
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Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
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Full of Prosperity：满园春色<br />
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===Questions===<br />
1.How many naming methods are mentioned?<br />
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2.Who is the Four-Joy Meatballs associated with?<br />
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3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
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===Answers===<br />
1.Eight.<br />
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2.Zhang Jiuling<br />
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3.Egg white.<br />
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==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.<br />
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===Key words===<br />
Sapir-Wolf hypothesis; language and mind; linguistics<br />
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===Introduction===<br />
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.<br />
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===Literature Review===<br />
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.<br />
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking. <br />
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===An overview of language and mind===<br />
1. The concept of language<br />
<br />
Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.<br />
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.<br />
<br />
2. The concept of mind<br />
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In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.<br />
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3. An overview of the relationship between language and mind<br />
<br />
The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.<br />
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".<br />
<br />
===Various famous ideas on the relationship between language and mind===<br />
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.<br />
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1.Independence theory<br />
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From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.<br />
2. Sequence theory<br />
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2.1 mind exists before language<br />
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This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.<br />
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2.2 Language exists before mind<br />
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The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.<br />
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans. <br />
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.<br />
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3. Determinism<br />
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3.1 mind determines language<br />
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The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.<br />
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3.2 Language determines mind<br />
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The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.<br />
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4. Coexistence (the coexistence of language and mind)<br />
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4.1 Language cannot exist independently of mind<br />
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Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.<br />
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4.2 Mind cannot exist independently of language<br />
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Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.<br />
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===My view on the relationship between language and mind===<br />
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.<br />
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.<br />
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===Conclusion===<br />
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.<br />
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.<br />
===References===<br />
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp. <br />
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.<br />
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社. <br />
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社. <br />
*施光，辛斌（2007（1））． 语言·思维·认知－ 再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang<br />
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.<br />
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp. <br />
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp<br />
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
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===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
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===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
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After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
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During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
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At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
<br />
===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
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===Subtitle 1：The Motivation of the Miaoyu===<br />
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In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
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===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
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There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
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2.The Distribution of Miao Nationality<br />
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(1)Domestic Distribution<br />
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The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
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(2)Overseas Distribution<br />
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The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
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The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
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===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
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Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
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There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
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The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
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2.Historical formation of the Hmong<br />
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This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
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The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
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Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
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During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
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===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
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Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
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The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
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Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
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Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
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In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
<br />
===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
<br />
After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
<br />
Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
<br />
1.Characteristics of Xiangxi dialect<br />
<br />
The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
<br />
2.Qiandong dialect<br />
<br />
The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
<br />
3.Chuanqian Dian dialect<br />
<br />
The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
<br />
The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
<br />
The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
<br />
The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
<br />
The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
<br />
The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
<br />
(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
<br />
(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
<br />
In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
<br />
The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
<br />
The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
<br />
(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
<br />
In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
<br />
The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
<br />
The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
<br />
===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center><br />
<br />
<center>Li Yuan</center><br />
<br />
===Abstract===<br />
<br />
The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
<br />
===Key words===<br />
<br />
phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
<br />
===Introduction===<br />
<br />
The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
<br />
There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
<br />
===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
<br />
The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
<br />
To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
<br />
It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
<br />
===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
<br />
This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
<br />
One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
<br />
One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
<br />
One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
<br />
One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
<br />
One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
<br />
One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
<br />
One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
<br />
The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods (770 BC to 221 BC), when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yitizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states in 221 BC and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty (24 AD to 220AD), Xu Shen's ''Shuowenjiezi'' (《说文解字》) was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties (220 AD to 589 AD), some men of letters still used Tongjiazi, but during the Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
<br />
===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
<br />
===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
<br />
To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. In this regard, the influence of Tongjiazi on translation is the ability of translators obtained to identify and verify those characters. With the development of the times, the majority of ancient texts now have annotated versions, that is, intra-lingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
<br />
In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. Apart from that, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on Classics of Difficulties Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in Synopsis of Golden Chamber Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical works, which shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
<br />
''The Analects of Confucius'' (《论语》) is a collection of discourses compiled by the disciples of generations of the thinker and the educator Confucius in the Spring and Autumn period to record the words and actions of Confucius and his disciples. It is a collection of 492 chapters, mainly in the style of discourses and supplemented by narratives, and reflects the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a concentrated manner. The main feature of the work is its concise language, which is easy to understand, but has a far-reaching and profound meaning. Its language style is implicit and plain, and it is able to present characters in simple dialogue and action. Since the Song Dynasty, it has been listed as one of “the Four Books”, and has become an official textbook for ancient schools and a compulsory reading material for the imperial examinations.<br />
<br />
The number of Tongjiazi in the Analects is relatively small, and the content is relatively easy to understand. There are a total of 6 phonetic loan characters in this work, which are “便” used as “辩”, “加” used as “假”, “桴” is used as “泭”, “麑” means “鹿”, and “礼” replaced by “献”. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. It is understandable that the existence of the phenomenon of Tongjiazi often poses a barrier to reading and comprehension for Chinese readers, who may be tempted to literally understand the original text if they are not careful, and it is not very realistic for foreign readers or translators who read or translate Chinese texts to accurately identify each and every Tongjiazi. In Xu Yuanchong’s translation of the Analects, the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraphrasing (liberal translation). <br />
<br />
(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
<br />
TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
<br />
In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
<br />
(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
<br />
In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
<br />
In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
<br />
TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
<br />
In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) <br />
<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
<br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
Therefore, for Tongjiazi in ''the Analects of Confucius'', there are three main methods to translate them into English. They are literal translation of the original character, literal of the phonetic loan character, and paraphrasing (liberal translation). As mentioned in the definition of Tongjiazi, it is of significant importance to define phonetic loan characters by distinguishing them from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Identifying those characters is the first step to understand and translate them correctly. In fact, the translation process of Chinese classics is from ancient Chinese to modern Chinese and then to English, so in addition to basic bilingual skills, the translator should have a good command of some knowledge of Tongjiazi, resort to some high-quality dictionaries for more information and ask some scholars and experts in this field for help, in an effort to avoid translation mistakes.<br />
<br />
===Conclusion===<br />
<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. In order to have a good understanding of the definition of phonetic loan characters (Tongjiazi), it is critical to grasp the differences between phonetic loan characters (Tongjiazi) and ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one is due to the need for euphemism. As for the origin and development of phonetic loan characters(Tongjiazi), which can be dated back to Pre-Qin period (Palaeolithic Age to 221 BC), and then appeared in large numbers during the Spring and Autumn and Warring States periods (770 BC to 221 BC). After Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), the former phonetic loan characters were stopped gradually and new ones were not allowed to come into being. With the advent of vernacular Chinese, Tongjiazi was discontinued completely. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. <br />
<br />
So, when translating such texts, translators need to acquire certain skills and obtain certain knowledge about phonetic loan characters (Tongjiazi). In addition to a certain level of reading skills and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi by asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of the Analects of Confucius as an example, analyses the English translation of Tongjiazi in it, and sums up three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, to provide some suggestions for the English translation of phonetic characters (Tongzijia) and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi. Chinese classics represent the tradition Chinese culture and language , thus serving as a valuable window through which other countries can learn Chinese language and culture. Their language style of ancient characteristics and the existence of phonetic loan characters have posed a barrier for translators to do their work, which in turn hinders the dissemination of Chinese culture and language into the world. In this regard, it is of significant importance to explore the translation of phonetic loan characters (Tongjiazi), in an attempt to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
<br />
*Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
<br />
*Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
<br />
*Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
<br />
*Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
<br />
*Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
<br />
[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
<br />
[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
<br />
[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
<br />
[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
<br />
[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
<br />
Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
<br />
(3)Translation Under Fidelity Rule<br />
<br />
The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
<br />
Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
<br />
In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.<br />
<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
<br />
Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
<br />
Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
<br />
Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
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Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
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Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.<br />
<br />
Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.<br />
<br />
Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
<br />
Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
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Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
<br />
Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
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Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
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Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
<br />
Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
<br />
Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Classics_2&diff=14633520220630 Classics 22022-07-04T00:52:57Z<p>Li Yuan: /* References */</p>
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==英语笔译 李思源 Li Siyuan 202170081575 CE==<br />
<br />
<br />
<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Abstract===<br />
<br />
The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.<br />
<br />
===Key words===<br />
<br />
Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt<br />
<br />
===Introduction===<br />
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.<br />
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment<br />
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.<br />
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.<br />
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.<br />
<br />
===Literature Review===<br />
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).<br />
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).<br />
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).<br />
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.<br />
<br />
===Methods and Theories===<br />
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.<br />
<br />
===An introduction to the translator's subjectivity===<br />
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).<br />
<br />
===Cultural transmission in translation===<br />
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.<br />
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)<br />
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.<br />
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)<br />
The original text is translated one by one to show the original ecological scene.<br />
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)<br />
The original text shows the backward means of production at that time, using cattle to plow the land.<br />
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)<br />
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。<br />
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)<br />
The original text shows the good ecological environment at that time.<br />
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)<br />
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。<br />
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)<br />
The text presents the ecological topics that farmers were concerned about at that time.<br />
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)<br />
译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。<br />
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.<br />
<br />
===A Study on Detailed Translation===<br />
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.<br />
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)<br />
The original text presents the state of backward production tools and daily necessities at that time.<br />
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)<br />
Literal translation is adopted to maintain the cultural characteristics of the original text.<br />
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)<br />
The original text presents the age and costume characteristics of material scarcity at that time.<br />
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)<br />
原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。<br />
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)<br />
The original text presents the enclosure architecture and the ecology around the enclosure at that time.<br />
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)<br />
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。<br />
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.<br />
<br />
===Translation Studies of Socio-cultural and Religious Cultures===<br />
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.<br />
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)<br />
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)<br />
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。<br />
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)<br />
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.<br />
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)<br />
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.<br />
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.<br />
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.<br />
<br />
===Conclusion===<br />
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.<br />
<br />
===References===<br />
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.<br />
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.<br />
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.<br />
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.<br />
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.<br />
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.<br />
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.<br />
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.<br />
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103. <br />
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.<br />
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.<br />
<br />
==英语笔译 李婷 Li Ting 202170081576 MW==<br />
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Abstract===<br />
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.<br />
<br />
''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.<br />
<br />
===Key words===<br />
''The Border Town''; Eco-Translatology; three-dimensional transformation<br />
<br />
===Introduction===<br />
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)<br />
<br />
''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)<br />
<br />
As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)<br />
<br />
This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.<br />
<br />
===Literature Review===<br />
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.<br />
<br />
Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)<br />
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)<br />
<br />
Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.<br />
<br />
The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .<br />
<br />
All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.<br />
<br />
===Methods and Theories===<br />
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.<br />
<br />
'''1.The Origin of Eco-Translatology'''<br />
<br />
Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.<br />
<br />
Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)<br />
<br />
'''2.Some Core Concepts'''<br />
<br />
In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.<br />
<br />
'''2.1 Translation as Adaptation and Selection'''<br />
<br />
The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.<br />
<br />
'''2.2 Three-dimensional Transformation'''<br />
<br />
Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one. <br />
<br />
The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.<br />
<br />
Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''<br />
<br />
The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)<br />
<br />
The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)<br />
<br />
===Case Study===<br />
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)<br />
<br />
'''1. Linguistic Dimension'''<br />
<br />
The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)<br />
<br />
Example 1:<br />
<br />
Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）<br />
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Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）<br />
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The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)<br />
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Example 2:<br />
<br />
SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）<br />
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TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）<br />
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"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)<br />
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'''2. Cultural Dimension'''<br />
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Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.<br />
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Example 3:<br />
<br />
SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）<br />
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TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）<br />
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"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.<br />
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Example 4:<br />
<br />
SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）<br />
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TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）<br />
<br />
Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)<br />
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Example 5:<br />
<br />
SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）<br />
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TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）<br />
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Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.<br />
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When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.<br />
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'''3. Communicative Dimension'''<br />
<br />
In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
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Example 6:<br />
<br />
SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）<br />
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TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）<br />
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"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.<br />
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Example 7:<br />
<br />
SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）<br />
<br />
TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）<br />
<br />
Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.<br />
<br />
===Conclusion===<br />
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.<br />
<br />
===References===<br />
*Hall E T .(1976).Beyond Culture. chicago.<br />
<br />
*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.<br />
<br />
*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123. <br />
<br />
*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.<br />
<br />
*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh<br />
<br />
*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.<br />
<br />
*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.<br />
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*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.<br />
<br />
*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28. <br />
<br />
*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.<br />
<br />
*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96. <br />
<br />
*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.<br />
<br />
*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209. <br />
<br />
*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh<br />
<br />
*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh<br />
<br />
*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.<br />
<br />
*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.<br />
<br />
*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95. <br />
<br />
*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.<br />
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==英语笔译 李欣 Li Xin 202170081577 CE==<br />
<br />
<br />
<center>'''The dissemination of Chinese Classics in modern media'''</center><br />
<br />
<center>Li Xin</center><br />
<br />
===Abstract===<br />
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
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===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
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==英语笔译 李颖 Li Ying 202170081578 MW==<br />
<br />
<center>'''On the Translation of The Moon and Sixpence'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.<br />
<br />
In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.<br />
===Key words===<br />
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation<br />
===Introduction===<br />
1.A Brief Introducation to William Somerset Maugham<br />
<br />
William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.<br />
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As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on. <br />
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Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.<br />
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In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.<br />
<br />
2.A Brief Introduction to The Moon and Sixpence<br />
<br />
The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.<br />
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The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”<br />
<br />
The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.<br />
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3.A Brief Introduction to the Translater and Translating Verisons<br />
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The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm. <br />
<br />
Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.<br />
<br />
Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.<br />
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.<br />
<br />
===Literature Review===<br />
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.<br />
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.<br />
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Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.<br />
<br />
Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.<br />
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.<br />
<br />
The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.<br />
<br />
===Methods and Theories===<br />
1.The Translator's Role in Traditional Translation Studies<br />
<br />
From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.<br />
<br />
The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.<br />
<br />
1.The Translator’s subjectivity <br />
<br />
Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)<br />
<br />
2. Factors of Affecting Translator's Subjectivity<br />
<br />
Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.<br />
<br />
The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。<br />
<br />
===Subtitle 1 Analysis on Translating Cases ===<br />
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.<br />
<br />
1.Translator's Subjectivity in Semantic Comprehension and Interpretation<br />
<br />
In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:<br />
<br />
（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)<br />
<br />
傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）<br />
<br />
陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）<br />
<br />
李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）<br />
<br />
In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.<br />
<br />
Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.<br />
<br />
Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.<br />
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.<br />
<br />
2. Translation Strategies in the Choice of Translator’s Subjectivity<br />
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中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。<br />
<br />
Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.<br />
<br />
(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)<br />
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）<br />
<br />
In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.<br />
<br />
Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.<br />
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(3)He followed me, and entered the apartment on my heels.(P98)<br />
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傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)<br />
<br />
陈译：他尾随我进入公寓。（P180）<br />
<br />
李译：他跟在我身后，紧贴着我走进了房间。（P179）<br />
<br />
The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.<br />
<br />
Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.<br />
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3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance<br />
<br />
Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.<br />
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(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)<br />
<br />
傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)<br />
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陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)<br />
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李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)<br />
<br />
According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."<br />
<br />
The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.<br />
<br />
Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.<br />
<br />
4. Translator's Subjectivity in Language Style<br />
<br />
As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:<br />
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(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)<br />
<br />
傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）<br />
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陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）<br />
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李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）<br />
<br />
This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.<br />
<br />
===Conclusion===<br />
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.<br />
<br />
This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.<br />
<br />
In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.<br />
<br />
To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.<br />
===References===<br />
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House<br />
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.<br />
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.<br />
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.<br />
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp. <br />
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.<br />
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.<br />
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.<br />
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University<br />
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579 CE==<br />
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center><br />
<br />
<center>Li Yuan</center><br />
<br />
===Abstract===<br />
<br />
''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.<br />
<br />
===Key words===<br />
<br />
''The Art of War''; the science of communication; English translation; reception; inspiration<br />
<br />
===Introduction===<br />
<br />
''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).<br />
<br />
Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).<br />
<br />
Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.<br />
<br />
===Literature Review===<br />
<br />
By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).<br />
<br />
Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).<br />
<br />
The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.<br />
<br />
===Communication Theory--Lasswell's "5W Model"===<br />
<br />
The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.<br />
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication: <br />
Convenient way to describe an act of communication is to answer the following questions:<br />
Who<br />
Says What<br />
In Which Channel<br />
To Whom<br />
With What Effect?<br />
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).<br />
<br />
This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the <br />
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.<br />
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation <br />
process from the perspective of communication science.<br />
<br />
===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===<br />
<br />
The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.<br />
<br />
First Phase: 1905 to the 1930s<br />
The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).<br />
<br />
Second Phase the 1940s to the 1980s<br />
One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.<br />
<br />
Third phase: the 1990s to present<br />
After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.<br />
<br />
===Insights from Reception of English Translations of ''The Art of War'' in the West from the perspective of communication===<br />
<br />
From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers. <br />
<br />
Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.<br />
<br />
===Conclusion===<br />
<br />
''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.<br />
<br />
===References===<br />
<br />
*Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.<br />
*Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.<br />
*Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.<br />
*Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.<br />
*Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.<br />
*Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.<br />
*Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581 MW==<br />
On the Reception of Vanity Fair in China<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582 CE==<br />
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
This is a paragraph. (Wang 2021:423)<br />
<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583 MW==<br />
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.<br />
<br />
===Key words===<br />
lyrics translation; Chinese music; Chinese into English<br />
<br />
===Introduction===<br />
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.<br />
<br />
===Standards to Be Followed in the Translation of Songs===<br />
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.<br />
<br />
(1)General Standards<br />
<br />
As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.<br />
<br />
The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).<br />
<br />
Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.<br />
<br />
To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.<br />
<br />
(2)Special Standards<br />
<br />
In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:<br />
<br />
First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)<br />
<br />
Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.<br />
<br />
Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.<br />
<br />
===Instance Analysis===<br />
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.<br />
<br />
(1)Analysis of Ancient Style Music<br />
<br />
First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.<br />
<br />
Example 1:<br />
<br />
Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。<br />
<br />
English Version: Thoughts of you are like a river, comforting chilling my soul.<br />
<br />
In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.<br />
<br />
Example 2:<br />
<br />
Chinese Version : 凉凉三生三世恍然如梦<br />
<br />
English Version: Past present and future<br />
<br />
In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.<br />
<br />
（2）Analysis of Pop Music<br />
<br />
Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)<br />
<br />
Example 3:<br />
<br />
Chinese Version: 怎么二十多年到头来 还在人海里浮沉<br />
<br />
English Version: How come after all that I've been through I still suffer vicissitudes<br />
<br />
This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability<br />
<br />
Example 4:<br />
<br />
Chinese Version: 像我这样碌碌无为的人 你还见过多少人<br />
<br />
English Version: Someone busy with his needs I'm sure you know quite a few<br />
<br />
This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.<br />
<br />
===Conclusion===<br />
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.<br />
<br />
===References===<br />
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.<br />
<br />
Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.<br />
<br />
Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.<br />
<br />
Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34<br />
<br />
Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584 CE==<br />
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja<br />
<br />
Abstract<br />
Key words<br />
1.Introduction<br />
2.Value of Communication<br />
3.Content of Communication<br />
4.Feasible Procedures of Translation<br />
5.Platform for Translation and Communication<br />
Conclusion<br />
References<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Classics_2&diff=14633420220630 Classics 22022-07-04T00:50:29Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 CE */</p>
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==This is the final exam paper website no. 1==<br />
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==英语笔译 李思源 Li Siyuan 202170081575 CE==<br />
<br />
<br />
<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Abstract===<br />
<br />
The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.<br />
<br />
===Key words===<br />
<br />
Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt<br />
<br />
===Introduction===<br />
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.<br />
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment<br />
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.<br />
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.<br />
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.<br />
<br />
===Literature Review===<br />
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).<br />
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).<br />
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).<br />
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.<br />
<br />
===Methods and Theories===<br />
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.<br />
<br />
===An introduction to the translator's subjectivity===<br />
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).<br />
<br />
===Cultural transmission in translation===<br />
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.<br />
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)<br />
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.<br />
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)<br />
The original text is translated one by one to show the original ecological scene.<br />
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)<br />
The original text shows the backward means of production at that time, using cattle to plow the land.<br />
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)<br />
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。<br />
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)<br />
The original text shows the good ecological environment at that time.<br />
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)<br />
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。<br />
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)<br />
The text presents the ecological topics that farmers were concerned about at that time.<br />
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)<br />
译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。<br />
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.<br />
<br />
===A Study on Detailed Translation===<br />
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.<br />
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)<br />
The original text presents the state of backward production tools and daily necessities at that time.<br />
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)<br />
Literal translation is adopted to maintain the cultural characteristics of the original text.<br />
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)<br />
The original text presents the age and costume characteristics of material scarcity at that time.<br />
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)<br />
原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。<br />
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)<br />
The original text presents the enclosure architecture and the ecology around the enclosure at that time.<br />
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)<br />
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。<br />
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.<br />
<br />
===Translation Studies of Socio-cultural and Religious Cultures===<br />
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.<br />
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)<br />
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)<br />
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。<br />
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)<br />
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.<br />
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)<br />
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.<br />
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.<br />
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.<br />
<br />
===Conclusion===<br />
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.<br />
<br />
===References===<br />
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.<br />
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.<br />
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.<br />
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.<br />
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.<br />
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.<br />
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.<br />
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.<br />
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103. <br />
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.<br />
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.<br />
<br />
==英语笔译 李婷 Li Ting 202170081576 MW==<br />
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Abstract===<br />
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.<br />
<br />
''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.<br />
<br />
===Key words===<br />
''The Border Town''; Eco-Translatology; three-dimensional transformation<br />
<br />
===Introduction===<br />
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)<br />
<br />
''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)<br />
<br />
As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)<br />
<br />
This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.<br />
<br />
===Literature Review===<br />
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.<br />
<br />
Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)<br />
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)<br />
<br />
Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.<br />
<br />
The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .<br />
<br />
All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.<br />
<br />
===Methods and Theories===<br />
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.<br />
<br />
'''1.The Origin of Eco-Translatology'''<br />
<br />
Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.<br />
<br />
Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)<br />
<br />
'''2.Some Core Concepts'''<br />
<br />
In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.<br />
<br />
'''2.1 Translation as Adaptation and Selection'''<br />
<br />
The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.<br />
<br />
'''2.2 Three-dimensional Transformation'''<br />
<br />
Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one. <br />
<br />
The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.<br />
<br />
Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''<br />
<br />
The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)<br />
<br />
The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)<br />
<br />
===Case Study===<br />
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)<br />
<br />
'''1. Linguistic Dimension'''<br />
<br />
The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)<br />
<br />
Example 1:<br />
<br />
Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）<br />
<br />
Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）<br />
<br />
The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)<br />
<br />
Example 2:<br />
<br />
SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）<br />
<br />
TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）<br />
<br />
"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)<br />
<br />
'''2. Cultural Dimension'''<br />
<br />
Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.<br />
<br />
Example 3:<br />
<br />
SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）<br />
<br />
TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）<br />
<br />
"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.<br />
<br />
Example 4:<br />
<br />
SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）<br />
<br />
TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）<br />
<br />
Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)<br />
<br />
Example 5:<br />
<br />
SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）<br />
<br />
TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）<br />
<br />
Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.<br />
<br />
When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.<br />
<br />
'''3. Communicative Dimension'''<br />
<br />
In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
Example 6:<br />
<br />
SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）<br />
<br />
TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）<br />
<br />
"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.<br />
<br />
Example 7:<br />
<br />
SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）<br />
<br />
TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）<br />
<br />
Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.<br />
<br />
===Conclusion===<br />
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.<br />
<br />
===References===<br />
*Hall E T .(1976).Beyond Culture. chicago.<br />
<br />
*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.<br />
<br />
*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123. <br />
<br />
*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.<br />
<br />
*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh<br />
<br />
*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.<br />
<br />
*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.<br />
<br />
*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.<br />
<br />
*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28. <br />
<br />
*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.<br />
<br />
*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96. <br />
<br />
*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.<br />
<br />
*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209. <br />
<br />
*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh<br />
<br />
*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh<br />
<br />
*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.<br />
<br />
*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.<br />
<br />
*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95. <br />
<br />
*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.<br />
<br />
==英语笔译 李欣 Li Xin 202170081577 CE==<br />
<br />
<br />
<center>'''The dissemination of Chinese Classics in modern media'''</center><br />
<br />
<center>Li Xin</center><br />
<br />
===Abstract===<br />
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578 MW==<br />
<br />
<center>'''On the Translation of The Moon and Sixpence'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.<br />
<br />
In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.<br />
===Key words===<br />
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation<br />
===Introduction===<br />
1.A Brief Introducation to William Somerset Maugham<br />
<br />
William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.<br />
<br />
As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on. <br />
<br />
Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.<br />
<br />
In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.<br />
<br />
2.A Brief Introduction to The Moon and Sixpence<br />
<br />
The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.<br />
<br />
The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”<br />
<br />
The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.<br />
<br />
3.A Brief Introduction to the Translater and Translating Verisons<br />
<br />
The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm. <br />
<br />
Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.<br />
<br />
Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.<br />
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.<br />
<br />
===Literature Review===<br />
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.<br />
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.<br />
<br />
Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.<br />
<br />
Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.<br />
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.<br />
<br />
The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.<br />
<br />
===Methods and Theories===<br />
1.The Translator's Role in Traditional Translation Studies<br />
<br />
From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.<br />
<br />
The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.<br />
<br />
1.The Translator’s subjectivity <br />
<br />
Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)<br />
<br />
2. Factors of Affecting Translator's Subjectivity<br />
<br />
Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.<br />
<br />
The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。<br />
<br />
===Subtitle 1 Analysis on Translating Cases ===<br />
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.<br />
<br />
1.Translator's Subjectivity in Semantic Comprehension and Interpretation<br />
<br />
In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:<br />
<br />
（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)<br />
<br />
傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）<br />
<br />
陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）<br />
<br />
李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）<br />
<br />
In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.<br />
<br />
Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.<br />
<br />
Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.<br />
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.<br />
<br />
2. Translation Strategies in the Choice of Translator’s Subjectivity<br />
<br />
中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。<br />
<br />
Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.<br />
<br />
(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)<br />
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）<br />
<br />
In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.<br />
<br />
Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.<br />
<br />
(3)He followed me, and entered the apartment on my heels.(P98)<br />
<br />
傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)<br />
<br />
陈译：他尾随我进入公寓。（P180）<br />
<br />
李译：他跟在我身后，紧贴着我走进了房间。（P179）<br />
<br />
The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.<br />
<br />
Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.<br />
<br />
3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance<br />
<br />
Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.<br />
<br />
(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)<br />
<br />
傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)<br />
<br />
陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)<br />
<br />
李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)<br />
<br />
According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."<br />
<br />
The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.<br />
<br />
Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.<br />
<br />
4. Translator's Subjectivity in Language Style<br />
<br />
As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:<br />
<br />
(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)<br />
<br />
傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）<br />
<br />
陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）<br />
<br />
李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）<br />
<br />
This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.<br />
<br />
===Conclusion===<br />
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.<br />
<br />
This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.<br />
<br />
In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.<br />
<br />
To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.<br />
===References===<br />
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House<br />
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.<br />
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.<br />
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.<br />
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp. <br />
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.<br />
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.<br />
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.<br />
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University<br />
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579 CE==<br />
<center>'''On the History of English Translations of ''The Art of War'' in the West and Its Insights'''</center><br />
<br />
<center>Li Yuan</center><br />
<br />
===Abstract===<br />
<br />
''The Art of War'' is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes ''The Art of War'' as the research object, mainly adopts the literature research method and interdisciplinary research method, and introduces the history and representative translations of the book in the West in three stages: from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present. The “5W model” of Lasswell in the science of communication is adopted to interpret the wide reception of English translations of the book translated by foreign translators. The aim is to provide reference and insights for the selection of original texts, translators, translation strategies, sponsors, dissemination channels and audience analysis in the practice of English translations of Chinese classics in China, so that the works of Chinese translators can open up the foreign translation market and help Chinese language and culture to be more effectively disseminated internationally.<br />
<br />
===Key words===<br />
<br />
''The Art of War''; the science of communication; English translation; reception; inspiration<br />
<br />
===Introduction===<br />
<br />
''The Art of War'', also known as ''Sun Tzu'' and ''Sun Wu’s Art of War'', is an ancient Chinese military book, the world’s oldest work on military theory, and one of the Seven Books of the military scriptures, written by Sun Wu in the late Spring and Autumn Period (770 AD to 476 AD). Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of plan, combat, strategy and attack, form, momentum (shi), strength and weakness, military disputes, changes, marching, terrain, lands, fire attack, and use of the intervening. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as “if you know yourself and your enemy, you will not be in danger in an” battles”, “you do not need to fight to give up the army”, and “if they are not prepared, you will be able to attack them”. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest version of ''The Art of War'' in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest engraved version is the Seven Books of Military Theory in the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty (1127-1279) and the three-volume book of The Eleven Books of Annotation of ''The Art of War'' in the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book “Qi Sun Tzu”, it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of ''Sun Tzu: The Art of War'' (孙子兵法).<br />
<br />
Since the first English translation of ''The Art of War'' by E.F. Calthrop in 1905, many translators at home and abroad have translated the book into English, and more than 50 full English translations of ''The Art of War'' have been published. According to the survey data on Amazon in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou & Ji 2021:55). It can be seen that the English translations of Sun Tzu’s The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Sinologists and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries has begun to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's ideas to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:69).<br />
<br />
Lasswell’s “5W model” is a classic theory of communication science, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of ''The Art of War'' in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what was the degree of reception and feedback of readers. From the perspective of communication science, this translation practice of the English translation of ''The Art of War'' can be studied comprehensively and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.<br />
<br />
===Literature Review===<br />
<br />
By typing in the keywords of “''The Art of War''”, “English translation” and “acceptance” on CNKI (China National Knowledge Infrastructure), there are only 12 relevant papers, which shows that there is a lack of research on the overseas reception of the Art of War. The current studies, such as Li Ning’s ''On the Overseas Reception of Lin Wusun’s English Version of the Art of War'', which does a survey on the acceptance of Lin Wusun’s translation of ''Sun Tzu's Art of War'' in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. As far as the acceptance of Western readers is concerned, the translations by foreign translators are more popular, while the works of Chinese translators, though highly recognized at home, are often unappreciated abroad, and many translations of Chinese texts have shifted from “export to domestic sales” (Wang 2009:6). According to WorldCat database in March of 2011, the number of collections of Samuel B. Griffith’s English translation is 985 for the 1971 edition and 856 for the 1963 edition; the number of collections of Lionel Giles’ English translation is 131 for the 2008 edition, 109 for the 2005 edition, and 79 for the 2003 edition, The collection of the Thomas Cleary’s translation is 776 for the 1988 edition; the collection of the Ralph D. Sawyer’s translation is 715 for the 1996 edition; the collection of the Denma Translation Group’s translation is 610 for the 2001 edition; the translation of John Minford’s collection was 52 for the 2009 edition and 315 for the 2002 edition; the translation of Victor H. Mair’s collection was 255 for the 2007 edition; the translation of Thomas Huynh’s collection was 224 for the 2008 edition; the translation of Roger Ames’s collection was 1 for the 1993 edition. The number of collections for the English translation by Lin Wusun is 12 for the 2007 edition, 35 for the 2001 edition, and 30 for the 1991 edition. This shows that in order to change the situation of “entertaining itself” of the Chinese translators of Library of Chinese Classics and to make Chinese culture spread to the world and become a unique part of the world culture, it is urgent to carry out research on the acceptance of the English translation of the Chinese classics from the readers’ perspective (Li 2015:81). We must open our minds to strengthen the study of the overseas reception of the English translation by Chinese translators while drawing on the power of sinologists to construct the ability to spread Chinese culture independently (Li 2018:29).<br />
<br />
Subsequently, there are many scholars who have started to carry out research on the acceptance of Chinese texts in foreign translation from the reader’s perspective, such as Zhou Xinyi and Ji Hongqin’s ''Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA'', which summarizes the reason for the successful reception of the book translated by foreign translators on the basis of the reader’s reviews on Amazon in UK and USA, and analyzes the three major problems of the English translation of ''Sun Tzu's Art of War'' by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation to propose countermeasures to improve the reading experience of foreign readers. In addition to improving the “hard power” of translation quality, it is also important to improve the “soft power” of translation editing and the design of book face. Good appearance, professional editing and good printing will increase readers’ favorable impression on the translation and bring them a better reading experience (Zhou & Ji 2021:58).<br />
<br />
The English translation and reception of ''Sun Tzu's The Art of War'' contains many elements and links, and audience analysis and feedback analysis are only two of them. The “going global” of Chinese culture is not simply a linguistic issue, but is influenced by various factors such as culture, history, society, and commercial publishing (Li 2018:29). No one has yet studied the insights of the successful reception of the English translation of The Art of War by foreign translators in the West from the perspective of communication science. The translation and acceptance of ''The Art of War'' in the West is a communication process itself, so it is practical to analyze the characteristics of the translation history of ''Sun Tzu's The Art of War'' in the West and the insights from successful translations from the perspective of communication science.<br />
<br />
===Communication Theory--Lasswell's "5W Model"===<br />
<br />
The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in the 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical.<br />
In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication: <br />
Convenient way to describe an act of communication is to answer the following questions:<br />
Who<br />
Says What<br />
In Which Channel<br />
To Whom<br />
With What Effect?<br />
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the “who”, the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the “says what” engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).<br />
<br />
This is the detailed explanation of Lasswell”s 5W models, including five factors in the communication process, namely communicator, information, media, audience and effect. “Who” refers to the communicator, a person who collects, handles and sends the <br />
information in the communication process. The communicator can be only one person, a community or an organization, who is to make the communication process get started. “Say What” means the content of the information, which can be verbal or non-verbal. It can also be considered as the purpose of the communication activity. “In Which Channel” is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. “To Whom” stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. “With What Effect” refers to the audience’s reaction to the information. It can be called feedback as well, measuring whether the communication activity is effective or not.<br />
In fact, there are many similarities between the communication process and the translation process. The author is the communicator, the information is the original text, and the audience is the target reader. However, there is one more link which occurs between the information and the media in the translation process. It is the translator who renders the original information and transmit the translated information to the target reader through a certain medium. In this sense, the effect is the target reader’s feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation <br />
process from the perspective of communication science.<br />
<br />
===The History and Characteristics of the English Translation of ''The Art of War'' in the West from the Perspective of Communication===<br />
<br />
The history of the English translation of ''The Art of War'' can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication on the basis of Lasswell’s “5W model”.<br />
<br />
First Phase: 1905 to the 1930s<br />
The representative translations of this period are E.F. Calthrop’s English translation in 1905 and Lionel Giles’s English translation in 1910. From the two elements of initiator and translator, Calthrop and Lionel Giles are both the initiator and the translator of the translation practice of ''Sun Tzu's Art of War''. The difference lies in their different purposes of translating the book. Calthrop was a British captain studying in Japan at that time. Having seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English by using the Japanese version of the book as a base. Lionel Giles, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, and had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text sent and translated by Calthrop and Lionel Giles is different. one was translated through the intermediary language Japanese, and the other was directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Calthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Lionel Giles, on the other hand, did not translate ''The Art of War'' for a specific purpose, so his target audience was not a specific group of people, but to translate the book to the whole foreign readership in an attempt to introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the reader’ feedback, Calthrop did not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Calthrop was not a professional translator, and his translation level was limited. He chose to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Lionel Giles chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, and rhythmic, which is not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge in ancient Chinese culture, and it is still a classic work, and has a very profound influence on the spread of Sun Tzu’s thought in the Western world (Tu & Wu, 2011:188).<br />
<br />
Second Phase the 1940s to the 1980s<br />
One of the representative English translations of ''The Art of War'' of this period is the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations of representative Chinese classics, and has been reprinted several times since then, becoming an Amazon top bestseller for more than 100 weeks and taking over the authoritative status of Lionel Giles’ English translation in the entire Western world. Thus, from the feedback of readers, Griffith’s English translation is very effective in spreading. Like Calthrop and Lionel Giles, Griffith’s translation of The Art of War was initiated by the transaltor himself, and the purpose of the translation, like Calthrop, was influenced by the context of the times and the desire to use ''the Art of War'' to formulate operational guidelines in battles. The channel of dissemination of Griffith’s translation was also in the form of book, and the target audience was narrowly himself, who translated ''Sun Tzu’s Art of War'' to guide his own military combat practice, but in a broader sense, with the development of the times, the target reader should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and observes the relationship between ''The Art of War'' and Mao Zedong’s thought, while having a clear tendency to naturalize in its translation strategy (Tu & Wu, 2011:188). Another representative version is James Clavell’s 1983 edition, which is a reprint of the English translation by Lionel Giles. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Lionel Giles’ translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel. He paid attention to readers’ feedback by focusing on the common style of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating ''Sun Tzu's The Art of War'' changed from military studies to popularizing Chinese culture and its ancient philosophical thought.<br />
<br />
Third phase: the 1990s to present<br />
After a long period of popularity, the influence of ''The Art of War'' has gradually expanded, and the attention to it in English-speaking countries began to gradually expand from translation of the text and military research to its application in other non-military fields by using Sun Tzu’s ideas to solve difficult problems arising in social life, which made the research on ''The Art of War'' begin to develop in a diversified direction (Zhou, 2019:69) In this phase, from 1991 to 2010, 21 English translations of ''The Art of War'' appeared in just 20 years (Tu & Wu 2011:189), each with a different focus, promoting the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of translating ''The Art of War'' by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and translator are still the same, the initiator and translator of the translation of ''The Art of War'' by the Denma group are no longer a single individual, but a group focused on translation consisting of several individuals, whose research on The Art of War took 10 years and adopted the translation strategy of foreignization. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Denma group has set up a relevant website, where it posts its own translations from time to time during the translation process in an attempt to welcome scholars and researchers from all over the world to read and discuss, give suggestions for changes, and explain reasons. Such a practice puts the translation and dissemination of ''The Art of War'' into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, readers can give their own feedback directly to the translators during the translation activity, which can fully activate the Western readers and enhance the dissemination effect.<br />
<br />
===Insights from Reception of English Translations of ''The Art of War'' in the West from the perspective of communication===<br />
<br />
From the perspective of the initiator of translation activities, the initiators of many foreign translation activities of Chinese classics are currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of ''Sun Tzu's The Art of War'' that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese classic texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese classic texts, which will make the translation and dissemination activities more effective. By exploring the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send. That is to say, the publisher will have a reference for the selection of the original text to be translated, because the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers. <br />
<br />
Secondly, the choice of translators is also important. According to the history of English translation of ''The Art of War'', it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically do not produce serious translation errors. However, for many Chinese texts that do not have English translations or only English translations by domestic translators, if they are only translated by foreign translators, mistranslation problems will easily occur due to the lack of grasp of the meaning of the original text. For example, the Art of War, if Wusun Lin’s translation can reach a wider audience, it will have positive significance in constructing a Chinese image in the culture of the translated language, spreading Chinese wisdom, and correcting mistranslations and distortions in previous translations (Li 2018: 28). But if only domestic translators are left to translate, foreign readers’ acceptance will not be high due to their low availability abroad and lack of understanding of foreign readers’ reading preferences. Therefore, it is advisable to adopt the mode of cooperative translation between foreign translators and domestic translators, which can not only be a gatekeeper in the correct understanding of the original text, but also open the foreign reading market with the reasonable help of foreign translators’ popularity and experience. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is in the form of books. But very often, foreign readers will lose their interest in reading when looking at the obscure translation before they understand the main content of the book. Modern elements and technologies can be adopted to launch a new mode of communication. In order to improve the reception of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to give the right remedy, and then a reasonable and effective feedback mechanism is very important. Readers are no longer passive recipients of the translation, but active participants in the process of translation output, which is worth learning from.<br />
<br />
===Conclusion===<br />
<br />
''The Art of War'' is a famous Chinese classic at home and abroad, summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare. It can still have a space to play its role in the modern world to help people solve problems in their daily life. Since the first English translation appeared in 1905, several hundred years have passed, and a large number of excellent translations have contributed greatly to the dissemination of Chinese culture in the West. The translation and acceptance of ''The Art of War'' in the West is itself a communication process, in which the initiator, translator, target audience and feedback become different at different times, each with its own characteristics. The focus of translation also extends from military theory to the use of the ideas in ''The Art of War'' to solve problems in all aspects of life. The translation and dissemination process of the book is similar to the process of communication, with similar elements and links. Interpreting the wide acceptance of the English translation of ''The Art of War'' by foreign translators in the West from the perspective of communication science, we can see that it is feasible and necessary to introduce communication science into translation research, which can provide reference and insights for the selection of the original text, the selection of translators, the selection of translation strategies, the selection of initiators, the selection of communication channels, and the analysis of audiences in the practical activities of foreign translation of Chinese classics. In order to open up the overseas reading market, cooperation with famous foreign publishers is beneficial to select suitable original books for translation. In terms of translation quality, Chinese and foreign translators can cooperate in the process of translation. In light of media, the mode of communication with the help of modern elements can seek innovation, and a feedback system for readers’ participation in the translation process can look forward to establishment, so as to help Chinese language and culture to spread internationally more effectively.<br />
<br />
===References===<br />
<br />
Harold Lasswell (2017). 社会传播的结构与功能: The Structure and Function of Communication in Society (中英双语版). 何道宽译 [translated by He Daokuang]. 北京: 中国传媒大学出版社 [Beijing: Communication University of China Press], 3-4pp.<br />
Wang Hongyin [王宏印](2009). English Translations of Chinese Classics [《中国文化典籍英译》]. Beijing: Foreign Language Teaching and Research Press [北京: 外语教学与研究出版社], 546 pp.<br />
Li Ning [李宁](2015). On the Overseas Reception of Lin Wusun’s English Version of the Art of War [《大中华文库》国人英译本海外接受状况调查]. Shanghai Journal of Translators [《上海翻译》], (2): 77-82 pp.<br />
Li Ning [李宁](2018). On the Overseas Reception of English Versions of Chinese classics—Case Study of Lin Wusun’s English Version of the Art of War [从《孙子兵法》林译本看中华典籍国人英译本海外接受研究]. Foreign Language and Translation[《外语与翻译》], (4): 27-30 pp.<br />
Tu Guoyuan, Wu Sha [屠国元、吴莎](2018). Diachronic Descriptive Study of Englisg Translations of Sun Zi Bing Fa [《孙子兵法》英译本的历时性描写研究]. Journal of Central South University. (Social Science) [《中南大学学报（社会科学版）》], (4): 187-191 pp.<br />
Zhou Jianchuan [周建川](2019). An Analysis on the Observation of English Versions of the Art of War [《孙子兵法》英文译著版本考察分析]. Comparative Study of Cultural Innovation [文化创新与比较研究], (7): 68-69 pp.<br />
Zhou Xinyi, Ji Hongqin [周昕怡、季红琴](2021). Overseas Current Situation of Communication and Reflections on the English Translation of the Art of War—A Survey Based on Amazon in UK AND USA [《孙子兵法》英译本海外传播现状及英译思考]. Journal of Dezhou University [德州学院学报], (5): 54-58+69 pp.<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581 MW==<br />
On the Reception of Vanity Fair in China<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582 CE==<br />
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
This is a paragraph. (Wang 2021:423)<br />
<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583 MW==<br />
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.<br />
<br />
===Key words===<br />
lyrics translation; Chinese music; Chinese into English<br />
<br />
===Introduction===<br />
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.<br />
<br />
===Standards to Be Followed in the Translation of Songs===<br />
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.<br />
<br />
(1)General Standards<br />
<br />
As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.<br />
<br />
The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).<br />
<br />
Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.<br />
<br />
To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.<br />
<br />
(2)Special Standards<br />
<br />
In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:<br />
<br />
First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)<br />
<br />
Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.<br />
<br />
Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.<br />
<br />
===Instance Analysis===<br />
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.<br />
<br />
(1)Analysis of Ancient Style Music<br />
<br />
First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.<br />
<br />
Example 1:<br />
<br />
Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。<br />
<br />
English Version: Thoughts of you are like a river, comforting chilling my soul.<br />
<br />
In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.<br />
<br />
Example 2:<br />
<br />
Chinese Version : 凉凉三生三世恍然如梦<br />
<br />
English Version: Past present and future<br />
<br />
In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.<br />
<br />
（2）Analysis of Pop Music<br />
<br />
Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)<br />
<br />
Example 3:<br />
<br />
Chinese Version: 怎么二十多年到头来 还在人海里浮沉<br />
<br />
English Version: How come after all that I've been through I still suffer vicissitudes<br />
<br />
This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability<br />
<br />
Example 4:<br />
<br />
Chinese Version: 像我这样碌碌无为的人 你还见过多少人<br />
<br />
English Version: Someone busy with his needs I'm sure you know quite a few<br />
<br />
This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.<br />
<br />
===Conclusion===<br />
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.<br />
<br />
===References===<br />
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.<br />
<br />
Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.<br />
<br />
Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.<br />
<br />
Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34<br />
<br />
Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584 CE==<br />
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja<br />
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Abstract<br />
Key words<br />
1.Introduction<br />
2.Value of Communication<br />
3.Content of Communication<br />
4.Feasible Procedures of Translation<br />
5.Platform for Translation and Communication<br />
Conclusion<br />
References<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14630320220630 Culture 22022-07-03T05:56:58Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
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===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
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===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
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Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
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===Proverbs===<br />
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Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
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===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
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In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
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However, the Tang Dynasty considered chubby women as beautiful.<br />
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The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
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According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
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The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
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In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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<center>'''Chinese Lantern Culture'''</center><br />
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<center>Li Siyuan</center><br />
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===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
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===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
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===Some common cultural implications of Chinese lantern===<br />
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Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
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===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
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===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
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'''3. Regional Features in Cuisine Names''' <br />
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There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
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The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
<br />
===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
<br />
It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
<br />
===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
<br />
* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
<br />
* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
<br />
* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
<br />
* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
<br />
* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
<br />
* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
<br />
* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
<br />
===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
<br />
The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
<br />
Mapo Tofu：麻婆豆腐<br />
<br />
Shrimp with green Vegetable：翡翠虾仁<br />
<br />
Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
<br />
Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
<br />
Cut: 切 chop：剁 split：劈 scrape：剔<br />
<br />
Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
<br />
Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
<br />
stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
<br />
Corn Meatballs：玉米肉丸<br />
<br />
Sweet and Sour Fish：糖醋鱼<br />
<br />
Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
<br />
Diced Chicken with Cashew Nuts：腰果鸡丁<br />
<br />
Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
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Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
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Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
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Pork Cooked with Green Chili：辣椒炒肉<br />
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Scrambled Egg with Tomato：番茄炒蛋<br />
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Hairy Crabs：大闸蟹<br />
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Golden Coin-shaped Scallops：金钱干贝<br />
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Sour and Hot Diced Chicken：酸辣鸡丁<br />
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Sweet and Sour Ribs：糖醋排骨<br />
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Cola Chicken Wings：可乐鸡翅<br />
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Braised Meat Balls in Brown Sauce：红烧狮子头<br />
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Tai Chi Shaped Taro：太极芋头<br />
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Stewed Assorted Delicacies：全家福<br />
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Wishful Bamboo Shoots：如意笋<br />
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Wen Si Tofu：文思豆腐<br />
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Dongpo Meat：东坡肉<br />
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Peking Duck：北京烤鸭<br />
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West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
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Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
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Meat in Tomato Sauce：乾隆樱桃肉<br />
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Murrel with Fresh Vegetables：将军过桥<br />
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Changban Slope：长坂坡<br />
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Two Winter：二冬<br />
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Three Delicacies：三鲜<br />
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Three Shreds：三丝<br />
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Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
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Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
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Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
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Fried Magnolia Slices：炒玉兰片<br />
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Fried Bamboo Shoots Slices：炒笋片<br />
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Salted Pork in Jelly：水晶肴肉<br />
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Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
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Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
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Mirror Box Tofu：镜箱豆腐<br />
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Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
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Shrimp Ring with Green Vegetable：翡翠虾环<br />
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Golden Eggs：金钱蛋<br />
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Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
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Farewell My Concubine：霸王别姬<br />
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Chicken Slices with Hibiscus：芙蓉鸡片<br />
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Scallops with Hibiscus：芙蓉干贝<br />
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Clams with Hibiscus：芙蓉青蛤<br />
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The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
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The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
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Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
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Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
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Crusade against daddy：早生贵子<br />
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Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
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The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
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Siraitia Grosvenorii：罗汉果<br />
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Prajna Dishes：般若菜<br />
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Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
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Yin and Yang Fish：阴阳鱼<br />
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Heaven and Earth Eggs：乾坤蛋<br />
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Mutton eaten with hands：手抓羊肉<br />
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Sweet and Sour Pork：咕咾肉<br />
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Pearl Bean Curd：珍珠豆腐<br />
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Golden Prawn：金钱明虾<br />
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Crispy Duck：脆皮八宝鸭<br />
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Spiced Beef：五香牛肉<br />
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Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
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Full of Prosperity：满园春色<br />
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===Questions===<br />
1.How many naming methods are mentioned?<br />
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2.Who is the Four-Joy Meatballs associated with?<br />
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3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
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===Answers===<br />
1.Eight.<br />
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2.Zhang Jiuling<br />
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3.Egg white.<br />
<br />
==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.<br />
<br />
===Key words===<br />
Sapir-Wolf hypothesis; language and mind; linguistics<br />
<br />
===Introduction===<br />
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.<br />
<br />
===Literature Review===<br />
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.<br />
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking. <br />
<br />
===An overview of language and mind===<br />
1. The concept of language<br />
<br />
Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.<br />
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.<br />
<br />
2. The concept of mind<br />
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In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.<br />
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3. An overview of the relationship between language and mind<br />
<br />
The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.<br />
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".<br />
<br />
===Various famous ideas on the relationship between language and mind===<br />
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.<br />
<br />
1.Independence theory<br />
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From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.<br />
2. Sequence theory<br />
<br />
2.1 mind exists before language<br />
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This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.<br />
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2.2 Language exists before mind<br />
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The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.<br />
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans. <br />
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.<br />
<br />
3. Determinism<br />
<br />
3.1 mind determines language<br />
<br />
The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.<br />
<br />
3.2 Language determines mind<br />
<br />
The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.<br />
<br />
4. Coexistence (the coexistence of language and mind)<br />
<br />
4.1 Language cannot exist independently of mind<br />
<br />
Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.<br />
<br />
4.2 Mind cannot exist independently of language<br />
<br />
Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.<br />
<br />
===My view on the relationship between language and mind===<br />
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.<br />
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.<br />
<br />
===Conclusion===<br />
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.<br />
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.<br />
===References===<br />
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp. <br />
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.<br />
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社. <br />
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社. <br />
*施光，辛斌（2007（1））． 语言·思维·认知－ 再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang<br />
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.<br />
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp. <br />
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp<br />
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
<br />
===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
<br />
===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
<br />
After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
<br />
During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
<br />
At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
<br />
===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
<br />
===Subtitle 1：The Motivation of the Miaoyu===<br />
<br />
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
<br />
===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
<br />
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
<br />
2.The Distribution of Miao Nationality<br />
<br />
(1)Domestic Distribution<br />
<br />
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
<br />
(2)Overseas Distribution<br />
<br />
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
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The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
<br />
===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
<br />
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
<br />
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
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The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
<br />
2.Historical formation of the Hmong<br />
<br />
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
<br />
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
<br />
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
<br />
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
<br />
===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
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Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
<br />
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
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Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
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Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
<br />
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
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===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
<br />
After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
<br />
Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
<br />
1.Characteristics of Xiangxi dialect<br />
<br />
The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
<br />
2.Qiandong dialect<br />
<br />
The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
<br />
3.Chuanqian Dian dialect<br />
<br />
The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
<br />
The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
<br />
The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
<br />
The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
<br />
The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
<br />
The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
<br />
(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
<br />
(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
<br />
In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
<br />
The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
<br />
The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
<br />
(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
<br />
In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
<br />
The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
<br />
The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
<br />
===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center><br />
<br />
<center>Li Yuan</center><br />
<br />
===Abstract===<br />
<br />
The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
<br />
===Key words===<br />
<br />
phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
<br />
===Introduction===<br />
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The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
<br />
There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
<br />
===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
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The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
<br />
To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
<br />
It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
<br />
===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
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This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
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One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
<br />
One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
<br />
One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
<br />
One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
<br />
One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
<br />
One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
<br />
One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
<br />
The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods (770 BC to 221 BC), when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yitizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states in 221 BC and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty (24 AD to 220AD), Xu Shen's ''Shuowenjiezi'' (《说文解字》) was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties (220 AD to 589 AD), some men of letters still used Tongjiazi, but during the Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
<br />
===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
<br />
===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
<br />
To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. In this regard, the influence of Tongjiazi on translation is the ability of translators obtained to identify and verify those characters. With the development of the times, the majority of ancient texts now have annotated versions, that is, intra-lingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
<br />
In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. Apart from that, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on Classics of Difficulties Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in Synopsis of Golden Chamber Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical works, which shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
<br />
''The Analects of Confucius'' (《论语》) is a collection of discourses compiled by the disciples of generations of the thinker and the educator Confucius in the Spring and Autumn period to record the words and actions of Confucius and his disciples. It is a collection of 492 chapters, mainly in the style of discourses and supplemented by narratives, and reflects the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a concentrated manner. The main feature of the work is its concise language, which is easy to understand, but has a far-reaching and profound meaning. Its language style is implicit and plain, and it is able to present characters in simple dialogue and action. Since the Song Dynasty, it has been listed as one of “the Four Books”, and has become an official textbook for ancient schools and a compulsory reading material for the imperial examinations.<br />
<br />
The number of Tongjiazi in the Analects is relatively small, and the content is relatively easy to understand. There are a total of 6 phonetic loan characters in this work, which are “便” used as “辩”, “加” used as “假”, “桴” is used as “泭”, “麑” means “鹿”, and “礼” replaced by “献”. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. It is understandable that the existence of the phenomenon of Tongjiazi often poses a barrier to reading and comprehension for Chinese readers, who may be tempted to literally understand the original text if they are not careful, and it is not very realistic for foreign readers or translators who read or translate Chinese texts to accurately identify each and every Tongjiazi. In Xu Yuanchong’s translation of the Analects, the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraphrasing (liberal translation). <br />
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(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
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TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
<br />
In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
<br />
(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
<br />
In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
<br />
In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
<br />
TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
<br />
In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) <br />
<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
<br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
Therefore, for Tongjiazi in ''the Analects of Confucius'', there are three main methods to translate them into English. They are literal translation of the original character, literal of the phonetic loan character, and paraphrasing (liberal translation). As mentioned in the definition of Tongjiazi, it is of significant importance to define phonetic loan characters by distinguishing them from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Identifying those characters is the first step to understand and translate them correctly. In fact, the translation process of Chinese classics is from ancient Chinese to modern Chinese and then to English, so in addition to basic bilingual skills, the translator should have a good command of some knowledge of Tongjiazi, resort to some high-quality dictionaries for more information and ask some scholars and experts in this field for help, in an effort to avoid translation mistakes.<br />
<br />
===Conclusion===<br />
<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. In order to have a good understanding of the definition of phonetic loan characters (Tongjiazi), it is critical to grasp the differences between phonetic loan characters (Tongjiazi) and ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one is due to the need for euphemism. As for the origin and development of phonetic loan characters(Tongjiazi), which can be dated back to Pre-Qin period (Palaeolithic Age to 221 BC), and then appeared in large numbers during the Spring and Autumn and Warring States periods (770 BC to 221 BC). After Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), the former phonetic loan characters were stopped gradually and new ones were not allowed to come into being. With the advent of vernacular Chinese, Tongjiazi was discontinued completely. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. <br />
<br />
So, when translating such texts, translators need to acquire certain skills and obtain certain knowledge about phonetic loan characters (Tongjiazi). In addition to a certain level of reading skills and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi by asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of the Analects of Confucius as an example, analyses the English translation of Tongjiazi in it, and sums up three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, to provide some suggestions for the English translation of phonetic characters (Tongzijia) and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi. Chinese classics represent the tradition Chinese culture and language , thus serving as a valuable window through which other countries can learn Chinese language and culture. Their language style of ancient characteristics and the existence of phonetic loan characters have posed a barrier for translators to do their work, which in turn hinders the dissemination of Chinese culture and language into the world. In this regard, it is of significant importance to explore the translation of phonetic loan characters (Tongjiazi), in an attempt to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
<br />
Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
<br />
Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
<br />
Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
<br />
Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
<br />
Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
<br />
[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
<br />
[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
<br />
[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
<br />
[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
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[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
<br />
Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
<br />
(3)Translation Under Fidelity Rule<br />
<br />
The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
<br />
Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
<br />
In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.<br />
<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
<br />
Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
<br />
Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
<br />
Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
<br />
Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
<br />
Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
<br />
Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
<br />
Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
<br />
Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.<br />
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Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.<br />
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Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
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Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
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Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
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Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
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Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
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Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
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Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
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Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14630220220630 Culture 22022-07-03T05:56:04Z<p>Li Yuan: /* Conclusion */</p>
<hr />
<div>Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]] <br />
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==This is the final exam paper website no. 2==<br />
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]<br />
<br />
*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
<br />
<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
<br />
===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
<br />
===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
<br />
Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
<br />
===Proverbs===<br />
<br />
Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
<br />
===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
<br />
In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
<br />
However, the Tang Dynasty considered chubby women as beautiful.<br />
<br />
The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
<br />
According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
<br />
The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
<br />
In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
<br />
===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
<br />
===Some common cultural implications of Chinese lantern===<br />
<br />
Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
<br />
===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
<br />
===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
<br />
==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
<br />
===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
<br />
In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
<br />
The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
<br />
The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
<br />
'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
<br />
Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
<br />
'''2.2 Freehand Naming''' <br />
<br />
Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
<br />
'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
<br />
In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
<br />
'''2.4 Named after Historical Allusions'''<br />
<br />
Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
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'''3. Regional Features in Cuisine Names''' <br />
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There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
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The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
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===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
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===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
<br />
* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
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* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
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* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
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* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
<br />
* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
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* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
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* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
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===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
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The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
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Mapo Tofu：麻婆豆腐<br />
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Shrimp with green Vegetable：翡翠虾仁<br />
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Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
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Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
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Cut: 切 chop：剁 split：劈 scrape：剔<br />
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Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
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Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
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stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
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Corn Meatballs：玉米肉丸<br />
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Sweet and Sour Fish：糖醋鱼<br />
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Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
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Diced Chicken with Cashew Nuts：腰果鸡丁<br />
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Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
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Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
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Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
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Pork Cooked with Green Chili：辣椒炒肉<br />
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Scrambled Egg with Tomato：番茄炒蛋<br />
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Hairy Crabs：大闸蟹<br />
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Golden Coin-shaped Scallops：金钱干贝<br />
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Sour and Hot Diced Chicken：酸辣鸡丁<br />
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Sweet and Sour Ribs：糖醋排骨<br />
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Cola Chicken Wings：可乐鸡翅<br />
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Braised Meat Balls in Brown Sauce：红烧狮子头<br />
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Tai Chi Shaped Taro：太极芋头<br />
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Stewed Assorted Delicacies：全家福<br />
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Wishful Bamboo Shoots：如意笋<br />
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Wen Si Tofu：文思豆腐<br />
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Dongpo Meat：东坡肉<br />
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Peking Duck：北京烤鸭<br />
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West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
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Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
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Meat in Tomato Sauce：乾隆樱桃肉<br />
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Murrel with Fresh Vegetables：将军过桥<br />
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Changban Slope：长坂坡<br />
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Two Winter：二冬<br />
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Three Delicacies：三鲜<br />
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Three Shreds：三丝<br />
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Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
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Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
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Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
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Fried Magnolia Slices：炒玉兰片<br />
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Fried Bamboo Shoots Slices：炒笋片<br />
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Salted Pork in Jelly：水晶肴肉<br />
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Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
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Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
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Mirror Box Tofu：镜箱豆腐<br />
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Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
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Shrimp Ring with Green Vegetable：翡翠虾环<br />
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Golden Eggs：金钱蛋<br />
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Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
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Farewell My Concubine：霸王别姬<br />
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Chicken Slices with Hibiscus：芙蓉鸡片<br />
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Scallops with Hibiscus：芙蓉干贝<br />
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Clams with Hibiscus：芙蓉青蛤<br />
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The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
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The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
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Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
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Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
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Crusade against daddy：早生贵子<br />
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Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
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The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
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Siraitia Grosvenorii：罗汉果<br />
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Prajna Dishes：般若菜<br />
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Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
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Yin and Yang Fish：阴阳鱼<br />
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Heaven and Earth Eggs：乾坤蛋<br />
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Mutton eaten with hands：手抓羊肉<br />
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Sweet and Sour Pork：咕咾肉<br />
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Pearl Bean Curd：珍珠豆腐<br />
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Golden Prawn：金钱明虾<br />
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Crispy Duck：脆皮八宝鸭<br />
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Spiced Beef：五香牛肉<br />
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Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
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Full of Prosperity：满园春色<br />
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===Questions===<br />
1.How many naming methods are mentioned?<br />
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2.Who is the Four-Joy Meatballs associated with?<br />
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3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
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===Answers===<br />
1.Eight.<br />
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2.Zhang Jiuling<br />
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3.Egg white.<br />
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==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.<br />
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===Key words===<br />
Sapir-Wolf hypothesis; language and mind; linguistics<br />
<br />
===Introduction===<br />
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.<br />
<br />
===Literature Review===<br />
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.<br />
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking. <br />
<br />
===An overview of language and mind===<br />
1. The concept of language<br />
<br />
Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.<br />
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.<br />
<br />
2. The concept of mind<br />
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In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.<br />
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3. An overview of the relationship between language and mind<br />
<br />
The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.<br />
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".<br />
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===Various famous ideas on the relationship between language and mind===<br />
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.<br />
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1.Independence theory<br />
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From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.<br />
2. Sequence theory<br />
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2.1 mind exists before language<br />
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This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.<br />
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2.2 Language exists before mind<br />
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The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.<br />
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans. <br />
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.<br />
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3. Determinism<br />
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3.1 mind determines language<br />
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The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.<br />
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3.2 Language determines mind<br />
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The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.<br />
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4. Coexistence (the coexistence of language and mind)<br />
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4.1 Language cannot exist independently of mind<br />
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Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.<br />
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4.2 Mind cannot exist independently of language<br />
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Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.<br />
<br />
===My view on the relationship between language and mind===<br />
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.<br />
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.<br />
<br />
===Conclusion===<br />
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.<br />
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.<br />
===References===<br />
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp. <br />
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.<br />
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社. <br />
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社. <br />
*施光，辛斌（2007（1））． 语言·思维·认知－ 再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang<br />
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.<br />
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp. <br />
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp<br />
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
<br />
===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
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===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
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After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
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During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
<br />
At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
<br />
===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
<br />
===Subtitle 1：The Motivation of the Miaoyu===<br />
<br />
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
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===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
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There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
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2.The Distribution of Miao Nationality<br />
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(1)Domestic Distribution<br />
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The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
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(2)Overseas Distribution<br />
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The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
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The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
<br />
===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
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Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
<br />
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
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The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
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2.Historical formation of the Hmong<br />
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This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
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The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
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Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
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During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
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===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
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Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
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The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
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Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
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Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
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In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
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===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
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After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
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Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
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1.Characteristics of Xiangxi dialect<br />
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The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
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2.Qiandong dialect<br />
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The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
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3.Chuanqian Dian dialect<br />
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The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
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The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
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The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
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The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
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The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
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The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
<br />
(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
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(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
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In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
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The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
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The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
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(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
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In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
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The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
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The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
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===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center><br />
<br />
<center>LiYuan</center><br />
<br />
===Abstract===<br />
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The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
<br />
===Key words===<br />
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phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
<br />
===Introduction===<br />
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The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
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There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
<br />
===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
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The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
<br />
To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
<br />
It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
<br />
===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
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This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
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One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
<br />
One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
<br />
One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
<br />
One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
<br />
One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
<br />
One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
<br />
One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
<br />
The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods (770 BC to 221 BC), when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yitizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states in 221 BC and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty (24 AD to 220AD), Xu Shen's ''Shuowenjiezi'' (《说文解字》) was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties (220 AD to 589 AD), some men of letters still used Tongjiazi, but during the Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
<br />
===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
<br />
===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
<br />
To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. In this regard, the influence of Tongjiazi on translation is the ability of translators obtained to identify and verify those characters. With the development of the times, the majority of ancient texts now have annotated versions, that is, intra-lingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
<br />
In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. Apart from that, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on Classics of Difficulties Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in Synopsis of Golden Chamber Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical works, which shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
<br />
''The Analects of Confucius'' (《论语》) is a collection of discourses compiled by the disciples of generations of the thinker and the educator Confucius in the Spring and Autumn period to record the words and actions of Confucius and his disciples. It is a collection of 492 chapters, mainly in the style of discourses and supplemented by narratives, and reflects the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a concentrated manner. The main feature of the work is its concise language, which is easy to understand, but has a far-reaching and profound meaning. Its language style is implicit and plain, and it is able to present characters in simple dialogue and action. Since the Song Dynasty, it has been listed as one of “the Four Books”, and has become an official textbook for ancient schools and a compulsory reading material for the imperial examinations.<br />
<br />
The number of Tongjiazi in the Analects is relatively small, and the content is relatively easy to understand. There are a total of 6 phonetic loan characters in this work, which are “便” used as “辩”, “加” used as “假”, “桴” is used as “泭”, “麑” means “鹿”, and “礼” replaced by “献”. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. It is understandable that the existence of the phenomenon of Tongjiazi often poses a barrier to reading and comprehension for Chinese readers, who may be tempted to literally understand the original text if they are not careful, and it is not very realistic for foreign readers or translators who read or translate Chinese texts to accurately identify each and every Tongjiazi. In Xu Yuanchong’s translation of the Analects, the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraphrasing (liberal translation). <br />
<br />
(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
<br />
TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
<br />
In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
<br />
(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
<br />
In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
<br />
In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
<br />
TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
<br />
In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) <br />
<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
<br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
Therefore, for Tongjiazi in ''the Analects of Confucius'', there are three main methods to translate them into English. They are literal translation of the original character, literal of the phonetic loan character, and paraphrasing (liberal translation). As mentioned in the definition of Tongjiazi, it is of significant importance to define phonetic loan characters by distinguishing them from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Identifying those characters is the first step to understand and translate them correctly. In fact, the translation process of Chinese classics is from ancient Chinese to modern Chinese and then to English, so in addition to basic bilingual skills, the translator should have a good command of some knowledge of Tongjiazi, resort to some high-quality dictionaries for more information and ask some scholars and experts in this field for help, in an effort to avoid translation mistakes.<br />
<br />
===Conclusion===<br />
<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. In order to have a good understanding of the definition of phonetic loan characters (Tongjiazi), it is critical to grasp the differences between phonetic loan characters (Tongjiazi) and ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one is due to the need for euphemism. As for the origin and development of phonetic loan characters(Tongjiazi), which can be dated back to Pre-Qin period (Palaeolithic Age to 221 BC), and then appeared in large numbers during the Spring and Autumn and Warring States periods (770 BC to 221 BC). After Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), the former phonetic loan characters were stopped gradually and new ones were not allowed to come into being. With the advent of vernacular Chinese, Tongjiazi was discontinued completely. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. <br />
<br />
So, when translating such texts, translators need to acquire certain skills and obtain certain knowledge about phonetic loan characters (Tongjiazi). In addition to a certain level of reading skills and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi by asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of the Analects of Confucius as an example, analyses the English translation of Tongjiazi in it, and sums up three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, to provide some suggestions for the English translation of phonetic characters (Tongzijia) and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi. Chinese classics represent the tradition Chinese culture and language , thus serving as a valuable window through which other countries can learn Chinese language and culture. Their language style of ancient characteristics and the existence of phonetic loan characters have posed a barrier for translators to do their work, which in turn hinders the dissemination of Chinese culture and language into the world. In this regard, it is of significant importance to explore the translation of phonetic loan characters (Tongjiazi), in an attempt to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
<br />
Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
<br />
Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
<br />
Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
<br />
Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
<br />
Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
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[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
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[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
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[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
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[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
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[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
<br />
Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
<br />
(3)Translation Under Fidelity Rule<br />
<br />
The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
<br />
Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
<br />
In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.<br />
<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
<br />
Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
<br />
Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
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Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
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Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.<br />
<br />
Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.<br />
<br />
Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
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Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
<br />
Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
<br />
Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
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Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
<br />
Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
<br />
Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
<br />
Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14630120220630 Culture 22022-07-03T05:52:56Z<p>Li Yuan: /* Conclusion */</p>
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Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]<br />
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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
<br />
<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
<br />
===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
<br />
===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
<br />
Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
<br />
===Proverbs===<br />
<br />
Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
<br />
===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
<br />
In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
<br />
However, the Tang Dynasty considered chubby women as beautiful.<br />
<br />
The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
<br />
According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
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The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
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In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
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===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
<br />
===Some common cultural implications of Chinese lantern===<br />
<br />
Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
<br />
===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
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===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
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===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
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'''3. Regional Features in Cuisine Names''' <br />
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There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
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The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
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===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
<br />
===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
<br />
===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
<br />
* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
<br />
* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
<br />
* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
<br />
* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
<br />
* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
<br />
* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
<br />
* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
<br />
===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
<br />
The Braised Turtle in Brown Sauce：红烧甲鱼<br />
<br />
Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
<br />
Mapo Tofu：麻婆豆腐<br />
<br />
Shrimp with green Vegetable：翡翠虾仁<br />
<br />
Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
<br />
Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
<br />
Cut: 切 chop：剁 split：劈 scrape：剔<br />
<br />
Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
<br />
Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
<br />
stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
<br />
Corn Meatballs：玉米肉丸<br />
<br />
Sweet and Sour Fish：糖醋鱼<br />
<br />
Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
<br />
Diced Chicken with Cashew Nuts：腰果鸡丁<br />
<br />
Diced Chicken with Green Pepper：辣子鸡丁<br />
<br />
Pork Shreds with Fish Seasoning：鱼香肉丝<br />
<br />
Steamed Perch：清蒸鲈鱼<br />
<br />
Braising Carp with Soy Sauce：红烧鲤鱼<br />
<br />
Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
<br />
Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
<br />
Pork Cooked with Green Chili：辣椒炒肉<br />
<br />
Scrambled Egg with Tomato：番茄炒蛋<br />
<br />
Hairy Crabs：大闸蟹<br />
<br />
Golden Coin-shaped Scallops：金钱干贝<br />
<br />
Sour and Hot Diced Chicken：酸辣鸡丁<br />
<br />
Sweet and Sour Ribs：糖醋排骨<br />
<br />
Cola Chicken Wings：可乐鸡翅<br />
<br />
Braised Meat Balls in Brown Sauce：红烧狮子头<br />
<br />
Tai Chi Shaped Taro：太极芋头<br />
<br />
Stewed Assorted Delicacies：全家福<br />
<br />
Wishful Bamboo Shoots：如意笋<br />
<br />
Wen Si Tofu：文思豆腐<br />
<br />
Dongpo Meat：东坡肉<br />
<br />
Peking Duck：北京烤鸭<br />
<br />
West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
<br />
Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
<br />
Meat in Tomato Sauce：乾隆樱桃肉<br />
<br />
Murrel with Fresh Vegetables：将军过桥<br />
<br />
Changban Slope：长坂坡<br />
<br />
Two Winter：二冬<br />
<br />
Three Delicacies：三鲜<br />
<br />
Three Shreds：三丝<br />
<br />
Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
<br />
Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
<br />
Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
<br />
Fried Magnolia Slices：炒玉兰片<br />
<br />
Fried Bamboo Shoots Slices：炒笋片<br />
<br />
Salted Pork in Jelly：水晶肴肉<br />
<br />
Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
<br />
Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
<br />
Mirror Box Tofu：镜箱豆腐<br />
<br />
Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
<br />
Shrimp Ring with Green Vegetable：翡翠虾环<br />
<br />
Golden Eggs：金钱蛋<br />
<br />
Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
<br />
Farewell My Concubine：霸王别姬<br />
<br />
Chicken Slices with Hibiscus：芙蓉鸡片<br />
<br />
Scallops with Hibiscus：芙蓉干贝<br />
<br />
Clams with Hibiscus：芙蓉青蛤<br />
<br />
The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
<br />
The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
<br />
Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
<br />
Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
<br />
Crusade against daddy：早生贵子<br />
<br />
Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
<br />
The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
<br />
Siraitia Grosvenorii：罗汉果<br />
<br />
Prajna Dishes：般若菜<br />
<br />
Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
<br />
Yin and Yang Fish：阴阳鱼<br />
<br />
Heaven and Earth Eggs：乾坤蛋<br />
<br />
Mutton eaten with hands：手抓羊肉<br />
<br />
Sweet and Sour Pork：咕咾肉<br />
<br />
Pearl Bean Curd：珍珠豆腐<br />
<br />
Golden Prawn：金钱明虾<br />
<br />
Crispy Duck：脆皮八宝鸭<br />
<br />
Spiced Beef：五香牛肉<br />
<br />
Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
<br />
Full of Prosperity：满园春色<br />
<br />
===Questions===<br />
1.How many naming methods are mentioned?<br />
<br />
2.Who is the Four-Joy Meatballs associated with?<br />
<br />
3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
<br />
===Answers===<br />
1.Eight.<br />
<br />
2.Zhang Jiuling<br />
<br />
3.Egg white.<br />
<br />
==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.<br />
<br />
===Key words===<br />
Sapir-Wolf hypothesis; language and mind; linguistics<br />
<br />
===Introduction===<br />
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.<br />
<br />
===Literature Review===<br />
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.<br />
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking. <br />
<br />
===An overview of language and mind===<br />
1. The concept of language<br />
<br />
Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.<br />
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.<br />
<br />
2. The concept of mind<br />
<br />
In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.<br />
<br />
3. An overview of the relationship between language and mind<br />
<br />
The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.<br />
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".<br />
<br />
===Various famous ideas on the relationship between language and mind===<br />
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.<br />
<br />
1.Independence theory<br />
<br />
From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.<br />
2. Sequence theory<br />
<br />
2.1 mind exists before language<br />
<br />
This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.<br />
<br />
2.2 Language exists before mind<br />
<br />
The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.<br />
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans. <br />
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.<br />
<br />
3. Determinism<br />
<br />
3.1 mind determines language<br />
<br />
The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.<br />
<br />
3.2 Language determines mind<br />
<br />
The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.<br />
<br />
4. Coexistence (the coexistence of language and mind)<br />
<br />
4.1 Language cannot exist independently of mind<br />
<br />
Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.<br />
<br />
4.2 Mind cannot exist independently of language<br />
<br />
Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.<br />
<br />
===My view on the relationship between language and mind===<br />
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.<br />
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.<br />
<br />
===Conclusion===<br />
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.<br />
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.<br />
===References===<br />
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp. <br />
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.<br />
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社. <br />
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社. <br />
*施光，辛斌（2007（1））． 语言·思维·认知－ 再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang<br />
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.<br />
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp. <br />
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp<br />
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
<br />
===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
<br />
===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
<br />
After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
<br />
During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
<br />
At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
<br />
===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
<br />
===Subtitle 1：The Motivation of the Miaoyu===<br />
<br />
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
<br />
===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
<br />
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
<br />
2.The Distribution of Miao Nationality<br />
<br />
(1)Domestic Distribution<br />
<br />
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
<br />
(2)Overseas Distribution<br />
<br />
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
<br />
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
<br />
===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
<br />
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
<br />
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
<br />
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
<br />
2.Historical formation of the Hmong<br />
<br />
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
<br />
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
<br />
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
<br />
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
<br />
===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
<br />
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
<br />
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
<br />
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
<br />
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
<br />
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
<br />
===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
<br />
After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
<br />
Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
<br />
1.Characteristics of Xiangxi dialect<br />
<br />
The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
<br />
2.Qiandong dialect<br />
<br />
The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
<br />
3.Chuanqian Dian dialect<br />
<br />
The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
<br />
The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
<br />
The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
<br />
The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
<br />
The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
<br />
The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
<br />
(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
<br />
(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
<br />
In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
<br />
The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
<br />
The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
<br />
(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
<br />
In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
<br />
The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
<br />
The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
<br />
===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center><br />
<br />
<center>LiYuan</center><br />
<br />
===Abstract===<br />
<br />
The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
<br />
===Key words===<br />
<br />
phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
<br />
===Introduction===<br />
<br />
The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
<br />
There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
<br />
===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
<br />
The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
<br />
To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
<br />
It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
<br />
===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
<br />
This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
<br />
One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
<br />
One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
<br />
One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
<br />
One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
<br />
One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
<br />
One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
<br />
One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
<br />
The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods (770 BC to 221 BC), when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yitizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states in 221 BC and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty (24 AD to 220AD), Xu Shen's ''Shuowenjiezi'' (《说文解字》) was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties (220 AD to 589 AD), some men of letters still used Tongjiazi, but during the Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
<br />
===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
<br />
===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
<br />
To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. In this regard, the influence of Tongjiazi on translation is the ability of translators obtained to identify and verify those characters. With the development of the times, the majority of ancient texts now have annotated versions, that is, intra-lingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
<br />
In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. Apart from that, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on Classics of Difficulties Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in Synopsis of Golden Chamber Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical works, which shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
<br />
''The Analects of Confucius'' (《论语》) is a collection of discourses compiled by the disciples of generations of the thinker and the educator Confucius in the Spring and Autumn period to record the words and actions of Confucius and his disciples. It is a collection of 492 chapters, mainly in the style of discourses and supplemented by narratives, and reflects the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a concentrated manner. The main feature of the work is its concise language, which is easy to understand, but has a far-reaching and profound meaning. Its language style is implicit and plain, and it is able to present characters in simple dialogue and action. Since the Song Dynasty, it has been listed as one of “the Four Books”, and has become an official textbook for ancient schools and a compulsory reading material for the imperial examinations.<br />
<br />
The number of Tongjiazi in the Analects is relatively small, and the content is relatively easy to understand. There are a total of 6 phonetic loan characters in this work, which are “便” used as “辩”, “加” used as “假”, “桴” is used as “泭”, “麑” means “鹿”, and “礼” replaced by “献”. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. It is understandable that the existence of the phenomenon of Tongjiazi often poses a barrier to reading and comprehension for Chinese readers, who may be tempted to literally understand the original text if they are not careful, and it is not very realistic for foreign readers or translators who read or translate Chinese texts to accurately identify each and every Tongjiazi. In Xu Yuanchong’s translation of the Analects, the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraphrasing (liberal translation). <br />
<br />
(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
<br />
TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
<br />
In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
<br />
(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
<br />
In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
<br />
In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
<br />
TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
<br />
In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) <br />
<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
<br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
Therefore, for Tongjiazi in ''the Analects of Confucius'', there are three main methods to translate them into English. They are literal translation of the original character, literal of the phonetic loan character, and paraphrasing (liberal translation). As mentioned in the definition of Tongjiazi, it is of significant importance to define phonetic loan characters by distinguishing them from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Identifying those characters is the first step to understand and translate them correctly. In fact, the translation process of Chinese classics is from ancient Chinese to modern Chinese and then to English, so in addition to basic bilingual skills, the translator should have a good command of some knowledge of Tongjiazi, resort to some high-quality dictionaries for more information and ask some scholars and experts in this field for help, in an effort to avoid translation mistakes.<br />
<br />
===Conclusion===<br />
<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. In order to have a good understanding of the definition of phonetic loan characters (Tongjiazi), it is critical to grasp the differences between phonetic loan characters (Tongjiazi) and ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one is due to the need for euphemism. As for the origin and development of phonetic loan characters(Tongjiazi), which can be dated back to Pre-Qin period (Palaeolithic Age to 221 BC), and then appeared in large numbers during the Spring and Autumn and Warring States periods (770 BC to 221 BC). After Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), the former phonetic loan characters were stopped gradually and new ones were not allowed to come into being. With the advent of vernacular Chinese, Tongjiazi was discontinued completely. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. So, when translating such texts, translators need to acquire certain skills and obtain certain knowledge about phonetic loan characters (Tongjiazi). In addition to a certain level of reading skills and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi by asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of the Analects of Confucius as an example, analyses the English translation of Tongjiazi in it, and sums up three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, to provide some suggestions for the English translation of phonetic characters (Tongzijia) and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi. Chinese classics represent the tradition Chinese culture and language , thus serving as a valuable window through which other countries can learn Chinese language and culture. Their language style of ancient characteristics and the existence of phonetic loan characters have posed a barrier for translators to do their work, which in turn hinders the dissemination of Chinese culture and language into the world. In this regard, it is of significant importance to explore the translation of phonetic loan characters (Tongjiazi), in an attempt to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
<br />
Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
<br />
Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
<br />
Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
<br />
Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
<br />
Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
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[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
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[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
<br />
[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
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[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
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[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
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Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
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Chinese version: 法外狂徒<br />
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Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
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Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
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(3)Translation Under Fidelity Rule<br />
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The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
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Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
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Example 2:<br />
<br />
Original version: The fist of Shadow<br />
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Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
<br />
In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
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<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
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Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
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Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
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Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14630020220630 Culture 22022-07-03T05:51:19Z<p>Li Yuan: /* English Translation Methods of Phonetic Loan Characters (Tongjiazi) in the Analects of Confucius */</p>
<hr />
<div>Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]] <br />
<br />
==This is the final exam paper website no. 2==<br />
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]<br />
<br />
*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
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<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
<br />
===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
<br />
===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
<br />
Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
<br />
===Proverbs===<br />
<br />
Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
<br />
===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
<br />
In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
<br />
However, the Tang Dynasty considered chubby women as beautiful.<br />
<br />
The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
<br />
According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
<br />
The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
<br />
In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
<br />
===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
<br />
===Some common cultural implications of Chinese lantern===<br />
<br />
Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
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===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
<br />
===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
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'''3. Regional Features in Cuisine Names''' <br />
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There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
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The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
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===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
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===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
<br />
* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
<br />
* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
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* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
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* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
<br />
* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
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* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
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* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
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===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
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The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
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Mapo Tofu：麻婆豆腐<br />
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Shrimp with green Vegetable：翡翠虾仁<br />
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Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
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Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
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Cut: 切 chop：剁 split：劈 scrape：剔<br />
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Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
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Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
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stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
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Corn Meatballs：玉米肉丸<br />
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Sweet and Sour Fish：糖醋鱼<br />
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Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
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Diced Chicken with Cashew Nuts：腰果鸡丁<br />
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Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
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Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
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Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
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Pork Cooked with Green Chili：辣椒炒肉<br />
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Scrambled Egg with Tomato：番茄炒蛋<br />
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Hairy Crabs：大闸蟹<br />
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Golden Coin-shaped Scallops：金钱干贝<br />
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Sour and Hot Diced Chicken：酸辣鸡丁<br />
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Sweet and Sour Ribs：糖醋排骨<br />
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Cola Chicken Wings：可乐鸡翅<br />
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Braised Meat Balls in Brown Sauce：红烧狮子头<br />
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Tai Chi Shaped Taro：太极芋头<br />
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Stewed Assorted Delicacies：全家福<br />
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Wishful Bamboo Shoots：如意笋<br />
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Wen Si Tofu：文思豆腐<br />
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Dongpo Meat：东坡肉<br />
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Peking Duck：北京烤鸭<br />
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West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
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Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
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Meat in Tomato Sauce：乾隆樱桃肉<br />
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Murrel with Fresh Vegetables：将军过桥<br />
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Changban Slope：长坂坡<br />
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Two Winter：二冬<br />
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Three Delicacies：三鲜<br />
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Three Shreds：三丝<br />
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Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
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Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
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Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
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Fried Magnolia Slices：炒玉兰片<br />
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Fried Bamboo Shoots Slices：炒笋片<br />
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Salted Pork in Jelly：水晶肴肉<br />
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Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
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Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
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Mirror Box Tofu：镜箱豆腐<br />
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Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
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Shrimp Ring with Green Vegetable：翡翠虾环<br />
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Golden Eggs：金钱蛋<br />
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Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
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Farewell My Concubine：霸王别姬<br />
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Chicken Slices with Hibiscus：芙蓉鸡片<br />
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Scallops with Hibiscus：芙蓉干贝<br />
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Clams with Hibiscus：芙蓉青蛤<br />
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The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
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The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
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Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
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Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
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Crusade against daddy：早生贵子<br />
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Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
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The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
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Siraitia Grosvenorii：罗汉果<br />
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Prajna Dishes：般若菜<br />
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Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
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Yin and Yang Fish：阴阳鱼<br />
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Heaven and Earth Eggs：乾坤蛋<br />
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Mutton eaten with hands：手抓羊肉<br />
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Sweet and Sour Pork：咕咾肉<br />
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Pearl Bean Curd：珍珠豆腐<br />
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Golden Prawn：金钱明虾<br />
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Crispy Duck：脆皮八宝鸭<br />
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Spiced Beef：五香牛肉<br />
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Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
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Full of Prosperity：满园春色<br />
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===Questions===<br />
1.How many naming methods are mentioned?<br />
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2.Who is the Four-Joy Meatballs associated with?<br />
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3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
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===Answers===<br />
1.Eight.<br />
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2.Zhang Jiuling<br />
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3.Egg white.<br />
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==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.<br />
<br />
===Key words===<br />
Sapir-Wolf hypothesis; language and mind; linguistics<br />
<br />
===Introduction===<br />
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.<br />
<br />
===Literature Review===<br />
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.<br />
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking. <br />
<br />
===An overview of language and mind===<br />
1. The concept of language<br />
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Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.<br />
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.<br />
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2. The concept of mind<br />
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In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.<br />
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3. An overview of the relationship between language and mind<br />
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The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.<br />
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".<br />
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===Various famous ideas on the relationship between language and mind===<br />
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.<br />
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1.Independence theory<br />
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From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.<br />
2. Sequence theory<br />
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2.1 mind exists before language<br />
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This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.<br />
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2.2 Language exists before mind<br />
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The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.<br />
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans. <br />
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.<br />
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3. Determinism<br />
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3.1 mind determines language<br />
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The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.<br />
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3.2 Language determines mind<br />
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The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.<br />
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4. Coexistence (the coexistence of language and mind)<br />
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4.1 Language cannot exist independently of mind<br />
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Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.<br />
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4.2 Mind cannot exist independently of language<br />
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Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.<br />
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===My view on the relationship between language and mind===<br />
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.<br />
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.<br />
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===Conclusion===<br />
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.<br />
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.<br />
===References===<br />
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp. <br />
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.<br />
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社. <br />
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社. <br />
*施光，辛斌（2007（1））． 语言·思维·认知－ 再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang<br />
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.<br />
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp. <br />
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp<br />
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
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===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
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===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
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===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
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After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
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During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
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At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
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===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
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===Subtitle 1：The Motivation of the Miaoyu===<br />
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In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
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===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
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There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
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2.The Distribution of Miao Nationality<br />
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(1)Domestic Distribution<br />
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The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
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(2)Overseas Distribution<br />
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The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
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The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
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===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
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Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
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There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
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The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
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2.Historical formation of the Hmong<br />
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This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
<br />
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
<br />
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
<br />
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
<br />
===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
<br />
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
<br />
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
<br />
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
<br />
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
<br />
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
<br />
===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
<br />
After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
<br />
Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
<br />
1.Characteristics of Xiangxi dialect<br />
<br />
The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
<br />
2.Qiandong dialect<br />
<br />
The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
<br />
3.Chuanqian Dian dialect<br />
<br />
The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
<br />
The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
<br />
The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
<br />
The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
<br />
The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
<br />
The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
<br />
(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
<br />
(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
<br />
In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
<br />
The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
<br />
The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
<br />
(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
<br />
In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
<br />
The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
<br />
The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
<br />
===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center><br />
<br />
<center>LiYuan</center><br />
<br />
===Abstract===<br />
<br />
The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
<br />
===Key words===<br />
<br />
phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
<br />
===Introduction===<br />
<br />
The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
<br />
There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
<br />
===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
<br />
The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
<br />
To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
<br />
It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
<br />
===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
<br />
This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
<br />
One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
<br />
One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
<br />
One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
<br />
One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
<br />
One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
<br />
One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
<br />
One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
<br />
The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods (770 BC to 221 BC), when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yitizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states in 221 BC and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty (24 AD to 220AD), Xu Shen's ''Shuowenjiezi'' (《说文解字》) was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties (220 AD to 589 AD), some men of letters still used Tongjiazi, but during the Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
<br />
===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
<br />
===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
<br />
To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. In this regard, the influence of Tongjiazi on translation is the ability of translators obtained to identify and verify those characters. With the development of the times, the majority of ancient texts now have annotated versions, that is, intra-lingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
<br />
In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. Apart from that, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on Classics of Difficulties Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in Synopsis of Golden Chamber Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical works, which shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
<br />
''The Analects of Confucius'' (《论语》) is a collection of discourses compiled by the disciples of generations of the thinker and the educator Confucius in the Spring and Autumn period to record the words and actions of Confucius and his disciples. It is a collection of 492 chapters, mainly in the style of discourses and supplemented by narratives, and reflects the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a concentrated manner. The main feature of the work is its concise language, which is easy to understand, but has a far-reaching and profound meaning. Its language style is implicit and plain, and it is able to present characters in simple dialogue and action. Since the Song Dynasty, it has been listed as one of “the Four Books”, and has become an official textbook for ancient schools and a compulsory reading material for the imperial examinations.<br />
<br />
The number of Tongjiazi in the Analects is relatively small, and the content is relatively easy to understand. There are a total of 6 phonetic loan characters in this work, which are “便” used as “辩”, “加” used as “假”, “桴” is used as “泭”, “麑” means “鹿”, and “礼” replaced by “献”. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. It is understandable that the existence of the phenomenon of Tongjiazi often poses a barrier to reading and comprehension for Chinese readers, who may be tempted to literally understand the original text if they are not careful, and it is not very realistic for foreign readers or translators who read or translate Chinese texts to accurately identify each and every Tongjiazi. In Xu Yuanchong’s translation of the Analects, the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraphrasing (liberal translation). <br />
<br />
(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
<br />
TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
<br />
In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
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(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
<br />
In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
<br />
In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
<br />
TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
<br />
In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) <br />
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TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
<br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
Therefore, for Tongjiazi in ''the Analects of Confucius'', there are three main methods to translate them into English. They are literal translation of the original character, literal of the phonetic loan character, and paraphrasing (liberal translation). As mentioned in the definition of Tongjiazi, it is of significant importance to define phonetic loan characters by distinguishing them from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Identifying those characters is the first step to understand and translate them correctly. In fact, the translation process of Chinese classics is from ancient Chinese to modern Chinese and then to English, so in addition to basic bilingual skills, the translator should have a good command of some knowledge of Tongjiazi, resort to some high-quality dictionaries for more information and ask some scholars and experts in this field for help, in an effort to avoid translation mistakes.<br />
<br />
===Conclusion===<br />
<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one was due to the need for euphemism. Tongjiazi appeared in large numbers during the Spring and Autumn and Warring States periods, and were completely discontinued with the advent of vernacular Chinese. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. When translating such texts, then, translators need to acquire certain skills. In addition to a certain level of literacy and accumulation and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of ''the Analects of Confucius'' as an example, analyses the English translation of Tongjiazi in it, and comes up with three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi, so as to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
<br />
Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
<br />
Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
<br />
Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
<br />
Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
<br />
Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
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[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
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[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
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[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
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[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
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[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
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[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
<br />
Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
<br />
(3)Translation Under Fidelity Rule<br />
<br />
The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
<br />
Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
<br />
In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.<br />
<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
<br />
Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
<br />
Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
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Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
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Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.<br />
<br />
Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.<br />
<br />
Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
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Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
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Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
<br />
Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
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Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
<br />
Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
<br />
Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
<br />
Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14629920220630 Culture 22022-07-03T05:48:40Z<p>Li Yuan: /* Influence of Phonetic Loan Characters (Tongjiazi) on Translation */</p>
<hr />
<div>Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]] <br />
<br />
==This is the final exam paper website no. 2==<br />
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]<br />
<br />
*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
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<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
<br />
===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
<br />
===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
<br />
Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
<br />
===Proverbs===<br />
<br />
Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
<br />
===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
<br />
In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
<br />
However, the Tang Dynasty considered chubby women as beautiful.<br />
<br />
The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
<br />
According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
<br />
The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
<br />
In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
<br />
===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
<br />
===Some common cultural implications of Chinese lantern===<br />
<br />
Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
<br />
===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
<br />
===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
<br />
==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
<br />
===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
<br />
In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
<br />
The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
<br />
The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
<br />
The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
<br />
[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
<br />
'''2. The Naming Methods of Dish Names'''<br />
<br />
The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
<br />
'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
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'''3. Regional Features in Cuisine Names''' <br />
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There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
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The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
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===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
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===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
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* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
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* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
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* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
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* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
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* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
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* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
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* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
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===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
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The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
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Mapo Tofu：麻婆豆腐<br />
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Shrimp with green Vegetable：翡翠虾仁<br />
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Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
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Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
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Cut: 切 chop：剁 split：劈 scrape：剔<br />
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Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
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Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
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stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
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Corn Meatballs：玉米肉丸<br />
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Sweet and Sour Fish：糖醋鱼<br />
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Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
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Diced Chicken with Cashew Nuts：腰果鸡丁<br />
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Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
<br />
Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
<br />
Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
<br />
Pork Cooked with Green Chili：辣椒炒肉<br />
<br />
Scrambled Egg with Tomato：番茄炒蛋<br />
<br />
Hairy Crabs：大闸蟹<br />
<br />
Golden Coin-shaped Scallops：金钱干贝<br />
<br />
Sour and Hot Diced Chicken：酸辣鸡丁<br />
<br />
Sweet and Sour Ribs：糖醋排骨<br />
<br />
Cola Chicken Wings：可乐鸡翅<br />
<br />
Braised Meat Balls in Brown Sauce：红烧狮子头<br />
<br />
Tai Chi Shaped Taro：太极芋头<br />
<br />
Stewed Assorted Delicacies：全家福<br />
<br />
Wishful Bamboo Shoots：如意笋<br />
<br />
Wen Si Tofu：文思豆腐<br />
<br />
Dongpo Meat：东坡肉<br />
<br />
Peking Duck：北京烤鸭<br />
<br />
West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
<br />
Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
<br />
Meat in Tomato Sauce：乾隆樱桃肉<br />
<br />
Murrel with Fresh Vegetables：将军过桥<br />
<br />
Changban Slope：长坂坡<br />
<br />
Two Winter：二冬<br />
<br />
Three Delicacies：三鲜<br />
<br />
Three Shreds：三丝<br />
<br />
Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
<br />
Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
<br />
Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
<br />
Fried Magnolia Slices：炒玉兰片<br />
<br />
Fried Bamboo Shoots Slices：炒笋片<br />
<br />
Salted Pork in Jelly：水晶肴肉<br />
<br />
Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
<br />
Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
<br />
Mirror Box Tofu：镜箱豆腐<br />
<br />
Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
<br />
Shrimp Ring with Green Vegetable：翡翠虾环<br />
<br />
Golden Eggs：金钱蛋<br />
<br />
Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
<br />
Farewell My Concubine：霸王别姬<br />
<br />
Chicken Slices with Hibiscus：芙蓉鸡片<br />
<br />
Scallops with Hibiscus：芙蓉干贝<br />
<br />
Clams with Hibiscus：芙蓉青蛤<br />
<br />
The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
<br />
The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
<br />
Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
<br />
Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
<br />
Crusade against daddy：早生贵子<br />
<br />
Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
<br />
The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
<br />
Siraitia Grosvenorii：罗汉果<br />
<br />
Prajna Dishes：般若菜<br />
<br />
Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
<br />
Yin and Yang Fish：阴阳鱼<br />
<br />
Heaven and Earth Eggs：乾坤蛋<br />
<br />
Mutton eaten with hands：手抓羊肉<br />
<br />
Sweet and Sour Pork：咕咾肉<br />
<br />
Pearl Bean Curd：珍珠豆腐<br />
<br />
Golden Prawn：金钱明虾<br />
<br />
Crispy Duck：脆皮八宝鸭<br />
<br />
Spiced Beef：五香牛肉<br />
<br />
Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
<br />
Full of Prosperity：满园春色<br />
<br />
===Questions===<br />
1.How many naming methods are mentioned?<br />
<br />
2.Who is the Four-Joy Meatballs associated with?<br />
<br />
3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
<br />
===Answers===<br />
1.Eight.<br />
<br />
2.Zhang Jiuling<br />
<br />
3.Egg white.<br />
<br />
==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.<br />
<br />
===Key words===<br />
Sapir-Wolf hypothesis; language and mind; linguistics<br />
<br />
===Introduction===<br />
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.<br />
<br />
===Literature Review===<br />
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.<br />
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking. <br />
<br />
===An overview of language and mind===<br />
1. The concept of language<br />
<br />
Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.<br />
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.<br />
<br />
2. The concept of mind<br />
<br />
In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.<br />
<br />
3. An overview of the relationship between language and mind<br />
<br />
The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.<br />
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".<br />
<br />
===Various famous ideas on the relationship between language and mind===<br />
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.<br />
<br />
1.Independence theory<br />
<br />
From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.<br />
2. Sequence theory<br />
<br />
2.1 mind exists before language<br />
<br />
This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.<br />
<br />
2.2 Language exists before mind<br />
<br />
The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.<br />
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans. <br />
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.<br />
<br />
3. Determinism<br />
<br />
3.1 mind determines language<br />
<br />
The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.<br />
<br />
3.2 Language determines mind<br />
<br />
The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.<br />
<br />
4. Coexistence (the coexistence of language and mind)<br />
<br />
4.1 Language cannot exist independently of mind<br />
<br />
Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.<br />
<br />
4.2 Mind cannot exist independently of language<br />
<br />
Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.<br />
<br />
===My view on the relationship between language and mind===<br />
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.<br />
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.<br />
<br />
===Conclusion===<br />
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.<br />
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.<br />
===References===<br />
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp. <br />
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.<br />
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社. <br />
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社. <br />
*施光，辛斌（2007（1））． 语言·思维·认知－ 再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang<br />
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.<br />
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp. <br />
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp<br />
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
<br />
===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
<br />
===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
<br />
After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
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During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
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At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
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===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
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===Subtitle 1：The Motivation of the Miaoyu===<br />
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In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
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===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
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There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
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2.The Distribution of Miao Nationality<br />
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(1)Domestic Distribution<br />
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The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
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(2)Overseas Distribution<br />
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The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
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The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
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===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
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Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
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There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
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The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
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2.Historical formation of the Hmong<br />
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This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
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The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
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Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
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During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
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===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
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Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
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The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
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Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
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Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
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In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
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===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
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After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
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Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
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1.Characteristics of Xiangxi dialect<br />
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The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
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2.Qiandong dialect<br />
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The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
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3.Chuanqian Dian dialect<br />
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The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
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The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
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The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
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The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
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The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
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The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
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(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
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(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
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In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
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The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
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The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
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(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
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In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
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The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
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The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
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===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center><br />
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<center>LiYuan</center><br />
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===Abstract===<br />
<br />
The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
<br />
===Key words===<br />
<br />
phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
<br />
===Introduction===<br />
<br />
The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
<br />
There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
<br />
===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
<br />
The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
<br />
To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
<br />
It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
<br />
===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
<br />
This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
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One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
<br />
One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
<br />
One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
<br />
One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
<br />
One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
<br />
One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
<br />
One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
<br />
The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods (770 BC to 221 BC), when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yitizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states in 221 BC and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty (24 AD to 220AD), Xu Shen's ''Shuowenjiezi'' (《说文解字》) was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties (220 AD to 589 AD), some men of letters still used Tongjiazi, but during the Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
<br />
===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
<br />
===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
<br />
To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. In this regard, the influence of Tongjiazi on translation is the ability of translators obtained to identify and verify those characters. With the development of the times, the majority of ancient texts now have annotated versions, that is, intra-lingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
<br />
In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. Apart from that, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on Classics of Difficulties Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in Synopsis of Golden Chamber Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical works, which shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
<br />
''The Analects of Confucius'' (《论语》) is a collection of discourses compiled by the disciples of generations of the thinker and the educator Confucius in the Spring and Autumn period to record the words and actions of Confucius and his disciples. It is a collection of 492 chapters, mainly in the style of discourses and supplemented by narratives, and reflects the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a concentrated manner. The main feature of the work is its concise language, which is easy to understand, but has a far-reaching and profound meaning. Its language style is implicit and plain, and it is able to present characters in simple dialogue and action. Since the Song Dynasty, it has been listed as one of “the Four Books”, and has become an official textbook for ancient schools and a compulsory reading material for the imperial examinations.<br />
<br />
The number of Tongjiazi in the Analects is relatively small, and the content is relatively easy to understand. There are a total of 6 phonetic loan characters in this work, which are “便” used as “辩”, “加” used as “假”, “桴” is used as “泭”, “麑” means “鹿”, and “礼” replaced by “献”. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. It is understandable that the existence of the phenomenon of Tongjiazi often poses a barrier to reading and comprehension for Chinese readers, who may be tempted to literally understand the original text if they are not careful, and it is not very realistic for foreign readers or translators who read or translate Chinese texts to accurately identify each and every Tongjiazi. In Xu Yuanchong’s translation of the Analects, the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraphrasing (liberal translation). <br />
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(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
<br />
TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
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In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
<br />
(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
<br />
In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
<br />
In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
<br />
TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
<br />
In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) <br />
<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
<br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
Therefore, for Tongjiazi in the Analects of Confucius, there are three main methods to translate them into English. They are literal translation of the original character, literal of the phonetic loan character, and paraphrasing. As mentioned in the definition of Tongjiazi, it is of significant importance to define phonetic loan characters by distinguishing them from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Identifying those characters is the first step to understand and translate them correctly. In fact, the translation process of Chinese classics is from ancient Chinese to modern Chinese and then to English, so in addition to basic bilingual skills, the translator should have a good command of some knowledge of Tongjiazi, resort to some high-quality dictionaries for more information and ask some scholars and experts in this field for help, in an effort to avoid translation mistakes.<br />
<br />
===Conclusion===<br />
<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one was due to the need for euphemism. Tongjiazi appeared in large numbers during the Spring and Autumn and Warring States periods, and were completely discontinued with the advent of vernacular Chinese. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. When translating such texts, then, translators need to acquire certain skills. In addition to a certain level of literacy and accumulation and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of ''the Analects of Confucius'' as an example, analyses the English translation of Tongjiazi in it, and comes up with three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi, so as to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
<br />
Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
<br />
Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
<br />
Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
<br />
Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
<br />
Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
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===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
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[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
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[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
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[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
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[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
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[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
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Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
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(3)Translation Under Fidelity Rule<br />
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The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
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Chinese version: 齐天大圣<br />
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In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
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Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
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Chinese version: 未来守护者<br />
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In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
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In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.<br />
<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
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Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
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Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
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Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.<br />
<br />
Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.<br />
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Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
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Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
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Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
<br />
Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
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Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
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Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
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Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
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Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14629820220630 Culture 22022-07-03T05:36:05Z<p>Li Yuan: /* Appendix */</p>
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==This is the final exam paper website no. 2==<br />
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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
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===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
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===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
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Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
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===Proverbs===<br />
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Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
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===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
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In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
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However, the Tang Dynasty considered chubby women as beautiful.<br />
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The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
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According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
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The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
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In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
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<center>Li Siyuan</center><br />
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===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
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===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
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===Some common cultural implications of Chinese lantern===<br />
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Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
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===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
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===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
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===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
<br />
'''3. Regional Features in Cuisine Names''' <br />
<br />
There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
<br />
The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
<br />
===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
<br />
===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
<br />
* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
<br />
* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
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* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
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* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
<br />
* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
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* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
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* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
<br />
===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
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The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
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Mapo Tofu：麻婆豆腐<br />
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Shrimp with green Vegetable：翡翠虾仁<br />
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Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
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Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
<br />
Cut: 切 chop：剁 split：劈 scrape：剔<br />
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Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
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Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
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stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
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Corn Meatballs：玉米肉丸<br />
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Sweet and Sour Fish：糖醋鱼<br />
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Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
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Diced Chicken with Cashew Nuts：腰果鸡丁<br />
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Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
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Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
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Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
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Pork Cooked with Green Chili：辣椒炒肉<br />
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Scrambled Egg with Tomato：番茄炒蛋<br />
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Hairy Crabs：大闸蟹<br />
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Golden Coin-shaped Scallops：金钱干贝<br />
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Sour and Hot Diced Chicken：酸辣鸡丁<br />
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Sweet and Sour Ribs：糖醋排骨<br />
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Cola Chicken Wings：可乐鸡翅<br />
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Braised Meat Balls in Brown Sauce：红烧狮子头<br />
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Tai Chi Shaped Taro：太极芋头<br />
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Stewed Assorted Delicacies：全家福<br />
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Wishful Bamboo Shoots：如意笋<br />
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Wen Si Tofu：文思豆腐<br />
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Dongpo Meat：东坡肉<br />
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Peking Duck：北京烤鸭<br />
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West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
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Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
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Meat in Tomato Sauce：乾隆樱桃肉<br />
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Murrel with Fresh Vegetables：将军过桥<br />
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Changban Slope：长坂坡<br />
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Two Winter：二冬<br />
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Three Delicacies：三鲜<br />
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Three Shreds：三丝<br />
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Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
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Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
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Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
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Fried Magnolia Slices：炒玉兰片<br />
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Fried Bamboo Shoots Slices：炒笋片<br />
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Salted Pork in Jelly：水晶肴肉<br />
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Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
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Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
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Mirror Box Tofu：镜箱豆腐<br />
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Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
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Shrimp Ring with Green Vegetable：翡翠虾环<br />
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Golden Eggs：金钱蛋<br />
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Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
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Farewell My Concubine：霸王别姬<br />
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Chicken Slices with Hibiscus：芙蓉鸡片<br />
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Scallops with Hibiscus：芙蓉干贝<br />
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Clams with Hibiscus：芙蓉青蛤<br />
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The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
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The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
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Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
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Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
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Crusade against daddy：早生贵子<br />
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Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
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The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
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Siraitia Grosvenorii：罗汉果<br />
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Prajna Dishes：般若菜<br />
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Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
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Yin and Yang Fish：阴阳鱼<br />
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Heaven and Earth Eggs：乾坤蛋<br />
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Mutton eaten with hands：手抓羊肉<br />
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Sweet and Sour Pork：咕咾肉<br />
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Pearl Bean Curd：珍珠豆腐<br />
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Golden Prawn：金钱明虾<br />
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Crispy Duck：脆皮八宝鸭<br />
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Spiced Beef：五香牛肉<br />
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Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
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Full of Prosperity：满园春色<br />
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===Questions===<br />
1.How many naming methods are mentioned?<br />
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2.Who is the Four-Joy Meatballs associated with?<br />
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3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
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===Answers===<br />
1.Eight.<br />
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2.Zhang Jiuling<br />
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3.Egg white.<br />
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==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.<br />
<br />
===Key words===<br />
Sapir-Wolf hypothesis; language and mind; linguistics<br />
<br />
===Introduction===<br />
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.<br />
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===Literature Review===<br />
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.<br />
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking. <br />
<br />
===An overview of language and mind===<br />
1. The concept of language<br />
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Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.<br />
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.<br />
<br />
2. The concept of mind<br />
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In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.<br />
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3. An overview of the relationship between language and mind<br />
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The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.<br />
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".<br />
<br />
===Various famous ideas on the relationship between language and mind===<br />
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.<br />
<br />
1.Independence theory<br />
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From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.<br />
2. Sequence theory<br />
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2.1 mind exists before language<br />
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This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.<br />
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2.2 Language exists before mind<br />
<br />
The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.<br />
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans. <br />
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.<br />
<br />
3. Determinism<br />
<br />
3.1 mind determines language<br />
<br />
The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.<br />
<br />
3.2 Language determines mind<br />
<br />
The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.<br />
<br />
4. Coexistence (the coexistence of language and mind)<br />
<br />
4.1 Language cannot exist independently of mind<br />
<br />
Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.<br />
<br />
4.2 Mind cannot exist independently of language<br />
<br />
Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.<br />
<br />
===My view on the relationship between language and mind===<br />
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.<br />
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.<br />
<br />
===Conclusion===<br />
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.<br />
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.<br />
===References===<br />
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp. <br />
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.<br />
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社. <br />
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社. <br />
*施光，辛斌（2007（1））． 语言·思维·认知－ 再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang<br />
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.<br />
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp. <br />
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp<br />
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
<br />
===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
<br />
===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
<br />
After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
<br />
During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
<br />
At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
<br />
===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
<br />
===Subtitle 1：The Motivation of the Miaoyu===<br />
<br />
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
<br />
===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
<br />
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
<br />
2.The Distribution of Miao Nationality<br />
<br />
(1)Domestic Distribution<br />
<br />
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
<br />
(2)Overseas Distribution<br />
<br />
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
<br />
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
<br />
===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
<br />
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
<br />
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
<br />
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
<br />
2.Historical formation of the Hmong<br />
<br />
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
<br />
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
<br />
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
<br />
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
<br />
===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
<br />
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
<br />
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
<br />
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
<br />
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
<br />
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
<br />
===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
<br />
After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
<br />
Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
<br />
1.Characteristics of Xiangxi dialect<br />
<br />
The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
<br />
2.Qiandong dialect<br />
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The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
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3.Chuanqian Dian dialect<br />
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The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
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The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
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The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
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The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
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The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
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The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
<br />
(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
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(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
<br />
In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
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The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
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The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
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(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
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In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
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The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
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The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
<br />
===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center><br />
<br />
<center>LiYuan</center><br />
<br />
===Abstract===<br />
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The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
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===Key words===<br />
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phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
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===Introduction===<br />
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The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
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There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
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===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
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The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
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To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
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It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
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===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
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This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
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One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
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One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
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One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
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One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
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One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
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One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
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One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
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The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods (770 BC to 221 BC), when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yitizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states in 221 BC and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty (24 AD to 220AD), Xu Shen's ''Shuowenjiezi'' (《说文解字》) was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties (220 AD to 589 AD), some men of letters still used Tongjiazi, but during the Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
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===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
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===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
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To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. In this regard, the influence of Tongjiazi on translation is the ability of translators obtained to identify and verify those characters. With the development of the times, the majority of ancient texts now have annotated versions, that is, intra-lingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
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In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking.Apart from that, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on Classics of Difficulties Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in Synopsis of Golden Chamber Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical works. This shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
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''The Analects of Confucius'' (《论语》) is a collection of discourses compiled by the disciples of generations of the thinker and the educator Confucius in the Spring and Autumn period to record the words and actions of Confucius and his disciples. It is a collection of 492 chapters, mainly in the style of discourses and supplemented by narratives, and reflects the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a concentrated manner. The main feature of the work is its concise language, which is easy to understand, but has a far-reaching and profound meaning. Its language style is implicit and plain, and it is able to present characters in simple dialogue and action. Since the Song Dynasty, it has been listed as one of “the Four Books”, and has become an official textbook for ancient schools and a compulsory reading material for the imperial examinations.<br />
<br />
The number of Tongjiazi in the Analects is relatively small, and the content is relatively easy to understand. There are a total of 6 phonetic loan characters in this work, which are “便” used as “辩”, “加” used as “假”, “桴” is used as “泭”, “麑” means “鹿”, and “礼” replaced by “献”. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. It is understandable that the existence of the phenomenon of Tongjiazi often poses a barrier to reading and comprehension for Chinese readers, who may be tempted to literally understand the original text if they are not careful, and it is not very realistic for foreign readers or translators who read or translate Chinese texts to accurately identify each and every Tongjiazi. In Xu Yuanchong’s translation of the Analects, the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraphrasing (liberal translation). <br />
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(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
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TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
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In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
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(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
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TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
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In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
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(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
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TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
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In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
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(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
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TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
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In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
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(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) <br />
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TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
<br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
Therefore, for Tongjiazi in the Analects of Confucius, there are three main methods to translate them into English. They are literal translation of the original character, literal of the phonetic loan character, and paraphrasing. As mentioned in the definition of Tongjiazi, it is of significant importance to define phonetic loan characters by distinguishing them from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Identifying those characters is the first step to understand and translate them correctly. In fact, the translation process of Chinese classics is from ancient Chinese to modern Chinese and then to English, so in addition to basic bilingual skills, the translator should have a good command of some knowledge of Tongjiazi, resort to some high-quality dictionaries for more information and ask some scholars and experts in this field for help, in an effort to avoid translation mistakes.<br />
<br />
===Conclusion===<br />
<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one was due to the need for euphemism. Tongjiazi appeared in large numbers during the Spring and Autumn and Warring States periods, and were completely discontinued with the advent of vernacular Chinese. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. When translating such texts, then, translators need to acquire certain skills. In addition to a certain level of literacy and accumulation and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of ''the Analects of Confucius'' as an example, analyses the English translation of Tongjiazi in it, and comes up with three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi, so as to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
<br />
Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
<br />
Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
<br />
Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
<br />
Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
<br />
Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
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[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
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[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
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[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
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[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
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[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
<br />
Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
<br />
(3)Translation Under Fidelity Rule<br />
<br />
The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
<br />
Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
<br />
In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
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<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
<br />
Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
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Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
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Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
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Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
<br />
Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
<br />
Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
<br />
Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
<br />
Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
<br />
Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
<br />
Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14629720220630 Culture 22022-07-03T05:32:41Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
<hr />
<div>Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]] <br />
<br />
==This is the final exam paper website no. 2==<br />
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]<br />
<br />
*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
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<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
<br />
===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
<br />
===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
<br />
Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
<br />
===Proverbs===<br />
<br />
Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
<br />
===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
<br />
In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
<br />
However, the Tang Dynasty considered chubby women as beautiful.<br />
<br />
The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
<br />
According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
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The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
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In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
<br />
===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
<br />
===Some common cultural implications of Chinese lantern===<br />
<br />
Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
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===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
<br />
===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
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'''3. Regional Features in Cuisine Names''' <br />
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There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
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The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
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===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
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===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
<br />
* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
<br />
* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
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* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
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* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
<br />
* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
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* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
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* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
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===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
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The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
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Mapo Tofu：麻婆豆腐<br />
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Shrimp with green Vegetable：翡翠虾仁<br />
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Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
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Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
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Cut: 切 chop：剁 split：劈 scrape：剔<br />
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Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
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Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
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stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
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Corn Meatballs：玉米肉丸<br />
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Sweet and Sour Fish：糖醋鱼<br />
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Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
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Diced Chicken with Cashew Nuts：腰果鸡丁<br />
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Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
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Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
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Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
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Pork Cooked with Green Chili：辣椒炒肉<br />
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Scrambled Egg with Tomato：番茄炒蛋<br />
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Hairy Crabs：大闸蟹<br />
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Golden Coin-shaped Scallops：金钱干贝<br />
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Sour and Hot Diced Chicken：酸辣鸡丁<br />
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Sweet and Sour Ribs：糖醋排骨<br />
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Cola Chicken Wings：可乐鸡翅<br />
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Braised Meat Balls in Brown Sauce：红烧狮子头<br />
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Tai Chi Shaped Taro：太极芋头<br />
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Stewed Assorted Delicacies：全家福<br />
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Wishful Bamboo Shoots：如意笋<br />
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Wen Si Tofu：文思豆腐<br />
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Dongpo Meat：东坡肉<br />
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Peking Duck：北京烤鸭<br />
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West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
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Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
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Meat in Tomato Sauce：乾隆樱桃肉<br />
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Murrel with Fresh Vegetables：将军过桥<br />
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Changban Slope：长坂坡<br />
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Two Winter：二冬<br />
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Three Delicacies：三鲜<br />
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Three Shreds：三丝<br />
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Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
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Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
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Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
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Fried Magnolia Slices：炒玉兰片<br />
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Fried Bamboo Shoots Slices：炒笋片<br />
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Salted Pork in Jelly：水晶肴肉<br />
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Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
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Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
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Mirror Box Tofu：镜箱豆腐<br />
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Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
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Shrimp Ring with Green Vegetable：翡翠虾环<br />
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Golden Eggs：金钱蛋<br />
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Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
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Farewell My Concubine：霸王别姬<br />
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Chicken Slices with Hibiscus：芙蓉鸡片<br />
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Scallops with Hibiscus：芙蓉干贝<br />
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Clams with Hibiscus：芙蓉青蛤<br />
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The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
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The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
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Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
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Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
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Crusade against daddy：早生贵子<br />
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Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
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The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
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Siraitia Grosvenorii：罗汉果<br />
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Prajna Dishes：般若菜<br />
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Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
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Yin and Yang Fish：阴阳鱼<br />
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Heaven and Earth Eggs：乾坤蛋<br />
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Mutton eaten with hands：手抓羊肉<br />
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Sweet and Sour Pork：咕咾肉<br />
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Pearl Bean Curd：珍珠豆腐<br />
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Golden Prawn：金钱明虾<br />
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Crispy Duck：脆皮八宝鸭<br />
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Spiced Beef：五香牛肉<br />
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Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
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Full of Prosperity：满园春色<br />
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===Questions===<br />
1.How many naming methods are mentioned?<br />
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2.Who is the Four-Joy Meatballs associated with?<br />
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3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
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===Answers===<br />
1.Eight.<br />
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2.Zhang Jiuling<br />
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3.Egg white.<br />
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==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
In the field of linguistics, there has always been a debate on the relationship between language and mind, and the views are mixed but each has its merits. This paper intends to summarize the various assertions of the predecessors, and put forward my own opinions through comparative analysis. This paper is aim to help everyone to think more deeply about language and mind, and then better and more comprehensively understand the relationship between the two.<br />
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===Key words===<br />
Sapir-Wolf hypothesis; language and mind; linguistics<br />
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===Introduction===<br />
The relationship between language and mind has always been an long-lived controversial topic in the field of philosophy. The relationship between language and mind has been a topic that scholars from all fields have been discussing for a long time, but there is not a perfect answer that can satisfy all scholars. The discussion between language and mind often falls into a vicious circle of "which came first, the chicken or the egg, did the chicken give birth to egg or the egg hatch the chicken". Therefore, research on this issue is particularly necessary.<br />
<br />
===Literature Review===<br />
The discussion of relationship between language and mind can be traced back to the time of Plato and Aristotle from the recorded writings. This topic has attracted countless psychologists, philosophies, and linguists, who are eager to discuss the relationship between language and mind, and argue with reason. Sapir, Wolf, Piaget, Vygotsky, etc, have also studied it.<br />
The Sapir-Wolf hypothesis holds that language influences and even determines mind. However, the "cognitive" hypothesis holds that in the process of language acquisition, cognition precedes language and mind determines language. Whether language determines mind or mind determines language, researchers have their own opinions. As early as in ancient Greece, Plato proposed that mind is a silent language. He believes that language and mind are inseparable, and mind is a part of language. Aristotle proposed that language is the symbol of mind, and language and mind should not be confused. Until the 20th century, the relationship between language and mind received extensive attention from many anthropologists and philosophers. Language researchers represented by Sapir and Wolf tend to believe that language has a direct impact on mind, and mind varies with language, which is the famous Sapir-Wolf hypothesis. Due to the influence of developmental psychologists Piaget and Vygotsky, people gradually lost interest in the Sapir-Wolf hypothesis, and people began to re-examine the relationship between language and mind. In Piaget's point of view, many factors including imagery, gestures, and action imitation play a role in the internalization of action into mind, but language is the most influential of these factors. Therefore, if there is a problem with language, it is difficult for other factors to develop mind to a higher level. Vygotsky believes that mind and language are two developmental curves that start independently in both ontogeny and phylogeny, and the two developmental curves intersect at the meaning of words, and it is only in the meaning of words that mind and language merge into verbal thinking. <br />
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===An overview of language and mind===<br />
1. The concept of language<br />
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Formalist linguistics believes that language is an innate ability of human beings, determined by genetic inheritance, and the acquired external environment and experience play a role in activating the innate language function.if the external environment failed to activate it, the function will be lost. Therefore, the formalism school pays attention to the external formal description of natural language, and judges the syntactic structure as the core of language, which drives the construction of language. From the perspective of cognitive linguistics, semantics is the core that drives the external structure of language, meanings determine the distribution of the use of words, and are reflected in different thematic roles such as agents, receivers, and themes in language forms, and then presented in a specific form. The writer believes that language research that ignores semantics can not fundamentally explain the nature of language. The selection of corresponding collocation elements under the corresponding nodes of each element in the syntactic tree should also be driven by deep semantic components. Therefore, cognitive Linguistics diverges from the starting point of formalist linguistics research and has a more general and objective field of study.<br />
As Feng Zhichun said in Modern Chinese, "There is no language outside society"（社会之外无所谓语言）(c.f: 冯志纯 1989). Language is the product of society and a special social phenomenon, which arises with the emergence of society and develops with the development of society. Humans can be distinguished from other animals based on the presence or absence of language. Language is actually a symbol system, consisting of phonetics, vocabulary and grammar, and it is the most important communication tool for human beings. Due to the needs of survival, the members of the large collective of society have established language as a communicative tool by convention. A person's language directly reflects his mind. Language is like a subsystem, and the corresponding parent system is the mind that relies on language, which is directly related to language.<br />
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2. The concept of mind<br />
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In fact, mind is a polymorphic behavioral awareness activity in the human cerebral cortex. Qian Xuesen once divided human mind into three types: image thinking, abstract thinking and inspirational thinking. 本文 Specifically, image thinking refers to the psychological activities of human beings to intuitively analyze the appearance of objective things through feeling or perception, mainly relying on the right brain of human beings. For example, some fantasies is not directly related to language, things like recalling childhood time, or remembering someone you know, are tipical examples of "image thinking" . Abstract thinking refers to a kind of mental activity in which humans use the abstract rational concepts of the learned words to analyze, judge and reason about cognitive things, which often requires humans to rely on the left brain for deduction and induction. We need to use language to carry out logical reasoning, tell stories, conceive plans and strategies, etc. This kind of thinking activity associated with language is abstract thinking.<br />
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3. An overview of the relationship between language and mind<br />
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The famous German linguist and philosopher Humboldt believed that language is a worldview. The only way to form a worldview is through language. In the twentieth century, the Sapir-Wolf hypothesis was seen as an derivative of Humboldtism in American. Sapir compares language to a tool and mind to a product. Mind is impossible to talk about without the expression of language, and the inner manifestation of language is mind. Wolff believed that the mind was extraordinarily mysterious. People's thinking patterns are governed by fixed pattern that they are unaware of, they could not be aware of that fixed pattern, because there are few chances for people to compare their language with other languages, and this pattern is evident whenever they compare their native language with other languages come out. Wolf was Sapir's student, he inherited Sapir's main ideas, summed up and developed Sapir's thoughts. The ideas of the two are very close, and in the 1950s, some linguists generalized the ideas of the two and formed the Sapir-Wolf hypothesis. Linguists usually divide the Sapir-Wolf hypothesis into a strong version and a weak version. The strong version advocates that language determines mind and determines human perception behavior, and clearly states that language and mind are unique to human beings; the latter believes that language affects mind to a certain extent and does not play a restrictive role. Language may not determine human mind, but it does have an important impact on human perception and memory. At the same time, language affects the level of human completion of mental tasks. In general terms, the Sapir-Wolf hypothesis states that the form of language determines the form of mind of language users, and the language we use to describe the world represents the perspective from which we observe the world; there are differences in the world. The formal language also represents the different understandings of the world in different countries. Each language has its specific pattern system and worldview, and culture determines its form and variety. Humans use these forms to communicate, analyze the objective world, express their reasoning, and then develop their own consciousness. Whorf found that in the Eskimo language system, there are several words that express the meaning of snow. However, the only word for snow in English is snow, so Wolff thinks there are differences in the way Eskimos see snow. He believes that people who use the same language share a certain way of knowing and perceiving the world, but this way is not unique.<br />
In fact, the relationship between mind and language is very complex and full of unknowns. However, scholars from all fields observe from the perspective of diversity, and the thesis on the relationship between the two shows a state of "There are a thousand Hamlets in a thousand people's eyes".<br />
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===Various famous ideas on the relationship between language and mind===<br />
In view of the complexity of the relationship between language and mind, as well as the different research perspectives, methods and theoretical backgrounds of scholars from all fields, many different theories and viewpoints have been formed. The debates about the relationship between language and mind in linguistics can be summed up in the following four categories: independence theory, sequential theory, determinism and coexistence theory. Specifically, independence theorists believe that mind can exist independently of language; there are two kinds of debate among sequentialists: mind exists before language or language exists before mind; determinists also have two kinds of arguments: mind determines language Or language determines mind; coexistenceists insist that language and mind go hand in hand, the former cannot exist independently of the latter, nor can the latter exist independently of the former. The following text is a brief summary of these four perspectives.<br />
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1.Independence theory<br />
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From the perspective of language production, independence theorists believe that mind can exist independently before language. That is: mind can exist independently before language is produced; but after language is produced, there is still exist a kind of mind without language's participation. mind can be expressed in other forms than language (such as a painting by an artist, a piece of music from a musician's family tree, a dress designed for herself in a girl's mind, etc.). The ancient Greek philosopher Plato first put forward this point of view, he regarded mind as a kind of insight that cannot be expressed in words.In Chinese, we have a sentence for it, that is "只可意会不可言传" British philosopher Locke is also a follower of this view, and believes that the source of human cognition is the senses caused by the outside world, and abstract thinking through senses, rather than language. The most powerful example of this view is the deaf and aphasia (失语症人), who cannot speak vocal language, but can live as normal people, and are not unable to understand the world and change the world because of the lack of language, It shows that they can think without language and transmit and express information to the outside world.<br />
2. Sequence theory<br />
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2.1 mind exists before language<br />
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This view originated in the 1980s, represented by Piaget (1987), who believes that language and mind are heterologous, and mind occurs earlier than language and controls language activities. Language is only a tool for mind, which can be used to organize mind for the convenience of human social communication. Mind is the innate instinct of human beings, it exists before language which is regarded as the acquired ability of human beings. Piaget mainly focuses on children's cognitive development, and divides it into four basic stages: sensory motor, preoperation, concrete operation and formal operation. In the sensory motor stage (0-2 years old), we can see such a situation: a child who has not yet spoken, although he or she is unable to speak, he or she can use shapes, colors, sounds to learn, cry, laugh, dance, break and other expressions to express his or her wishes. For example: when the child see something he or she likes, he or she will reach out and grab it. From this Piaget concluded that mind exists before language. In real life, writing an article or thinking about a problem requires a pre-conception process, which is also a phenomenon in which mind precedes language. Engels' view of "labor creates language" also shows that human beings have thought before language was created. Domestic scholar Wu Tieping(伍铁平) has also systematically demonstrated from the perspective of language phylogeny and ontogeny that human beings have thought first and then have language. In addition, from an archaeological point of view, people in the Paleolithic period did not have hyoid bones, so they should not be able to communicate verbally, so there should be no language at that time, and the historical records recorded that the language was indeed formed in the late Paleolithic period. Therefore, people at that time should rely on mind without the participation of specific language for daily communication.<br />
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2.2 Language exists before mind<br />
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The representative of this view is the French philosopher Windles (E.B.deCondil-lac, 1925). He insisted that human beings actively control their mind through the use of language, and believed that human beings could not think consciously and coherently without the aid of language. In the pre-linguistic period before language appeared, human thought was subject to its own physiological function and the stimulation of the surrounding environment, not mind. It is believed that the original human language may be purely emotional, rather than thought, such as labor chanting. It is inferred from this that the savages should have no memory, and the so-called memory is only some illusion, which is formed by the imagination that they cannot freely control.<br />
In fact, language is the exclusive treasure of human beings, and the cry of animals is purely an emotional release, which cannot be compared with the language used by humans. <br />
The people at that time can only be regarded as "formative people", and their language can only be regarded as the "prehistoric stage" of language. So this view does not seem so right.<br />
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3. Determinism<br />
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3.1 mind determines language<br />
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The former Soviet Union scholar VLyostky believed that "language is a tool and an auxiliary form of mind at the same time." He advocated that mind determines language. Vygotsky started his research from apes and human infants, focusing on the thinking process of the two and the development process of the corresponding vocal language, and found that both have a "pre-language stage" and a "pre-thinking stage", But their language and thought did not occur at the same time, but thought preceded spoken language. So he concluded that it is mind that determines language rather than language that determines mind. Gui Shichun(桂诗春), a domestic scholar, also believes that mind determines language by observing the behavior of gorillas. Wundt, a psychologist, has studied the process of human speech errors in detail, and found that unconscious thinking can absolutely interfere with the thought process that needs to be expressed, which further explains the decisive restrictive effect of mind on language. In addition, Chinese scholars also analyze the decisive role of mind on language from the perspective of neologism construction. For example,the word Chinglish (Chinese English), which is composed of Chinese and English. When seeing the word Chinglish, firstly, people will find that the two parts in the front and the back of the word are the beginning of the word Chinese and the end of the word English. According to people's understanding of Chinese and English abstract concepts, the meaning of the combined new word Chinglish is deduced. This process is a typical thinking process. Humans finally get a new language and characters through image thinking, so it is said that mind determines language. Furthermore, some scholars have pointed out that if some human behaviors are not for communication, they can be completed only by mind. For example, when students conceive a composition, they only use image thinking and do not need the aid of language at all; but when the teacher asks the students to explain the ideation process, the students have to resort to language.<br />
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3.2 Language determines mind<br />
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The French linguist Humboldt holds this view and believes that "every language is a special world view". The strongest basis for this view is the Sapir-Whorf Hypothesis. Wolf (B.L.whorf) inherited the viewpoint of Sapir that human cognition will be dominated by language, and put forward the hypothesis of language relativity and language absoluteness. The core of the hypothesis is that language plays a decisive role in mind. This hypothesis is divided into strong and weak. The strong theory believes that language determines mind. The reason is that people in countries that speak different languages or ethnic groups with different languages in a country have completely different ways of thinking. This idea is no longer accepted because people with different languages have surprisingly similar ways of thinking about certain things, such as when doing math problems. The weak theory believes that language affects and reflects mind, and then reflects a person's beliefs and attitudes. People with different languages have different ways of thinking, but not completely different. Most linguists now tend to this view. The opinions of Humboldt and Wolfe infinitely exaggerate the decisive role of language on mind, and they think that human mind is completely determined by language, which is too one-sided and extreme. In fact, people who speak the same language can have opposite worldviews, and vice versa. That is to say, the objective things that reflect people's social practice and life experience themselves determine the way of human thinking, not language.<br />
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4. Coexistence (the coexistence of language and mind)<br />
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4.1 Language cannot exist independently of mind<br />
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Language has a actual coding system. So far, linguistic symbols that do not represent any thinking content have not been found. Language is a tool of mind, mind exists along with language, and the two are co-existing dependencies and work together to complete the coding and cognition of things. In life, perhaps because it is too accustomed and too common, people often do not realize that mind is accompanied by moments. But if you stop and think about it carefully, you will find that there are many examples in life that prove the interdependence between the two. For example, scholars who study second language acquisition often find that when people first learn a foreign language, they often think about the meaning in the dialect or mother tongue first, and then express it in the target language. Through the joint action of language and mind to acquire knowledge.<br />
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4.2 Mind cannot exist independently of language<br />
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Generally speaking, thinking can be divided into abstract thinking and image thinking. Abstract thinking must be realized with the help of acquired language and related logical words, and there is a flesh-and-blood connection between it and language. The so-called image thinking that can exist without language is only relative, actually, image thinking cannot exist independently before the appearance of language. The most powerful example is the writer's literary creative process. They usually use image thinking to reflect objective reality, first imagine a typical image system, and then describe and shape it with practical language. The author generalizes and typifies the characters in his or her writings with strong expressive figurative language, and then infects people with the evolved comprehensive artistic images. For example, Ah Q(阿Q) in Lu Xun's(鲁迅) writings is a synthesis of various people in real life. The author uses Ah Q as a personalized image to shape the typical characters in the typical environment at that time. Some people think that painters and musicians can think abstractly based on color, line or sound without language, so it is asserted that mind can exist independently before language. In fact, pictures, music, etc. are only auxiliary tools for mind, and cannot exist in place of language. No painter or musician can think with color, line or sound alone, they need to convert these material materials into language in order to express their clear ideas.<br />
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===My view on the relationship between language and mind===<br />
From the perspective of the relationship between language and mind, mind plays a leading role in language, and the initiative of mind itself should be fully affirmed; from the perspective of social practice, people's mind is not entirely dependent on language, especially image thinking, more Using vivid and intuitive images, through examples and demonstrations, it points out the one-sidedness of the traditional assertion that "human thinking activities are carried out on the basis of language, and thinking activities cannot be carried out without language", which shows that mind can exist independently of language. There is a relationship between the two that is closely related to each other but also exists independently of each other. On the other hand, according to Humboldt's point of view: "Every language contains a unique world view", which also shows that language is a window to observe the way of thinking. The nature that humans face is the same, and the structure of the brain is roughly the same, so the ability of all human beings to understand the world is the same, that is, the thinking ability is basically the same. However, affected by differences in geographical environment, living conditions, customs, etc., they formed their own different perspectives in the process of observing and understanding reality, making the same reality in the subjective perception of different ethnic groups.<br />
There are different states in cognition. The external manifestations of different ways of thinking are the structural differences of different languages. Therefore, in order to understand the way of thinking of different people, we should start from their language. Children of each ethnic group learn the way of thinking of their own ethnic group while learning the language. Therefore, I believe that language and mind influence each other. With the continuous evolution and development of language in society, the mind system will also undergo new changes, and new ways of thinking will also affect the development of human language to a certain extent.<br />
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===Conclusion===<br />
Language is essentially a synthesis of inform form and inform content; mind is the process of brain or brain-like processing of internal and external information. Therefore, language and mind are two completely independent entities. Language processes and thinking processes are using different mechanisms and are two completely different processes. Mind does not need to be carried out by language, and it is not the decisive role of language on mind as held by the Sapir-Wolf hypothesis. In contrast, the cognitive hypothesis holds that language and mind are two separate processes. In fact, the relationship between language and mind can be observed in a broader context to reflect the sociolinguistic relevance. This is because people's minds have extensive commonalities in perceptual, cognitive, social and linguistic psychology. At the same time, there are differences in the objective world in which different native speakers live, so people's ways of thinking are also diverse.<br />
Therefore, in the process of thinking, people should break through the stereotypes of language habits and put forward innovative ideas. When using language to communicate, different opinions under innovative thinking can be expressed and new ways of thinking can be reflected. In this way, eastern and Western scholars can break through the language bondage of Oriental language family and Indo-European language family, and learn languages by changing the way of thinking, which can often achieve twice the result with half the effort.<br />
===References===<br />
*Lin Xinhua林新华（1998(4)）．对萨丕尔——沃尔夫假说的再认识．''外语教学''：6一8 pp. <br />
*Liu Runqing刘润清（1995）.''西方语言学流派''.北京:外语教学与研究出版社.<br />
*Piaget 皮亚杰（1987）.''儿童的心理发展''傅统先,译.济南:山东教育出版社. <br />
*Qian Xuesen钱学森（1986）.''关于思维科学''.上海:上海人民出版社. <br />
*施光，辛斌（2007（1））． 语言·思维·认知－ 再论沃尔夫假说． ''四川外语学院学报'': 102 -106 pp． Shi Guang<br />
* Sapir萨丕尔（1985）.''语言论''. 北京商务印书馆.<br />
*Wu Tieping伍铁平（1986）.''语言与思维关系新探''.上海:上海教育出版社:5一13 pp. <br />
*Whorf B L.Language（1942（1））. Mind and Reality.''The Theosophist'':63 pp<br />
*Yang Yonglin杨永林（2004(2).唯理论与规约论之争一语言与思维关系研究.''外语教学'':14一17 pp.<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
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===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
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===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
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===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
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After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
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During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
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At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
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===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
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===Subtitle 1：The Motivation of the Miaoyu===<br />
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In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
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===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
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There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
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2.The Distribution of Miao Nationality<br />
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(1)Domestic Distribution<br />
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The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
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(2)Overseas Distribution<br />
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The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
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The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
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===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
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Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
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There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
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The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
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2.Historical formation of the Hmong<br />
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This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
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The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
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Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
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During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
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===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
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Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
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The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
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Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
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Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
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In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
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===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
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After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
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Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
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1.Characteristics of Xiangxi dialect<br />
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The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
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2.Qiandong dialect<br />
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The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
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3.Chuanqian Dian dialect<br />
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The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
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The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
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The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
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The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
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The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
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The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
<br />
(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
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(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
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In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
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The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
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The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
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(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
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In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
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The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
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The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
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===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center><br />
<br />
<center>LiYuan</center><br />
<br />
===Abstract===<br />
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The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
<br />
===Key words===<br />
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phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
<br />
===Introduction===<br />
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The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
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There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
<br />
===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
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The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
<br />
To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
<br />
It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
<br />
===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
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This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
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One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
<br />
One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
<br />
One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
<br />
One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
<br />
One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
<br />
One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
<br />
One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
<br />
The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods (770 BC to 221 BC), when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yitizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states in 221 BC and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty (24 AD to 220AD), Xu Shen's ''Shuowenjiezi'' (《说文解字》) was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties (220 AD to 589 AD), some men of letters still used Tongjiazi, but during the Tang and Song dynasties (618 AD to 907 AD, 960 AD to 1279 AD), apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
<br />
===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
<br />
===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
<br />
To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. In this regard, the influence of Tongjiazi on translation is the ability of translators obtained to identify and verify those characters. With the development of the times, the majority of ancient texts now have annotated versions, that is, intra-lingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
<br />
In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking.Apart from that, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on Classics of Difficulties Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in Synopsis of Golden Chamber Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical works. This shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
<br />
''The Analects of Confucius'' (《论语》) is a collection of discourses compiled by the disciples of generations of the thinker and the educator Confucius in the Spring and Autumn period to record the words and actions of Confucius and his disciples. It is a collection of 492 chapters, mainly in the style of discourses and supplemented by narratives, and reflects the political ideas, ethical thoughts, moral concepts and educational principles of Confucius and the Confucianism in a concentrated manner. The main feature of the work is its concise language, which is easy to understand, but has a far-reaching and profound meaning. Its language style is implicit and plain, and it is able to present characters in simple dialogue and action. Since the Song Dynasty, it has been listed as one of “the Four Books”, and has become an official textbook for ancient schools and a compulsory reading material for the imperial examinations.<br />
<br />
The number of Tongjiazi in the Analects is relatively small, and the content is relatively easy to understand. There are a total of 6 phonetic loan characters in this work, which are “便” used as “辩”, “加” used as “假”, “桴” is used as “泭”, “麑” means “鹿”, and “礼” replaced by “献”. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. It is understandable that the existence of the phenomenon of Tongjiazi often poses a barrier to reading and comprehension for Chinese readers, who may be tempted to literally understand the original text if they are not careful, and it is not very realistic for foreign readers or translators who read or translate Chinese texts to accurately identify each and every Tongjiazi. In Xu Yuanchong’s translation of the Analects, the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraphrasing (liberal translation). <br />
<br />
(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
<br />
TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
<br />
In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
<br />
(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
<br />
In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
<br />
In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
<br />
TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
<br />
In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) <br />
<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
<br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
Therefore, for Tongjiazi in the Analects of Confucius, there are three main methods to translate them into English. They are literal translation of the original character, literal of the phonetic loan character, and paraphrasing. As mentioned in the definition of Tongjiazi, it is of significant importance to define phonetic loan characters by distinguishing them from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Identifying those characters is the first step to understand and translate them correctly. In fact, the translation process of Chinese classics is from ancient Chinese to modern Chinese and then to English, so in addition to basic bilingual skills, the translator should have a good command of some knowledge of Tongjiazi, resort to some high-quality dictionaries for more information and ask some scholars and experts in this field for help, in an effort to avoid translation mistakes.<br />
<br />
===Conclusion===<br />
<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one was due to the need for euphemism. Tongjiazi appeared in large numbers during the Spring and Autumn and Warring States periods, and were completely discontinued with the advent of vernacular Chinese. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. When translating such texts, then, translators need to acquire certain skills. In addition to a certain level of literacy and accumulation and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of ''the Analects of Confucius'' as an example, analyses the English translation of Tongjiazi in it, and comes up with three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi, so as to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
<br />
Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
<br />
Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
<br />
Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
<br />
Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
<br />
Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
===Appendix===<br />
Common Phonetic Loan Characters(Tongjiazi)<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
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[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
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[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
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[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
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[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
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[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
<br />
Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
<br />
(3)Translation Under Fidelity Rule<br />
<br />
The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
<br />
Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
<br />
In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.<br />
<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
<br />
Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
<br />
Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
<br />
Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
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Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
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Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.<br />
<br />
Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.<br />
<br />
Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
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Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
<br />
Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
<br />
Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
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Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
<br />
Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
<br />
Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
<br />
Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14627620220630 Culture 22022-07-02T15:39:37Z<p>Li Yuan: /* References */</p>
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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
<br />
<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
<br />
===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
<br />
===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
<br />
Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
<br />
===Proverbs===<br />
<br />
Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
<br />
===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
<br />
In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
<br />
However, the Tang Dynasty considered chubby women as beautiful.<br />
<br />
The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
<br />
According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
<br />
The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
<br />
In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
<br />
===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
<br />
===Some common cultural implications of Chinese lantern===<br />
<br />
Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
<br />
===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
<br />
===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
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<center>Li Ting</center><br />
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===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
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'''3. Regional Features in Cuisine Names''' <br />
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There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
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The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
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===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
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===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
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* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
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* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
<br />
* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
<br />
* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
<br />
* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
<br />
* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
<br />
* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
<br />
===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
<br />
The Braised Turtle in Brown Sauce：红烧甲鱼<br />
<br />
Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
<br />
Mapo Tofu：麻婆豆腐<br />
<br />
Shrimp with green Vegetable：翡翠虾仁<br />
<br />
Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
<br />
Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
<br />
Cut: 切 chop：剁 split：劈 scrape：剔<br />
<br />
Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
<br />
Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
<br />
stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
<br />
Corn Meatballs：玉米肉丸<br />
<br />
Sweet and Sour Fish：糖醋鱼<br />
<br />
Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
<br />
Diced Chicken with Cashew Nuts：腰果鸡丁<br />
<br />
Diced Chicken with Green Pepper：辣子鸡丁<br />
<br />
Pork Shreds with Fish Seasoning：鱼香肉丝<br />
<br />
Steamed Perch：清蒸鲈鱼<br />
<br />
Braising Carp with Soy Sauce：红烧鲤鱼<br />
<br />
Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
<br />
Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
<br />
Pork Cooked with Green Chili：辣椒炒肉<br />
<br />
Scrambled Egg with Tomato：番茄炒蛋<br />
<br />
Hairy Crabs：大闸蟹<br />
<br />
Golden Coin-shaped Scallops：金钱干贝<br />
<br />
Sour and Hot Diced Chicken：酸辣鸡丁<br />
<br />
Sweet and Sour Ribs：糖醋排骨<br />
<br />
Cola Chicken Wings：可乐鸡翅<br />
<br />
Braised Meat Balls in Brown Sauce：红烧狮子头<br />
<br />
Tai Chi Shaped Taro：太极芋头<br />
<br />
Stewed Assorted Delicacies：全家福<br />
<br />
Wishful Bamboo Shoots：如意笋<br />
<br />
Wen Si Tofu：文思豆腐<br />
<br />
Dongpo Meat：东坡肉<br />
<br />
Peking Duck：北京烤鸭<br />
<br />
West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
<br />
Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
<br />
Meat in Tomato Sauce：乾隆樱桃肉<br />
<br />
Murrel with Fresh Vegetables：将军过桥<br />
<br />
Changban Slope：长坂坡<br />
<br />
Two Winter：二冬<br />
<br />
Three Delicacies：三鲜<br />
<br />
Three Shreds：三丝<br />
<br />
Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
<br />
Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
<br />
Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
<br />
Fried Magnolia Slices：炒玉兰片<br />
<br />
Fried Bamboo Shoots Slices：炒笋片<br />
<br />
Salted Pork in Jelly：水晶肴肉<br />
<br />
Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
<br />
Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
<br />
Mirror Box Tofu：镜箱豆腐<br />
<br />
Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
<br />
Shrimp Ring with Green Vegetable：翡翠虾环<br />
<br />
Golden Eggs：金钱蛋<br />
<br />
Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
<br />
Farewell My Concubine：霸王别姬<br />
<br />
Chicken Slices with Hibiscus：芙蓉鸡片<br />
<br />
Scallops with Hibiscus：芙蓉干贝<br />
<br />
Clams with Hibiscus：芙蓉青蛤<br />
<br />
The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
<br />
The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
<br />
Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
<br />
Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
<br />
Crusade against daddy：早生贵子<br />
<br />
Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
<br />
The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
<br />
Siraitia Grosvenorii：罗汉果<br />
<br />
Prajna Dishes：般若菜<br />
<br />
Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
<br />
Yin and Yang Fish：阴阳鱼<br />
<br />
Heaven and Earth Eggs：乾坤蛋<br />
<br />
Mutton eaten with hands：手抓羊肉<br />
<br />
Sweet and Sour Pork：咕咾肉<br />
<br />
Pearl Bean Curd：珍珠豆腐<br />
<br />
Golden Prawn：金钱明虾<br />
<br />
Crispy Duck：脆皮八宝鸭<br />
<br />
Spiced Beef：五香牛肉<br />
<br />
Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
<br />
Full of Prosperity：满园春色<br />
<br />
===Questions===<br />
1.How many naming methods are mentioned?<br />
<br />
2.Who is the Four-Joy Meatballs associated with?<br />
<br />
3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
<br />
===Answers===<br />
1.Eight.<br />
<br />
2.Zhang Jiuling<br />
<br />
3.Egg white.<br />
<br />
==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
<br />
===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
<br />
===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
<br />
After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
<br />
During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
<br />
At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
<br />
===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
<br />
===Subtitle 1：The Motivation of the Miaoyu===<br />
<br />
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
<br />
===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
<br />
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
<br />
2.The Distribution of Miao Nationality<br />
<br />
(1)Domestic Distribution<br />
<br />
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
<br />
(2)Overseas Distribution<br />
<br />
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
<br />
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
<br />
===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
<br />
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
<br />
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
<br />
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
<br />
2.Historical formation of the Hmong<br />
<br />
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
<br />
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
<br />
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
<br />
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
<br />
===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
<br />
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
<br />
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
<br />
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
<br />
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
<br />
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
<br />
===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
<br />
After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
<br />
Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
<br />
1.Characteristics of Xiangxi dialect<br />
<br />
The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
<br />
2.Qiandong dialect<br />
<br />
The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
<br />
3.Chuanqian Dian dialect<br />
<br />
The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
<br />
The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
<br />
The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
<br />
The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
<br />
The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
<br />
The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
<br />
(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
<br />
(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
<br />
In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
<br />
The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
<br />
The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
<br />
(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
<br />
In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
<br />
The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
<br />
The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
<br />
===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center><br />
<br />
<center>LiYuan</center><br />
<br />
===Abstract===<br />
The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
<br />
===Key words===<br />
phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
<br />
===Introduction===<br />
The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
<br />
There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
<br />
===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
<br />
To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
<br />
It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
<br />
===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
<br />
One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
<br />
One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
<br />
One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
<br />
One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
<br />
One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
<br />
One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
<br />
One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
<br />
The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods, when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yiyizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty, Xu Shen's “Shuowenjiezi” was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties, some men of letters still used Tongjiazi, but during the Tang and Song dynasties, apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
<br />
===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
<br />
===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. With the development of the times, the majority of ancient texts now have annotated versions, that is, intralingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
<br />
In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. In addition, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on ''Classics of Difficulties'' Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in ''Synopsis of Golden Chamber'' Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical texts. This shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
The number of Tongjiazi in ''the Analects'' is relatively small, and the content is relatively easy to understand. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. In Xu Yuanchong’s translation of ''the Analects'', the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraqhrasing.<br />
<br />
(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
<br />
TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
<br />
In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
<br />
(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
<br />
In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
<br />
In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
<br />
TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
<br />
In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) <br />
<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
<br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
===Conclusion===<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one was due to the need for euphemism. Tongjiazi appeared in large numbers during the Spring and Autumn and Warring States periods, and were completely discontinued with the advent of vernacular Chinese. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. When translating such texts, then, translators need to acquire certain skills. In addition to a certain level of literacy and accumulation and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of ''the Analects of Confucius'' as an example, analyses the English translation of Tongjiazi in it, and comes up with three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi, so as to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
<br />
Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
<br />
Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
<br />
Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
<br />
Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
===Appendix===<br />
Common Phonetic Loan Characters(Tongjiazi)<br />
<br />
案:同"按";审察，察看。动词。"召有司案图，指从此以往十五都予赵。"<br />
罢:通"疲";疲劳。形容词。"罢夫赢老易于而咬其骨。"<br />
颁:通"班";"斑";头发花白。形容词。"颁白者不负戴于道路矣。"<br />
板:同"版";字版。名词。"板印书籍，唐人尚未盛为之。"<br />
暴:"同曝"晒。动词。"虽有槁暴，不复挺者，輮使之然也。"<br />
暴:同"曝"暴露，显露。动词。"思厥先祖父，暴霜露。""忠义暴于朝廷。"<br />
杓:同"勺";酒器。名词。"沛公不胜杯杓，不能辞。"<br />
倍:同"背"，背叛，违背。动词。"倍道而妄行，则天不能使之吉。""愿伯具言臣之不敢倍德也。"<br />
被:同"披";覆盖在肩背上，动词。"廉颇为之一饭斗米，肉十斤，被甲上马。""屈原至于江滨，被发行吟泽畔。""被明月兮佩宝璐。""闻妻言，如被冰雪。"<br />
俾倪:同"睥睨";斜着眼看。形容词。"见其客朱亥，俾倪."<br />
辟:通"避";躲避。动词。"其北陵，文王所辟风雨也。"<br />
辟:通"僻";行为不正。形容词。"放辟邪侈，无不为已。"<br />
弊:通"敝";困顿，失败。名词。"秦有余力而制其弊，"<br />
弊:通"敝";疲惫，衰败。形容词。"率疲弊之卒，将数百之众，转而攻秦;""今天下三分，益州疲弊。"<br />
徧:同"遍"遍及，普遍。动词。"小惠末徧，民弗从也。"<br />
宾:同"傧";迎接客人的人。名词"设九宾于廷，臣乃敢上璧。"<br />
不:同"否";不。副词。"或师焉，或不焉。"<br />
不:同"否";吗。疑问语气词。"察王以十五城请易寡人之璧可予不?""汝见我不?""宁可共载不?"<br />
材:同"才";才能。名词。"食之不能尽其材。"<br />
裁:通"才";刚刚。副词。"手裁举，则又超忽而跃。"<br />
采:同"彩";颜色，彩色。名词。"须臾成五采。""成五采，此天子气也。"<br />
仓:同"苍";黑色。名词。"要离刺庆忌也，仓鹰击于殿上。"<br />
藏:同"脏"脏腑。名词。"末至二三里，摧藏马悲哀。"<br />
廛:通"缠""胡取禾三百廛兮?"<br />
唱:通"倡";倡导。动词。"而予三十年前所主唱之三民主义、五权宪法，"<br />
钞:同"抄";抄写。动词。"适中手自钞录。"<br />
雠:同"仇";仇敌，仇人。"及仇雠已灭，天下已定，"<br />
鉏:同"锄";锄头。名词。"鉏櫌棘矜,非铦于钩戟长铩也。"<br />
绌:通"黜";罢免官职。动词。"屈平既绌，"<br />
从:同"纵";合纵，联合抗秦。动词。其后秦欲伐齐，齐与楚从亲。"<br />
从:同"纵";与"横"相对，"合从缔交，相与为一。""赵使平原君求救，合从于楚。"<br />
淬:通"焠":金属器械烧后放入水中，"取之百金，使工以药淬之。"<br />
厝:同"措";放置。动词。"一厝朔东，一厝雍南"。<br />
错:同"措";放。动词。"以君为长者，故不错意也。"<br />
当:通"挡";抵挡。动词。"非刘豫州莫可以当操者。""汉亦留之以相当。""坦墙周庭，以当南日""曹军不能抵当。"<br />
党:通"倘";倘若，偶然。副词。"风雨之不时，怪星之党见，"<br />
道:同"导";引导。动词。"故善者困之，其次利道之。"<br />
得:通"德";恩惠。名词。"所识穷乏者得我与?"<br />
吊:同"掉";落。动词。"连一根针吊在地下都听得见响!"<br />
丁宁:同"叮咛";嘱咐。动词。"府吏见丁宁，结誓不别离。"<br />
读:通"逗";即"，"。名词。"授之书而习其句读者。"<br />
度:同"渡";渡过，越过。动词。"一夜飞度镜湖月"<br />
队:通"坠";坠落。动词。"星队、木鸣、国人皆恐。"<br />
敚:同"夺";强取，夺取。动词。"再敚门，门闭不得出。"<br />
堕:通"隳";毁弃。动词。"堕军实而长寇仇，亡无日矣!"<br />
而:通"尔";"你的。代词。"吾乃与而君言，汝何为者也?"<br />
而:通"尔";你。人称代词。"某所，而母立于兹。"<br />
而:同"如"象。形容词。"军惊而坏都舍。"<br />
尔:同"耳"罢了。语气助词。"时人伤之，为诗云尔。""无他，但手熟尔。""非死则徙尔。""倘三年犹不得，即犹不归尔。""以头抢地尔。"<br />
<br />
蕃:通"繁";多。形容词。"水陆草木之花，可爱者甚蕃。"<br />
反:同"返";返回。动词。"盖亦反其本矣。""人穷则反本。""责收毕，以何市而反?""其良人出必餍酒肉而后反。""今日往而不反者，竖子也!""寒暑易节，始一反焉。"<br />
奉:通"俸";俸禄，薪俸。名词。"弘位在三公，奉禄甚多。"<br />
奉:同"捧";两手托着。动词。"王必无人，臣愿奉璧往使。<br />
缶:同"缻";盛酒浆的瓦器。名词。"请奉盆缶秦王，以相娱乐。"<br />
拂:同"弼";辅弼。动词。"入则无法家拂士。"<br />
父:同"甫"，古代在男子名字下加的美称。名词。"长乐王回深父，余弟安国平父、安上纯父。"<br />
盖:通"盍";何不。兼词。"盖亦反其本矣。"<br />
盖:通"盍";为什么，疑问代词。"嘻，善哉，技盖至此乎?"<br />
干:通"岸""坎坎伐檀兮，置之河之干兮。"<br />
估:通"贾";商人。名词。"舟中估客莫漫狂，小姑前年嫁彭郎。"<br />
灌:通"盥";洗手。动词。"媵人持汤沃灌。"<br />
函胡:同"含糊";形容词。"南声函胡，北音清越。"<br />
曷:同"何";什么。疑问代词。"蹈死不顾，亦易故哉?"<br />
何:同"呵";喝问。动词。"信臣精卒陈利兵而谁何?"<br />
衡:通"横";跟竖、直相对。名词。"有勇力者聚徒而衡击。"<br />
衡:通"横";梗塞，指不顺。动词。"困于心，衡于虑。"<br />
衡:通"横";与纵相对，"外连横而斗诸侯。"<br />
华:同"花";植物的繁殖器官。名词。"混黄华叶衰。"<br />
画:同"划"用拨子在琵琶中划一下。用拨子在琵琶中划一下。<br />
驩:同"欢"欢聚。动词。"王必欲降武，请毕今日之驩。"<br />
还:同"环";绕。动词。"秦王还柱而走。"<br />
还:同"旋";回转、掉转。动词"扁鹊望桓侯而还走。"<br />
皇:通"惶";恐惧，惊慌。形容词。"然仓皇中不可落于敌人之手以死。""赢得仓皇北顾。""仓皇东出，未及见贼而士卒离散。"<br />
皇:同"凰"传说中的雌凤。名词。"鸾鸟凤皇，日以远兮。"<br />
恍:同"恍"恍然，猛然醒来的样子。"恍惊起而长嗟。"<br />
麾:同"挥";指挥。动词。"麾众拥豪民马前。"<br />
惠:同"慧";聪明。形容词。"甚矣，汝之不惠。"<br />
惛:通"昏";昏乱糊涂。形容词。"吾惛，不能进于是矣。"<br />
混:同"浑"水不筒，污浊，形容词。"举世混浊，何不随其流而扬其波?"<br />
溷:同"混"、"浑"混浊。形容词。"世溷浊而莫余知兮。"<br />
溷:同"混"、"浑";厕所。名词。"中丞匿于溷藩以免。"<br />
火:同"伙";古代军队的组织，十个为"一火""出门看火伴"。<br />
火:同"伙";一伙。数量词。古代军队"瞎王留引定火乔男女，"<br />
机:通"几";预兆。名词。"所赖君子见机，达人知命。"<br />
疾:同"嫉";嫉妒，憎恨。动词。"君子疾夫舍曰欲之而必为之辞。""庞涓恐其贤于己，疾之。"<br />
棘:同"戟";兵器。名词。"鉏櫌棘矜,非铦于钩戟长铩也。"<br />
籍:通"藉";垫。动词。"籍柔覆温之躯。"<br />
纪:通"记";记载。动词。"又或有纪载而语焉不详。"<br />
贾:通"价";钱。名词。"如有营，予佐尔贾。"<br />
简:同"拣"选，择。动词。"宏餍慈九德，简能而任之。"<br />
简:同"拣";挑选，选拔。动词。"是以先帝简拔以遗陛下。"<br />
简:同"拣";挑选。动词。"盖简桃核修狭者为之。"<br />
见:同"现";暴露，露出来。动词。"图穷而匕首见。""譬若锥之处囊中，其末立见。"<br />
见:同"现";展现，表露出来。动词。"信义安所见乎?""才美不外见。"<br />
见:同"现";出现。动词。"何时眼前突兀见此屋?""路转溪头忽见。""风吹草低见牛羊。"<br />
见:同"现";现在。副词。"明标着册历，见放着文书!"<br />
缰:同"强";强大。形容词。"缰本而节用，则天不能贫。"<br />
疆:通"强";强壮。形容词。"始以疆壮出，及还，须发尽白。"<br />
介:同"芥";小草。名词。"无纠介之祸者，冯谖之计也。"<br />
缙:通"搢";插。动词。"缙绅、大夫、士萃于左丞相府，莫知计所出。"<br />
菁:通"精";精华，糟碎。形容词。"吾党菁华，付之一炬。"<br />
景:同"影";影子。名词。"天下云集响应，赢粮而景从。"<br />
迥:同"回";辣转。动词。"迥忆后街之屋。"<br />
鸠:同"纠";集合。动词。"豪民于闻难，鸠宗族僮奴百许人。"<br />
沮:通"阻"阻止，阻挡。动词。"帝屡欲召用瑞，执政阴沮之。<br />
句:同"勾";勾取。动词。"虽小数，然必句性情，习方俗。<br />
具:通"俱";全，都，引申为详细。副词。"此人一一为具言所闻。""愿伯具言臣之不敢倍德也。""具告所以欲死秦军状"。<br />
具:通"俱";全，皆。副词。"政通人和，百废具兴。"<br />
距:同"拒";抗拒。动问。"或走，或闭门旅距。。<br />
距:同"拒";把守。动词。"距关，毋内诸侯。"<br />
决:通"诀"诀别,离别。动词。"今太子迟之，请辞决矣!<br />
决:通"诀";离别。动词。"辞决而行"。<br />
掘:同"倔"，顽强，固执。形容词。"掘强沙塞之间，"<br />
抗:通"亢";高。形容词。"引商刻羽，抗坠疾徐，并称善也。"<br />
亏:同"诡"差异，不适应。动词"其时已与先王之法亏矣。"<br />
雷:通"擂";敲击。动词。"擂鼓大震，北军大坏。"<br />
儽:通"累";堆矗，积累。动词。"即今之儽然在墓者也。"<br />
累:通"摞";捆绑犯人的大绳子例句中作。捆绑。讲，与"臣"一起指。俘虏。""君之惠，不以累臣衅鼓。"<br />
累累:通"垒垒";形容坟墓一个连着一个的样子。形容词。"遥望是君家，松柏冢累累。"<br />
离:通"罹";遭遇。动词。"'离骚'者，犹离忧也。<br />
栗:同"栗";发抖。动词。"栗深林今惊层颠。"<br />
帘:同"奁"女子梳妆用的镜匣。"名箱帘六七十，绿碧青丝绳。"<br />
列:通"裂";分裂。动词。"列缺霹雳,丘峦崩摧。"<br />
脟:同"脔"切成块状的肉。名词。切成块状的肉。名词。<br />
廪廪:通"懔懔";危惧的样子。形容"而直为此廪廪也。"<br />
陵:通"凌";凌侮。动词。"陵压百姓而邀其上者。"<br />
流离:同"淋漓";沾湿的样子。形容词。"两股间脓血流离。"<br />
陇:同"垄";高地。名词。"冀之南，汉之阴，无陇断焉"。<br />
录:同"碌";平凡，平庸。形容词。"公等录录，所谓因人成事者也。"<br />
戮:通"勠"并力，尽力。动词。"臣与将军戮力而攻秦。"<br />
臝:同"裸";裸体。名词。"接舆髡首兮，桑扈臝行。"<br />
茆:同"茅";茅草。名词。"覆之以茆。"<br />
没:同"殁";死。动词。"孝公既没，惠文、武、昭襄蒙故业"<br />
每:同"们";词尾，表人的复数。"这都是官吏每无心正当。"<br />
甿:同"氓"耕田的人。名词。"然陈涉瓮牖绳枢之子，甿隶之人。"<br />
俛:同"俯";低头，表示服从。动词。"百越之君，俛首系颈，委命下吏。"<br />
缪:同"穆"温和，恭敬。例句中为姓。"秦自缪公以来二十余君，未尝有坚明约束者也"<br />
陌:通"百";量词。"烧不了的纸钱，与窦娥烧一陌儿。"<br />
莫:同"暮";日落的时候，晚上。名词。"至莫夜月明，独与迈乘小舟，至绝壁下。"<br />
莫:同"暮";日落时，引申为"末"。"莫春者，春服既成，"<br />
畮:同"亩"土地面积单位。量词。"末技游食之民，转而缘南畮。<br />
内:同"纳"接纳，接受。动词。"然后命使内之，则又再拜，""距关，毋内诸侯。"<br />
内:同"纳"，放人。动词。"公受珠，内所著披袄中，纫之。"<br />
那:同"挪";抽。动词。"过几时，那工夫来望恩人。"<br />
呐:同"讷";说话迟钝或口吃，的句中的"只听得差拨口里<br />
孽:同"孽";灾害，罪恶。名词。"况伪孽昏狡，自相夷戮，"<br />
女:同"汝";人称代词。"三岁贯女，莫我肯顾。"<br />
殴:通"驱"驱逐。动词。"今殴民而归之农。"<br />
畔:通"叛";背叛，离开。动词。"寡助之至，亲戚畔之。"<br />
畔:同"叛";背叛。动词。"不顾恩义，畔主背亲。"<br />
旁:通"傍"依附。接近。动词。"吾灵尚依旁汝也。"<br />
矉:同"颦";皱眉头。动词。"西施病心而矉其里。<br />
齐:同"剂";量词，例句中为名词。"在肠胃，火齐之所及也。"<br />
蕲:同"祈";求。动词。"蕲胜于人而取于人邪?"<br />
契:同"锲";刻，动词。"剑自舟中坠于水，遽契其舟。"<br />
襁:同"襁";婴儿的被子，包袱。名词。"则人物归亡，襁至而辐凑。"<br />
躈:同"噭";一说是肛门。名词。牛羊蹄躈各以千计。"<br />
禽:通"擒"捕捉。动词。"将军禽操，宜在今日。"<br />
禽:通"擒";捕捉。动词。"阴知奸党名姓，一时收禽。。<br />
诎:同"屈";弯曲。动词。"诎右臂支船。"<br />
取:通"娶";把女子接过来成亲。动词。"今若遣此妇，终老不复取。"<br />
去:同"弆";藏。动词。"掘野鼠去草实而食之。。<br />
却:同"却"，退。"大军却，离城三里止营。"<br />
郤:同"隙";空隙。名词。"依乎天理，批大却<br />
阙:通"缺";缺点。名词。"必能裨补阙漏"<br />
輮:通"揉";使……弯曲。动词。"木直中绳，輮以为轮。"<br />
蒻:同"箬"，箬竹。名词。"中轩敞者为舱，箬篷覆之。"<br />
善:通"缮";修治，拭擦。动词。"为之踌躇满志;善刀而藏之。。<br />
沈:同"沉":程度深。副词。"沈醉不知归路。"<br />
沈:同"沉";形容暮霭的程度深。念去去，千里烟波，暮霭沈沈楚天阔。"<br />
生:同"性"资质，禀赋。名词。"君子生非异也，善假于物也。<br />
声:通"伸";陈述，说明。动词。"吾社之行为士先者，为之声义。"<br />
失:通"佚";散失的。形容词。"网罗天下放失旧闻"<br />
识:通"志"，标志，记号。名词"出珠授之，封识宛然。"<br />
识:通"志";记住。动词。"因笑谓迈曰:'汝识之乎?'"<br />
识:通"志";记住。动词。"默而识之，学而不厌。"<br />
食:同"饲";喂。动词。"食马者不知其能千里而食也"。<br />
矢:同"屎";粪便。名词。"然与<br />
式:通"拭";古代车厢前用作扶手的横木。名词兵车不式。<br />
逝:通"誓";发誓。动词。"逝将去女，适彼乐土。"<br />
受:同"授"给，与。动词。"师者，所以传道受业解感也。"<br />
孰:同"熟";煮熟了的。形容词。"宰夫顾熊蟠不孰，杀之，"<br />
孰:同"熟";仔细。形容词。"唯大王与群臣孰计议之。"<br />
说:同"说高兴，愉快。形容词。"秦王必说见臣，臣乃得有以报太子..<br />
说:同"悦;高兴。形容词。:"王说，曰:'诗云:他人有心，予忖度'之。"<br />
说:同"悦";愉快。高兴。形容词。"而民说之，"<br />
说:同"悦";愉快。形容词。"秦王不说。"<br />
竦:同"耸";高。形容词。"水何澹澹，山岛竦峙。"<br />
太:通"大";大部分。形容词。"死者太半。"<br />
汤:同"烫":用热水焐。动词。"疾在腠理，汤熨之所及也。"<br />
田:同"畋";打猎。动词。"今王田猎于此。"<br />
帖:同"贴";用标签标出。动词。"不用，则以纸帖之。"<br />
帖:同"贴";粘附。动词。"对镜帖花黄。"<br />
庭:同"廷";国君听政的朝堂。名词。"使臣奉璧拜送书于庭。"<br />
涂:同"途"，道路。名词。"失迷涂知返，往哲是与"<br />
土:同"仕"作官。动词。"重争土豪，非下也，权重也。"<br />
橐:通"托";托付，委托。动词。"重争士橐，非下也，权重也。<br />
顽:同"玩";开玩笑。动词。"我又不同你顽。"<br />
亡:同"无";不。副词。"亡何国变，宁南死。"<br />
亡:同"无";没有。副词。"且陛下春秋高，法令亡常""空自苦亡人之地。""河曲智叟亡以应。""生之有时而用之亡度。""日知其所亡以就懿德。"<br />
罔:同"网";罗网。名词。例句中作动词，即张开罗网掳捉。"及陷于罪，然后从而刑之，是罔民也。"<br />
惟:通"唯";应答声。象声词。"伏惟启阿母，今若道此妇，终老不复取!"<br />
惟:通"唯";只，只有。副词。"惟先生乐游。""故惟日日呼酒买醉。""惟陈言之务去。""无恒产而有恒心者，惟士为能。""惟觉时之枕席，失向来之烟霞。"<br />
文:同"纹"纹理。名词。"其中多斑文小鱼。"<br />
文:同"纹";纹路，纹理。名词。"不以木为之者，文理有疏密。"<br />
无:通"毋";不要。副词。"孟尝君使人给其食用，无使乏。"<br />
销:通"消";消散。动词。"云霄雨霁，彩彻区明。"<br />
希:同"稀";稀疏，稀少，罕见。形容词。"鼓瑟希，铿尔。""有志乎古者希矣。"<br />
熙:同"嬉";欢乐，快乐。形容词。"其余则熙熙而乐。"<br />
郤:同"隙";隔阂，嫌怨。名词。"令将军与臣有郤。"<br />
孅:通"纤";精细。形容词。"古之治天下，至孅至悉也。"<br />
县:同"悬";挂，动词。"县明太祖御容明伦堂，率众拜且哭。""胡瞻尔庭有县廛兮?"<br />
乡:同"向";对着，朝着。介词。"秦伯素服郊次，乡师而哭。""以至晋鄙军之日北乡自刭。"<br />
飨:同"享";受。动词。"飨德怀恩，词不悉心。"<br />
向:通"响";响声。名词。砉然向然，奏刀騞然。"<br />
邪:同"耶";呢，吗，疑问语气助词。"赵王岂以一璧之故欺秦邪?"<br />
邪:同"耶";吗。疑问语气词。"其真无马邪?"<br />
羞:同"馐";食物名词。"玉盘珍羞直万钱。"<br />
虚:同"墟"，市。名词。"之虚所卖之。"<br />
畜:通"蓄";积聚，储藏。动词。"故其畜积足恃。"<br />
炎:通"焰";火焰。名词。"顷之，烟炎张天。"<br />
奄:同"晻";日无光。形容词。"奄奄黄昏后，寂寂人定初。"<br />
厌:通"餍";满足。形容词。"默而知之，学而不厌。""暴秦之欲无厌。""寡君若得而食之，不厌。""奉之者有限，而求之者无厌"<br />
燕:通"宴";安逸，安闲。形容词。"燕坐于华堂之上。"<br />
燕:通"宴";饮宴。名次。"集宾友酣燕。"<br />
燕:通"宴";玩乐。"桓公每游燕，辄命袁、伏。"<br />
阳:同"佯";假装，表面。"皆阳应曰:'诺，。"<br />
邀:同"要";要挟。动词。"陵压百姓而邀其上者，"<br />
要:同"邀";约订。动词。"虽与府吏要，渠会永无缘。"<br />
要:同"邀";邀请。动词。"便要还家，设酒杀鸡作食。""张良出，要项伯。"<br />
要:同"邀";拦住。动词。"鸠宗族僮奴百许人，欲要篡以归。"<br />
耶:通'爷";父亲。名词。"耶娘妻子走相送，尘埃不见咸阳桥。"<br />
夷:通"怡;平和，和悦。形容词。"与之论辩，言和而色夷。"<br />
已:同"以";"从此已去，勿复如是!"<br />
已:同"矣";了。语气助词。"夫神农以前，吾不知已。"<br />
已:同"矣";了。语气助词。"放辟邪侈，无不为已。"<br />
以:通"已";太甚。副词。"而吾子又欲使吾为越之雪，不以病乎?"<br />
以:同"已";止。动词。"无以，则王乎?"<br />
佚:同"逸";安逸，安闲。形容词。"而人民日以安于佚乐。"<br />
益:同"溢";涨水。动词。"澭水暴益。"<br />
逸:通"佚";散佚。动词。左忠毅公逸事。"<br />
翼:通"翌";明(天)。名词。"翼日进宰。"<br />
阴:通"荫"，树荫。名词。"绿杨阴里白沙堤。"<br />
阴:通"荫"，树荫，名词。"也傍桑阴学种瓜。"<br />
阴:通"荫";绿荫。名词。"佳木秀而繁阴。"<br />
有:同"又";更。副词。"殆有甚焉。"<br />
有:同"又";用于整数与零数之间。副词。"其为时止十有一月耳。""尔来二十有一年矣。""其级七千有余。"<br />
有:同"又";再一次。副词。"虽有槁暴，不复挺者，輮使之然也。"<br />
与:同"欤";吗。语气助词。"可得闻与?"<br />
与:同"欤";吗。语气助词。"而君逆寡人者，轻寡人与?"<br />
与:同"欤";呢。疑问语气词"是谁之过与?"<br />
豫:通"预";预先，事先。副词。"豫备走舸，系于船尾。"<br />
员:通"圆";圆形。名词。"以精铜铸成，员经八尺。"<br />
原:同"源"源泉。名词。"此四者，民所衣食之原也。"<br />
圆:同"圆";圆形。名词。"多平方，少圆。"<br />
芸:同"耘";锄草。动词。"植其杖而芸。"<br />
暂:通"渐"，欺诈。动词。"武夫力而拘诸原，妇人暂而免诸国。"<br />
蚤:通"早";在先，还没到时候。形容"使遂蚤得处囊中。"<br />
蚤:通"早";在先，还没到时候。形容词。"旦日不可不蚤来谢项王。"<br />
责:同"债";欠别人的钱财。名词。"先生不羞，乃有意欲为收责于薛乎?"<br />
曾:同"增";增加。动词。"曾益其所不能。"<br />
旃:同"毡";毛织的毡毯。名词。"与旃毛并咽之。"<br />
沾:同"沾";浸湿，浸润。动词。"因泣下沾衿，与武决去。"<br />
振:通"震";震动。动词。"虽董之以严刑，振之以威怒，"<br />
振:通"震"，惊恐或情绪过分激动。形容词。"燕王诚振怖大王之威，"<br />
振:通"震";震动。动词。"执敲扑而鞭答天下，威振四海。"<br />
振:同"赈";救济。动词。"大命将泛，其之振救。"<br />
征:同"徴";证据。名词。"京师学者咸怪其无征。"<br />
支:通"肢";肢体。名词。"四支犹温，一目未瞑，"<br />
枝:同"肢";肢体。名词。"为长者折枝，"<br />
知:通"智";聪明，智慧。形容词。"以大知而察及迩言。"<br />
知:通"智";聪明，智慧。形容词。两小儿笑曰:"孰为汝多知乎!"<br />
知:通"智";智慧。名词。"则知明而行无过矣。"<br />
祗:同"只";只是。副词。"祗辱于奴隶人之手。"<br />
直:通"值";价钱，代价。名词。"系向牛头充炭直。""昂其直，居为奇货。"<br />
直:通"值";价值，引申为公正的待遇。"乐国乐国，爱得我直。"<br />
直:通"值";值得。动词。"玉盘珍羞直万钱。"史进道:"直什么?"<br />
指:同"旨";旨趣。名词。"其称文小而其指极大"。<br />
质:通"贽";见面礼。名词。"乃令张仪佯去秦，厚币委质事楚，"<br />
质:同"锧"，刑具，杀人时作垫用的砧板。名词。"君不如肉袒伏斧质请罪。"<br />
陼:同"渚";水中间的小块陆地。朝发枉陼兮，夕辰阳。"<br />
属:同"嘱";嘱托、托付。动词。"属予作文以记之。"<br />
住:通"驻";动词"备用肃计，进住鄂县之樊口。"<br />
著:同"着"，穿。动词。"著我旧时裳。"<br />
转:通"啭";鸟宛转地叫。动词。"蝉则千转不穷。"<br />
椎:通"锤";兵器。例句中前一个"椎"为名词，后一个活用为状语。"朱亥袖四十斤铁椎椎杀晋鄙。"<br />
濯:通"浊"肮脏，水不清。形容词。"自疏濯淖污泥之中。"<br />
兹:通"滋"副词。兹，更加。"赋敛兹重。"<br />
咨:同"谘";询问。动词。"事无大小，悉以咨之。"<br />
卒:通"猝"，仓猝。形容词。"五万兵难卒合。"<br />
尊:通"樽"古代盛酒的器具。名词，"人生如梦，一尊还酹江月。"<br />
坐:同"座";座位。名词。"直上载公于上坐。""满坐寂然，无敢哗者。"<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
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[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
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[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
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[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
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[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
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[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
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[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
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(2.2)The Coherence Rule <br />
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Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
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(2.3)The Fidelity Rule<br />
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The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
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(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
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Chinese version：霞、洛<br />
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In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
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Example 2<br />
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Original version: Here’s a tip and a spear behind.<br />
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Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
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(2)Translation Under Coherence Rule <br />
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The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
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Example 1:<br />
<br />
Original version: the outlaw<br />
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Chinese version: 法外狂徒<br />
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Nick name: 男枪<br />
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The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
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Chinese version: 诡术妖姬<br />
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In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
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(3)Translation Under Fidelity Rule<br />
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The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
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Example 1:<br />
<br />
Original version: Monkey King<br />
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Chinese version: 齐天大圣<br />
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In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
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Example 2:<br />
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Original version: The fist of Shadow<br />
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Chinese version: 暗影之拳<br />
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In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
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(1)Mistranslation Against Skopos Rule<br />
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In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
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Example 1:<br />
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Original version: Minotaur<br />
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Chinese version：牛头酋长<br />
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In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
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Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
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Chinese version: 发条魔灵<br />
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In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
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(2)Mistranslation Against Coherence Rule<br />
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During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
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Example 1:<br />
<br />
Original version: The might of Demacia<br />
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Chinese version: 德玛西亚之力<br />
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In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
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Example 2: <br />
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Original version: The Defender of Tomorrow<br />
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Chinese version: 未来守护者<br />
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In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
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(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
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Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
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Chinese version: 酒桶<br />
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In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
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Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
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Chinese version: 爆破鬼才<br />
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In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
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(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.<br />
<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
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Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
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Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
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Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.<br />
<br />
Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.<br />
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Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
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Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
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Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
<br />
Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
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Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
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Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
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Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
<br />
Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14627420220630 Culture 22022-07-02T15:35:03Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
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<div>Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]] <br />
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==This is the final exam paper website no. 2==<br />
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]<br />
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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
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<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
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===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
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===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
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Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
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===Proverbs===<br />
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Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
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===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
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In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
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However, the Tang Dynasty considered chubby women as beautiful.<br />
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The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
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According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
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The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
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In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
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===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
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===Some common cultural implications of Chinese lantern===<br />
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Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
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===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
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===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
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===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
<br />
'''3. Regional Features in Cuisine Names''' <br />
<br />
There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
<br />
The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
<br />
Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
<br />
===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
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===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
<br />
* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
<br />
* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
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* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
<br />
* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
<br />
* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
<br />
* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
<br />
* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
<br />
===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
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The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
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Mapo Tofu：麻婆豆腐<br />
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Shrimp with green Vegetable：翡翠虾仁<br />
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Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
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Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
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Cut: 切 chop：剁 split：劈 scrape：剔<br />
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Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
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Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
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stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
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Corn Meatballs：玉米肉丸<br />
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Sweet and Sour Fish：糖醋鱼<br />
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Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
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Diced Chicken with Cashew Nuts：腰果鸡丁<br />
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Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
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Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
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Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
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Pork Cooked with Green Chili：辣椒炒肉<br />
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Scrambled Egg with Tomato：番茄炒蛋<br />
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Hairy Crabs：大闸蟹<br />
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Golden Coin-shaped Scallops：金钱干贝<br />
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Sour and Hot Diced Chicken：酸辣鸡丁<br />
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Sweet and Sour Ribs：糖醋排骨<br />
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Cola Chicken Wings：可乐鸡翅<br />
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Braised Meat Balls in Brown Sauce：红烧狮子头<br />
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Tai Chi Shaped Taro：太极芋头<br />
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Stewed Assorted Delicacies：全家福<br />
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Wishful Bamboo Shoots：如意笋<br />
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Wen Si Tofu：文思豆腐<br />
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Dongpo Meat：东坡肉<br />
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Peking Duck：北京烤鸭<br />
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West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
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Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
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Meat in Tomato Sauce：乾隆樱桃肉<br />
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Murrel with Fresh Vegetables：将军过桥<br />
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Changban Slope：长坂坡<br />
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Two Winter：二冬<br />
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Three Delicacies：三鲜<br />
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Three Shreds：三丝<br />
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Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
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Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
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Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
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Fried Magnolia Slices：炒玉兰片<br />
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Fried Bamboo Shoots Slices：炒笋片<br />
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Salted Pork in Jelly：水晶肴肉<br />
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Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
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Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
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Mirror Box Tofu：镜箱豆腐<br />
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Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
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Shrimp Ring with Green Vegetable：翡翠虾环<br />
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Golden Eggs：金钱蛋<br />
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Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
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Farewell My Concubine：霸王别姬<br />
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Chicken Slices with Hibiscus：芙蓉鸡片<br />
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Scallops with Hibiscus：芙蓉干贝<br />
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Clams with Hibiscus：芙蓉青蛤<br />
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The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
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The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
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Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
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Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
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Crusade against daddy：早生贵子<br />
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Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
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The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
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Siraitia Grosvenorii：罗汉果<br />
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Prajna Dishes：般若菜<br />
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Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
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Yin and Yang Fish：阴阳鱼<br />
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Heaven and Earth Eggs：乾坤蛋<br />
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Mutton eaten with hands：手抓羊肉<br />
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Sweet and Sour Pork：咕咾肉<br />
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Pearl Bean Curd：珍珠豆腐<br />
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Golden Prawn：金钱明虾<br />
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Crispy Duck：脆皮八宝鸭<br />
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Spiced Beef：五香牛肉<br />
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Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
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Full of Prosperity：满园春色<br />
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===Questions===<br />
1.How many naming methods are mentioned?<br />
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2.Who is the Four-Joy Meatballs associated with?<br />
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3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
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===Answers===<br />
1.Eight.<br />
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2.Zhang Jiuling<br />
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3.Egg white.<br />
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==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
<br />
===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
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===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
<br />
After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
<br />
During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
<br />
At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
<br />
===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
<br />
===Subtitle 1：The Motivation of the Miaoyu===<br />
<br />
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
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===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
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There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
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2.The Distribution of Miao Nationality<br />
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(1)Domestic Distribution<br />
<br />
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
<br />
(2)Overseas Distribution<br />
<br />
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
<br />
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
<br />
===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
<br />
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
<br />
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
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The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
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2.Historical formation of the Hmong<br />
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This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
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The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
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Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
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During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
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===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
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Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
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The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
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Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
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Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
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In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
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===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
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After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
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Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
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1.Characteristics of Xiangxi dialect<br />
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The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
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2.Qiandong dialect<br />
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The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
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3.Chuanqian Dian dialect<br />
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The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
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The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
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The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
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The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
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The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
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The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
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(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
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(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
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In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
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The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
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The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
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(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
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In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
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The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
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The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
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===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Characters (Tongjiazi) in Chinese and their English Translation in ''the Analects of Confucius'''''</center><br />
<br />
<center>LiYuan</center><br />
<br />
===Abstract===<br />
The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
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===Key words===<br />
phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
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===Introduction===<br />
The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
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There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
<br />
===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
<br />
To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
<br />
It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
<br />
===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
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One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
<br />
One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
<br />
One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
<br />
One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
<br />
One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
<br />
One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
<br />
One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
<br />
The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods, when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yiyizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty, Xu Shen's “Shuowenjiezi” was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties, some men of letters still used Tongjiazi, but during the Tang and Song dynasties, apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
<br />
===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
<br />
===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. With the development of the times, the majority of ancient texts now have annotated versions, that is, intralingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
<br />
In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. In addition, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on ''Classics of Difficulties'' Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in ''Synopsis of Golden Chamber'' Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical texts. This shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
The number of Tongjiazi in ''the Analects'' is relatively small, and the content is relatively easy to understand. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. In Xu Yuanchong’s translation of ''the Analects'', the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraqhrasing.<br />
<br />
(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
<br />
TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
<br />
In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
<br />
(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
<br />
In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
<br />
In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
<br />
TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
<br />
In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) <br />
<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
<br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
===Conclusion===<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one was due to the need for euphemism. Tongjiazi appeared in large numbers during the Spring and Autumn and Warring States periods, and were completely discontinued with the advent of vernacular Chinese. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. When translating such texts, then, translators need to acquire certain skills. In addition to a certain level of literacy and accumulation and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of ''the Analects of Confucius'' as an example, analyses the English translation of Tongjiazi in it, and comes up with three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi, so as to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
===Appendix===<br />
Common Phonetic Loan Characters(Tongjiazi)<br />
<br />
案:同"按";审察，察看。动词。"召有司案图，指从此以往十五都予赵。"<br />
罢:通"疲";疲劳。形容词。"罢夫赢老易于而咬其骨。"<br />
颁:通"班";"斑";头发花白。形容词。"颁白者不负戴于道路矣。"<br />
板:同"版";字版。名词。"板印书籍，唐人尚未盛为之。"<br />
暴:"同曝"晒。动词。"虽有槁暴，不复挺者，輮使之然也。"<br />
暴:同"曝"暴露，显露。动词。"思厥先祖父，暴霜露。""忠义暴于朝廷。"<br />
杓:同"勺";酒器。名词。"沛公不胜杯杓，不能辞。"<br />
倍:同"背"，背叛，违背。动词。"倍道而妄行，则天不能使之吉。""愿伯具言臣之不敢倍德也。"<br />
被:同"披";覆盖在肩背上，动词。"廉颇为之一饭斗米，肉十斤，被甲上马。""屈原至于江滨，被发行吟泽畔。""被明月兮佩宝璐。""闻妻言，如被冰雪。"<br />
俾倪:同"睥睨";斜着眼看。形容词。"见其客朱亥，俾倪."<br />
辟:通"避";躲避。动词。"其北陵，文王所辟风雨也。"<br />
辟:通"僻";行为不正。形容词。"放辟邪侈，无不为已。"<br />
弊:通"敝";困顿，失败。名词。"秦有余力而制其弊，"<br />
弊:通"敝";疲惫，衰败。形容词。"率疲弊之卒，将数百之众，转而攻秦;""今天下三分，益州疲弊。"<br />
徧:同"遍"遍及，普遍。动词。"小惠末徧，民弗从也。"<br />
宾:同"傧";迎接客人的人。名词"设九宾于廷，臣乃敢上璧。"<br />
不:同"否";不。副词。"或师焉，或不焉。"<br />
不:同"否";吗。疑问语气词。"察王以十五城请易寡人之璧可予不?""汝见我不?""宁可共载不?"<br />
材:同"才";才能。名词。"食之不能尽其材。"<br />
裁:通"才";刚刚。副词。"手裁举，则又超忽而跃。"<br />
采:同"彩";颜色，彩色。名词。"须臾成五采。""成五采，此天子气也。"<br />
仓:同"苍";黑色。名词。"要离刺庆忌也，仓鹰击于殿上。"<br />
藏:同"脏"脏腑。名词。"末至二三里，摧藏马悲哀。"<br />
廛:通"缠""胡取禾三百廛兮?"<br />
唱:通"倡";倡导。动词。"而予三十年前所主唱之三民主义、五权宪法，"<br />
钞:同"抄";抄写。动词。"适中手自钞录。"<br />
雠:同"仇";仇敌，仇人。"及仇雠已灭，天下已定，"<br />
鉏:同"锄";锄头。名词。"鉏櫌棘矜,非铦于钩戟长铩也。"<br />
绌:通"黜";罢免官职。动词。"屈平既绌，"<br />
从:同"纵";合纵，联合抗秦。动词。其后秦欲伐齐，齐与楚从亲。"<br />
从:同"纵";与"横"相对，"合从缔交，相与为一。""赵使平原君求救，合从于楚。"<br />
淬:通"焠":金属器械烧后放入水中，"取之百金，使工以药淬之。"<br />
厝:同"措";放置。动词。"一厝朔东，一厝雍南"。<br />
错:同"措";放。动词。"以君为长者，故不错意也。"<br />
当:通"挡";抵挡。动词。"非刘豫州莫可以当操者。""汉亦留之以相当。""坦墙周庭，以当南日""曹军不能抵当。"<br />
党:通"倘";倘若，偶然。副词。"风雨之不时，怪星之党见，"<br />
道:同"导";引导。动词。"故善者困之，其次利道之。"<br />
得:通"德";恩惠。名词。"所识穷乏者得我与?"<br />
吊:同"掉";落。动词。"连一根针吊在地下都听得见响!"<br />
丁宁:同"叮咛";嘱咐。动词。"府吏见丁宁，结誓不别离。"<br />
读:通"逗";即"，"。名词。"授之书而习其句读者。"<br />
度:同"渡";渡过，越过。动词。"一夜飞度镜湖月"<br />
队:通"坠";坠落。动词。"星队、木鸣、国人皆恐。"<br />
敚:同"夺";强取，夺取。动词。"再敚门，门闭不得出。"<br />
堕:通"隳";毁弃。动词。"堕军实而长寇仇，亡无日矣!"<br />
而:通"尔";"你的。代词。"吾乃与而君言，汝何为者也?"<br />
而:通"尔";你。人称代词。"某所，而母立于兹。"<br />
而:同"如"象。形容词。"军惊而坏都舍。"<br />
尔:同"耳"罢了。语气助词。"时人伤之，为诗云尔。""无他，但手熟尔。""非死则徙尔。""倘三年犹不得，即犹不归尔。""以头抢地尔。"<br />
<br />
蕃:通"繁";多。形容词。"水陆草木之花，可爱者甚蕃。"<br />
反:同"返";返回。动词。"盖亦反其本矣。""人穷则反本。""责收毕，以何市而反?""其良人出必餍酒肉而后反。""今日往而不反者，竖子也!""寒暑易节，始一反焉。"<br />
奉:通"俸";俸禄，薪俸。名词。"弘位在三公，奉禄甚多。"<br />
奉:同"捧";两手托着。动词。"王必无人，臣愿奉璧往使。<br />
缶:同"缻";盛酒浆的瓦器。名词。"请奉盆缶秦王，以相娱乐。"<br />
拂:同"弼";辅弼。动词。"入则无法家拂士。"<br />
父:同"甫"，古代在男子名字下加的美称。名词。"长乐王回深父，余弟安国平父、安上纯父。"<br />
盖:通"盍";何不。兼词。"盖亦反其本矣。"<br />
盖:通"盍";为什么，疑问代词。"嘻，善哉，技盖至此乎?"<br />
干:通"岸""坎坎伐檀兮，置之河之干兮。"<br />
估:通"贾";商人。名词。"舟中估客莫漫狂，小姑前年嫁彭郎。"<br />
灌:通"盥";洗手。动词。"媵人持汤沃灌。"<br />
函胡:同"含糊";形容词。"南声函胡，北音清越。"<br />
曷:同"何";什么。疑问代词。"蹈死不顾，亦易故哉?"<br />
何:同"呵";喝问。动词。"信臣精卒陈利兵而谁何?"<br />
衡:通"横";跟竖、直相对。名词。"有勇力者聚徒而衡击。"<br />
衡:通"横";梗塞，指不顺。动词。"困于心，衡于虑。"<br />
衡:通"横";与纵相对，"外连横而斗诸侯。"<br />
华:同"花";植物的繁殖器官。名词。"混黄华叶衰。"<br />
画:同"划"用拨子在琵琶中划一下。用拨子在琵琶中划一下。<br />
驩:同"欢"欢聚。动词。"王必欲降武，请毕今日之驩。"<br />
还:同"环";绕。动词。"秦王还柱而走。"<br />
还:同"旋";回转、掉转。动词"扁鹊望桓侯而还走。"<br />
皇:通"惶";恐惧，惊慌。形容词。"然仓皇中不可落于敌人之手以死。""赢得仓皇北顾。""仓皇东出，未及见贼而士卒离散。"<br />
皇:同"凰"传说中的雌凤。名词。"鸾鸟凤皇，日以远兮。"<br />
恍:同"恍"恍然，猛然醒来的样子。"恍惊起而长嗟。"<br />
麾:同"挥";指挥。动词。"麾众拥豪民马前。"<br />
惠:同"慧";聪明。形容词。"甚矣，汝之不惠。"<br />
惛:通"昏";昏乱糊涂。形容词。"吾惛，不能进于是矣。"<br />
混:同"浑"水不筒，污浊，形容词。"举世混浊，何不随其流而扬其波?"<br />
溷:同"混"、"浑"混浊。形容词。"世溷浊而莫余知兮。"<br />
溷:同"混"、"浑";厕所。名词。"中丞匿于溷藩以免。"<br />
火:同"伙";古代军队的组织，十个为"一火""出门看火伴"。<br />
火:同"伙";一伙。数量词。古代军队"瞎王留引定火乔男女，"<br />
机:通"几";预兆。名词。"所赖君子见机，达人知命。"<br />
疾:同"嫉";嫉妒，憎恨。动词。"君子疾夫舍曰欲之而必为之辞。""庞涓恐其贤于己，疾之。"<br />
棘:同"戟";兵器。名词。"鉏櫌棘矜,非铦于钩戟长铩也。"<br />
籍:通"藉";垫。动词。"籍柔覆温之躯。"<br />
纪:通"记";记载。动词。"又或有纪载而语焉不详。"<br />
贾:通"价";钱。名词。"如有营，予佐尔贾。"<br />
简:同"拣"选，择。动词。"宏餍慈九德，简能而任之。"<br />
简:同"拣";挑选，选拔。动词。"是以先帝简拔以遗陛下。"<br />
简:同"拣";挑选。动词。"盖简桃核修狭者为之。"<br />
见:同"现";暴露，露出来。动词。"图穷而匕首见。""譬若锥之处囊中，其末立见。"<br />
见:同"现";展现，表露出来。动词。"信义安所见乎?""才美不外见。"<br />
见:同"现";出现。动词。"何时眼前突兀见此屋?""路转溪头忽见。""风吹草低见牛羊。"<br />
见:同"现";现在。副词。"明标着册历，见放着文书!"<br />
缰:同"强";强大。形容词。"缰本而节用，则天不能贫。"<br />
疆:通"强";强壮。形容词。"始以疆壮出，及还，须发尽白。"<br />
介:同"芥";小草。名词。"无纠介之祸者，冯谖之计也。"<br />
缙:通"搢";插。动词。"缙绅、大夫、士萃于左丞相府，莫知计所出。"<br />
菁:通"精";精华，糟碎。形容词。"吾党菁华，付之一炬。"<br />
景:同"影";影子。名词。"天下云集响应，赢粮而景从。"<br />
迥:同"回";辣转。动词。"迥忆后街之屋。"<br />
鸠:同"纠";集合。动词。"豪民于闻难，鸠宗族僮奴百许人。"<br />
沮:通"阻"阻止，阻挡。动词。"帝屡欲召用瑞，执政阴沮之。<br />
句:同"勾";勾取。动词。"虽小数，然必句性情，习方俗。<br />
具:通"俱";全，都，引申为详细。副词。"此人一一为具言所闻。""愿伯具言臣之不敢倍德也。""具告所以欲死秦军状"。<br />
具:通"俱";全，皆。副词。"政通人和，百废具兴。"<br />
距:同"拒";抗拒。动问。"或走，或闭门旅距。。<br />
距:同"拒";把守。动词。"距关，毋内诸侯。"<br />
决:通"诀"诀别,离别。动词。"今太子迟之，请辞决矣!<br />
决:通"诀";离别。动词。"辞决而行"。<br />
掘:同"倔"，顽强，固执。形容词。"掘强沙塞之间，"<br />
抗:通"亢";高。形容词。"引商刻羽，抗坠疾徐，并称善也。"<br />
亏:同"诡"差异，不适应。动词"其时已与先王之法亏矣。"<br />
雷:通"擂";敲击。动词。"擂鼓大震，北军大坏。"<br />
儽:通"累";堆矗，积累。动词。"即今之儽然在墓者也。"<br />
累:通"摞";捆绑犯人的大绳子例句中作。捆绑。讲，与"臣"一起指。俘虏。""君之惠，不以累臣衅鼓。"<br />
累累:通"垒垒";形容坟墓一个连着一个的样子。形容词。"遥望是君家，松柏冢累累。"<br />
离:通"罹";遭遇。动词。"'离骚'者，犹离忧也。<br />
栗:同"栗";发抖。动词。"栗深林今惊层颠。"<br />
帘:同"奁"女子梳妆用的镜匣。"名箱帘六七十，绿碧青丝绳。"<br />
列:通"裂";分裂。动词。"列缺霹雳,丘峦崩摧。"<br />
脟:同"脔"切成块状的肉。名词。切成块状的肉。名词。<br />
廪廪:通"懔懔";危惧的样子。形容"而直为此廪廪也。"<br />
陵:通"凌";凌侮。动词。"陵压百姓而邀其上者。"<br />
流离:同"淋漓";沾湿的样子。形容词。"两股间脓血流离。"<br />
陇:同"垄";高地。名词。"冀之南，汉之阴，无陇断焉"。<br />
录:同"碌";平凡，平庸。形容词。"公等录录，所谓因人成事者也。"<br />
戮:通"勠"并力，尽力。动词。"臣与将军戮力而攻秦。"<br />
臝:同"裸";裸体。名词。"接舆髡首兮，桑扈臝行。"<br />
茆:同"茅";茅草。名词。"覆之以茆。"<br />
没:同"殁";死。动词。"孝公既没，惠文、武、昭襄蒙故业"<br />
每:同"们";词尾，表人的复数。"这都是官吏每无心正当。"<br />
甿:同"氓"耕田的人。名词。"然陈涉瓮牖绳枢之子，甿隶之人。"<br />
俛:同"俯";低头，表示服从。动词。"百越之君，俛首系颈，委命下吏。"<br />
缪:同"穆"温和，恭敬。例句中为姓。"秦自缪公以来二十余君，未尝有坚明约束者也"<br />
陌:通"百";量词。"烧不了的纸钱，与窦娥烧一陌儿。"<br />
莫:同"暮";日落的时候，晚上。名词。"至莫夜月明，独与迈乘小舟，至绝壁下。"<br />
莫:同"暮";日落时，引申为"末"。"莫春者，春服既成，"<br />
畮:同"亩"土地面积单位。量词。"末技游食之民，转而缘南畮。<br />
内:同"纳"接纳，接受。动词。"然后命使内之，则又再拜，""距关，毋内诸侯。"<br />
内:同"纳"，放人。动词。"公受珠，内所著披袄中，纫之。"<br />
那:同"挪";抽。动词。"过几时，那工夫来望恩人。"<br />
呐:同"讷";说话迟钝或口吃，的句中的"只听得差拨口里<br />
孽:同"孽";灾害，罪恶。名词。"况伪孽昏狡，自相夷戮，"<br />
女:同"汝";人称代词。"三岁贯女，莫我肯顾。"<br />
殴:通"驱"驱逐。动词。"今殴民而归之农。"<br />
畔:通"叛";背叛，离开。动词。"寡助之至，亲戚畔之。"<br />
畔:同"叛";背叛。动词。"不顾恩义，畔主背亲。"<br />
旁:通"傍"依附。接近。动词。"吾灵尚依旁汝也。"<br />
矉:同"颦";皱眉头。动词。"西施病心而矉其里。<br />
齐:同"剂";量词，例句中为名词。"在肠胃，火齐之所及也。"<br />
蕲:同"祈";求。动词。"蕲胜于人而取于人邪?"<br />
契:同"锲";刻，动词。"剑自舟中坠于水，遽契其舟。"<br />
襁:同"襁";婴儿的被子，包袱。名词。"则人物归亡，襁至而辐凑。"<br />
躈:同"噭";一说是肛门。名词。牛羊蹄躈各以千计。"<br />
禽:通"擒"捕捉。动词。"将军禽操，宜在今日。"<br />
禽:通"擒";捕捉。动词。"阴知奸党名姓，一时收禽。。<br />
诎:同"屈";弯曲。动词。"诎右臂支船。"<br />
取:通"娶";把女子接过来成亲。动词。"今若遣此妇，终老不复取。"<br />
去:同"弆";藏。动词。"掘野鼠去草实而食之。。<br />
却:同"却"，退。"大军却，离城三里止营。"<br />
郤:同"隙";空隙。名词。"依乎天理，批大却<br />
阙:通"缺";缺点。名词。"必能裨补阙漏"<br />
輮:通"揉";使……弯曲。动词。"木直中绳，輮以为轮。"<br />
蒻:同"箬"，箬竹。名词。"中轩敞者为舱，箬篷覆之。"<br />
善:通"缮";修治，拭擦。动词。"为之踌躇满志;善刀而藏之。。<br />
沈:同"沉":程度深。副词。"沈醉不知归路。"<br />
沈:同"沉";形容暮霭的程度深。念去去，千里烟波，暮霭沈沈楚天阔。"<br />
生:同"性"资质，禀赋。名词。"君子生非异也，善假于物也。<br />
声:通"伸";陈述，说明。动词。"吾社之行为士先者，为之声义。"<br />
失:通"佚";散失的。形容词。"网罗天下放失旧闻"<br />
识:通"志"，标志，记号。名词"出珠授之，封识宛然。"<br />
识:通"志";记住。动词。"因笑谓迈曰:'汝识之乎?'"<br />
识:通"志";记住。动词。"默而识之，学而不厌。"<br />
食:同"饲";喂。动词。"食马者不知其能千里而食也"。<br />
矢:同"屎";粪便。名词。"然与<br />
式:通"拭";古代车厢前用作扶手的横木。名词兵车不式。<br />
逝:通"誓";发誓。动词。"逝将去女，适彼乐土。"<br />
受:同"授"给，与。动词。"师者，所以传道受业解感也。"<br />
孰:同"熟";煮熟了的。形容词。"宰夫顾熊蟠不孰，杀之，"<br />
孰:同"熟";仔细。形容词。"唯大王与群臣孰计议之。"<br />
说:同"说高兴，愉快。形容词。"秦王必说见臣，臣乃得有以报太子..<br />
说:同"悦;高兴。形容词。:"王说，曰:'诗云:他人有心，予忖度'之。"<br />
说:同"悦";愉快。高兴。形容词。"而民说之，"<br />
说:同"悦";愉快。形容词。"秦王不说。"<br />
竦:同"耸";高。形容词。"水何澹澹，山岛竦峙。"<br />
太:通"大";大部分。形容词。"死者太半。"<br />
汤:同"烫":用热水焐。动词。"疾在腠理，汤熨之所及也。"<br />
田:同"畋";打猎。动词。"今王田猎于此。"<br />
帖:同"贴";用标签标出。动词。"不用，则以纸帖之。"<br />
帖:同"贴";粘附。动词。"对镜帖花黄。"<br />
庭:同"廷";国君听政的朝堂。名词。"使臣奉璧拜送书于庭。"<br />
涂:同"途"，道路。名词。"失迷涂知返，往哲是与"<br />
土:同"仕"作官。动词。"重争土豪，非下也，权重也。"<br />
橐:通"托";托付，委托。动词。"重争士橐，非下也，权重也。<br />
顽:同"玩";开玩笑。动词。"我又不同你顽。"<br />
亡:同"无";不。副词。"亡何国变，宁南死。"<br />
亡:同"无";没有。副词。"且陛下春秋高，法令亡常""空自苦亡人之地。""河曲智叟亡以应。""生之有时而用之亡度。""日知其所亡以就懿德。"<br />
罔:同"网";罗网。名词。例句中作动词，即张开罗网掳捉。"及陷于罪，然后从而刑之，是罔民也。"<br />
惟:通"唯";应答声。象声词。"伏惟启阿母，今若道此妇，终老不复取!"<br />
惟:通"唯";只，只有。副词。"惟先生乐游。""故惟日日呼酒买醉。""惟陈言之务去。""无恒产而有恒心者，惟士为能。""惟觉时之枕席，失向来之烟霞。"<br />
文:同"纹"纹理。名词。"其中多斑文小鱼。"<br />
文:同"纹";纹路，纹理。名词。"不以木为之者，文理有疏密。"<br />
无:通"毋";不要。副词。"孟尝君使人给其食用，无使乏。"<br />
销:通"消";消散。动词。"云霄雨霁，彩彻区明。"<br />
希:同"稀";稀疏，稀少，罕见。形容词。"鼓瑟希，铿尔。""有志乎古者希矣。"<br />
熙:同"嬉";欢乐，快乐。形容词。"其余则熙熙而乐。"<br />
郤:同"隙";隔阂，嫌怨。名词。"令将军与臣有郤。"<br />
孅:通"纤";精细。形容词。"古之治天下，至孅至悉也。"<br />
县:同"悬";挂，动词。"县明太祖御容明伦堂，率众拜且哭。""胡瞻尔庭有县廛兮?"<br />
乡:同"向";对着，朝着。介词。"秦伯素服郊次，乡师而哭。""以至晋鄙军之日北乡自刭。"<br />
飨:同"享";受。动词。"飨德怀恩，词不悉心。"<br />
向:通"响";响声。名词。砉然向然，奏刀騞然。"<br />
邪:同"耶";呢，吗，疑问语气助词。"赵王岂以一璧之故欺秦邪?"<br />
邪:同"耶";吗。疑问语气词。"其真无马邪?"<br />
羞:同"馐";食物名词。"玉盘珍羞直万钱。"<br />
虚:同"墟"，市。名词。"之虚所卖之。"<br />
畜:通"蓄";积聚，储藏。动词。"故其畜积足恃。"<br />
炎:通"焰";火焰。名词。"顷之，烟炎张天。"<br />
奄:同"晻";日无光。形容词。"奄奄黄昏后，寂寂人定初。"<br />
厌:通"餍";满足。形容词。"默而知之，学而不厌。""暴秦之欲无厌。""寡君若得而食之，不厌。""奉之者有限，而求之者无厌"<br />
燕:通"宴";安逸，安闲。形容词。"燕坐于华堂之上。"<br />
燕:通"宴";饮宴。名次。"集宾友酣燕。"<br />
燕:通"宴";玩乐。"桓公每游燕，辄命袁、伏。"<br />
阳:同"佯";假装，表面。"皆阳应曰:'诺，。"<br />
邀:同"要";要挟。动词。"陵压百姓而邀其上者，"<br />
要:同"邀";约订。动词。"虽与府吏要，渠会永无缘。"<br />
要:同"邀";邀请。动词。"便要还家，设酒杀鸡作食。""张良出，要项伯。"<br />
要:同"邀";拦住。动词。"鸠宗族僮奴百许人，欲要篡以归。"<br />
耶:通'爷";父亲。名词。"耶娘妻子走相送，尘埃不见咸阳桥。"<br />
夷:通"怡;平和，和悦。形容词。"与之论辩，言和而色夷。"<br />
已:同"以";"从此已去，勿复如是!"<br />
已:同"矣";了。语气助词。"夫神农以前，吾不知已。"<br />
已:同"矣";了。语气助词。"放辟邪侈，无不为已。"<br />
以:通"已";太甚。副词。"而吾子又欲使吾为越之雪，不以病乎?"<br />
以:同"已";止。动词。"无以，则王乎?"<br />
佚:同"逸";安逸，安闲。形容词。"而人民日以安于佚乐。"<br />
益:同"溢";涨水。动词。"澭水暴益。"<br />
逸:通"佚";散佚。动词。左忠毅公逸事。"<br />
翼:通"翌";明(天)。名词。"翼日进宰。"<br />
阴:通"荫"，树荫。名词。"绿杨阴里白沙堤。"<br />
阴:通"荫"，树荫，名词。"也傍桑阴学种瓜。"<br />
阴:通"荫";绿荫。名词。"佳木秀而繁阴。"<br />
有:同"又";更。副词。"殆有甚焉。"<br />
有:同"又";用于整数与零数之间。副词。"其为时止十有一月耳。""尔来二十有一年矣。""其级七千有余。"<br />
有:同"又";再一次。副词。"虽有槁暴，不复挺者，輮使之然也。"<br />
与:同"欤";吗。语气助词。"可得闻与?"<br />
与:同"欤";吗。语气助词。"而君逆寡人者，轻寡人与?"<br />
与:同"欤";呢。疑问语气词"是谁之过与?"<br />
豫:通"预";预先，事先。副词。"豫备走舸，系于船尾。"<br />
员:通"圆";圆形。名词。"以精铜铸成，员经八尺。"<br />
原:同"源"源泉。名词。"此四者，民所衣食之原也。"<br />
圆:同"圆";圆形。名词。"多平方，少圆。"<br />
芸:同"耘";锄草。动词。"植其杖而芸。"<br />
暂:通"渐"，欺诈。动词。"武夫力而拘诸原，妇人暂而免诸国。"<br />
蚤:通"早";在先，还没到时候。形容"使遂蚤得处囊中。"<br />
蚤:通"早";在先，还没到时候。形容词。"旦日不可不蚤来谢项王。"<br />
责:同"债";欠别人的钱财。名词。"先生不羞，乃有意欲为收责于薛乎?"<br />
曾:同"增";增加。动词。"曾益其所不能。"<br />
旃:同"毡";毛织的毡毯。名词。"与旃毛并咽之。"<br />
沾:同"沾";浸湿，浸润。动词。"因泣下沾衿，与武决去。"<br />
振:通"震";震动。动词。"虽董之以严刑，振之以威怒，"<br />
振:通"震"，惊恐或情绪过分激动。形容词。"燕王诚振怖大王之威，"<br />
振:通"震";震动。动词。"执敲扑而鞭答天下，威振四海。"<br />
振:同"赈";救济。动词。"大命将泛，其之振救。"<br />
征:同"徴";证据。名词。"京师学者咸怪其无征。"<br />
支:通"肢";肢体。名词。"四支犹温，一目未瞑，"<br />
枝:同"肢";肢体。名词。"为长者折枝，"<br />
知:通"智";聪明，智慧。形容词。"以大知而察及迩言。"<br />
知:通"智";聪明，智慧。形容词。两小儿笑曰:"孰为汝多知乎!"<br />
知:通"智";智慧。名词。"则知明而行无过矣。"<br />
祗:同"只";只是。副词。"祗辱于奴隶人之手。"<br />
直:通"值";价钱，代价。名词。"系向牛头充炭直。""昂其直，居为奇货。"<br />
直:通"值";价值，引申为公正的待遇。"乐国乐国，爱得我直。"<br />
直:通"值";值得。动词。"玉盘珍羞直万钱。"史进道:"直什么?"<br />
指:同"旨";旨趣。名词。"其称文小而其指极大"。<br />
质:通"贽";见面礼。名词。"乃令张仪佯去秦，厚币委质事楚，"<br />
质:同"锧"，刑具，杀人时作垫用的砧板。名词。"君不如肉袒伏斧质请罪。"<br />
陼:同"渚";水中间的小块陆地。朝发枉陼兮，夕辰阳。"<br />
属:同"嘱";嘱托、托付。动词。"属予作文以记之。"<br />
住:通"驻";动词"备用肃计，进住鄂县之樊口。"<br />
著:同"着"，穿。动词。"著我旧时裳。"<br />
转:通"啭";鸟宛转地叫。动词。"蝉则千转不穷。"<br />
椎:通"锤";兵器。例句中前一个"椎"为名词，后一个活用为状语。"朱亥袖四十斤铁椎椎杀晋鄙。"<br />
濯:通"浊"肮脏，水不清。形容词。"自疏濯淖污泥之中。"<br />
兹:通"滋"副词。兹，更加。"赋敛兹重。"<br />
咨:同"谘";询问。动词。"事无大小，悉以咨之。"<br />
卒:通"猝"，仓猝。形容词。"五万兵难卒合。"<br />
尊:通"樽"古代盛酒的器具。名词，"人生如梦，一尊还酹江月。"<br />
坐:同"座";座位。名词。"直上载公于上坐。""满坐寂然，无敢哗者。"<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
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<br />
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<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
<br />
Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
<br />
(3)Translation Under Fidelity Rule<br />
<br />
The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
<br />
Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
<br />
In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
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<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
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Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
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Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
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Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
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Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
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Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
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<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14627120220630 Culture 22022-07-02T15:32:48Z<p>Li Yuan: /* Appendix */</p>
<hr />
<div>Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]] <br />
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==This is the final exam paper website no. 2==<br />
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]<br />
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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
<br />
<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
<br />
===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
<br />
===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
<br />
Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
<br />
===Proverbs===<br />
<br />
Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
<br />
===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
<br />
In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
<br />
However, the Tang Dynasty considered chubby women as beautiful.<br />
<br />
The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
<br />
According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
<br />
The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
<br />
In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
<br />
===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
<br />
===Some common cultural implications of Chinese lantern===<br />
<br />
Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
<br />
===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
<br />
===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
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'''3. Regional Features in Cuisine Names''' <br />
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There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
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The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
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===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
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===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
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* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
<br />
* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
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* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
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* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
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* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
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* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
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* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
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===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
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The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
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Mapo Tofu：麻婆豆腐<br />
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Shrimp with green Vegetable：翡翠虾仁<br />
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Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
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Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
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Cut: 切 chop：剁 split：劈 scrape：剔<br />
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Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
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Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
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stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
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Corn Meatballs：玉米肉丸<br />
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Sweet and Sour Fish：糖醋鱼<br />
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Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
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Diced Chicken with Cashew Nuts：腰果鸡丁<br />
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Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
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Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
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Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
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Pork Cooked with Green Chili：辣椒炒肉<br />
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Scrambled Egg with Tomato：番茄炒蛋<br />
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Hairy Crabs：大闸蟹<br />
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Golden Coin-shaped Scallops：金钱干贝<br />
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Sour and Hot Diced Chicken：酸辣鸡丁<br />
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Sweet and Sour Ribs：糖醋排骨<br />
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Cola Chicken Wings：可乐鸡翅<br />
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Braised Meat Balls in Brown Sauce：红烧狮子头<br />
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Tai Chi Shaped Taro：太极芋头<br />
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Stewed Assorted Delicacies：全家福<br />
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Wishful Bamboo Shoots：如意笋<br />
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Wen Si Tofu：文思豆腐<br />
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Dongpo Meat：东坡肉<br />
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Peking Duck：北京烤鸭<br />
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West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
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Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
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Meat in Tomato Sauce：乾隆樱桃肉<br />
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Murrel with Fresh Vegetables：将军过桥<br />
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Changban Slope：长坂坡<br />
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Two Winter：二冬<br />
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Three Delicacies：三鲜<br />
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Three Shreds：三丝<br />
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Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
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Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
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Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
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Fried Magnolia Slices：炒玉兰片<br />
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Fried Bamboo Shoots Slices：炒笋片<br />
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Salted Pork in Jelly：水晶肴肉<br />
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Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
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Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
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Mirror Box Tofu：镜箱豆腐<br />
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Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
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Shrimp Ring with Green Vegetable：翡翠虾环<br />
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Golden Eggs：金钱蛋<br />
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Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
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Farewell My Concubine：霸王别姬<br />
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Chicken Slices with Hibiscus：芙蓉鸡片<br />
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Scallops with Hibiscus：芙蓉干贝<br />
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Clams with Hibiscus：芙蓉青蛤<br />
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The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
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The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
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Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
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Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
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Crusade against daddy：早生贵子<br />
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Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
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The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
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Siraitia Grosvenorii：罗汉果<br />
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Prajna Dishes：般若菜<br />
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Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
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Yin and Yang Fish：阴阳鱼<br />
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Heaven and Earth Eggs：乾坤蛋<br />
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Mutton eaten with hands：手抓羊肉<br />
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Sweet and Sour Pork：咕咾肉<br />
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Pearl Bean Curd：珍珠豆腐<br />
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Golden Prawn：金钱明虾<br />
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Crispy Duck：脆皮八宝鸭<br />
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Spiced Beef：五香牛肉<br />
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Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
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Full of Prosperity：满园春色<br />
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===Questions===<br />
1.How many naming methods are mentioned?<br />
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2.Who is the Four-Joy Meatballs associated with?<br />
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3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
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===Answers===<br />
1.Eight.<br />
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2.Zhang Jiuling<br />
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3.Egg white.<br />
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==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
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<center>李欣</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)<br />
===Subtitle 2===<br />
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===Subtitle 3===<br />
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===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
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===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
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===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
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===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
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After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
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During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
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At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
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===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
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===Subtitle 1：The Motivation of the Miaoyu===<br />
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In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
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===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
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There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
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2.The Distribution of Miao Nationality<br />
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(1)Domestic Distribution<br />
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The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
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(2)Overseas Distribution<br />
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The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
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The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
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===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
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Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
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There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
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The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
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2.Historical formation of the Hmong<br />
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This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
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The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
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Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
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During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
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===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
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Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
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The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
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Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
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Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
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In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
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===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
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After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
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Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
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1.Characteristics of Xiangxi dialect<br />
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The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
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2.Qiandong dialect<br />
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The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
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3.Chuanqian Dian dialect<br />
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The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
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The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
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The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
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The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
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The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
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The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
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(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
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(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
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In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
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The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
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The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
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(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
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In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
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The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
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The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
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===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Character (Tongjiazi) in Chinese and its English Translation in ''the Analects of Confucius'''''</center><br />
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<center>LiYuan</center><br />
<br />
===Abstract===<br />
The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
<br />
===Key words===<br />
phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
<br />
===Introduction===<br />
The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
<br />
There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
<br />
===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
<br />
To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
<br />
It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
<br />
===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
<br />
One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
<br />
One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
<br />
One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
<br />
One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
<br />
One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
<br />
One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
<br />
One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
<br />
The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods, when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yiyizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty, Xu Shen's “Shuowenjiezi” was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties, some men of letters still used Tongjiazi, but during the Tang and Song dynasties, apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
<br />
===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
<br />
===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. With the development of the times, the majority of ancient texts now have annotated versions, that is, intralingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
<br />
In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. In addition, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on ''Classics of Difficulties'' Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in ''Synopsis of Golden Chamber'' Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical texts. This shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
The number of Tongjiazi in ''the Analects'' is relatively small, and the content is relatively easy to understand. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. In Xu Yuanchong’s translation of ''the Analects'', the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraqhrasing.<br />
<br />
(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
<br />
TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
<br />
In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
<br />
(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
<br />
In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
<br />
In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
<br />
TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
<br />
In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) <br />
<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
<br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
===Conclusion===<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one was due to the need for euphemism. Tongjiazi appeared in large numbers during the Spring and Autumn and Warring States periods, and were completely discontinued with the advent of vernacular Chinese. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. When translating such texts, then, translators need to acquire certain skills. In addition to a certain level of literacy and accumulation and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of ''the Analects of Confucius'' as an example, analyses the English translation of Tongjiazi in it, and comes up with three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi, so as to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
===Appendix===<br />
Common Phonetic Loan Characters(Tongjiazi)<br />
<br />
案:同"按";审察，察看。动词。"召有司案图，指从此以往十五都予赵。"<br />
罢:通"疲";疲劳。形容词。"罢夫赢老易于而咬其骨。"<br />
颁:通"班";"斑";头发花白。形容词。"颁白者不负戴于道路矣。"<br />
板:同"版";字版。名词。"板印书籍，唐人尚未盛为之。"<br />
暴:"同曝"晒。动词。"虽有槁暴，不复挺者，輮使之然也。"<br />
暴:同"曝"暴露，显露。动词。"思厥先祖父，暴霜露。""忠义暴于朝廷。"<br />
杓:同"勺";酒器。名词。"沛公不胜杯杓，不能辞。"<br />
倍:同"背"，背叛，违背。动词。"倍道而妄行，则天不能使之吉。""愿伯具言臣之不敢倍德也。"<br />
被:同"披";覆盖在肩背上，动词。"廉颇为之一饭斗米，肉十斤，被甲上马。""屈原至于江滨，被发行吟泽畔。""被明月兮佩宝璐。""闻妻言，如被冰雪。"<br />
俾倪:同"睥睨";斜着眼看。形容词。"见其客朱亥，俾倪."<br />
辟:通"避";躲避。动词。"其北陵，文王所辟风雨也。"<br />
辟:通"僻";行为不正。形容词。"放辟邪侈，无不为已。"<br />
弊:通"敝";困顿，失败。名词。"秦有余力而制其弊，"<br />
弊:通"敝";疲惫，衰败。形容词。"率疲弊之卒，将数百之众，转而攻秦;""今天下三分，益州疲弊。"<br />
徧:同"遍"遍及，普遍。动词。"小惠末徧，民弗从也。"<br />
宾:同"傧";迎接客人的人。名词"设九宾于廷，臣乃敢上璧。"<br />
不:同"否";不。副词。"或师焉，或不焉。"<br />
不:同"否";吗。疑问语气词。"察王以十五城请易寡人之璧可予不?""汝见我不?""宁可共载不?"<br />
材:同"才";才能。名词。"食之不能尽其材。"<br />
裁:通"才";刚刚。副词。"手裁举，则又超忽而跃。"<br />
采:同"彩";颜色，彩色。名词。"须臾成五采。""成五采，此天子气也。"<br />
仓:同"苍";黑色。名词。"要离刺庆忌也，仓鹰击于殿上。"<br />
藏:同"脏"脏腑。名词。"末至二三里，摧藏马悲哀。"<br />
廛:通"缠""胡取禾三百廛兮?"<br />
唱:通"倡";倡导。动词。"而予三十年前所主唱之三民主义、五权宪法，"<br />
钞:同"抄";抄写。动词。"适中手自钞录。"<br />
雠:同"仇";仇敌，仇人。"及仇雠已灭，天下已定，"<br />
鉏:同"锄";锄头。名词。"鉏櫌棘矜,非铦于钩戟长铩也。"<br />
绌:通"黜";罢免官职。动词。"屈平既绌，"<br />
从:同"纵";合纵，联合抗秦。动词。其后秦欲伐齐，齐与楚从亲。"<br />
从:同"纵";与"横"相对，"合从缔交，相与为一。""赵使平原君求救，合从于楚。"<br />
淬:通"焠":金属器械烧后放入水中，"取之百金，使工以药淬之。"<br />
厝:同"措";放置。动词。"一厝朔东，一厝雍南"。<br />
错:同"措";放。动词。"以君为长者，故不错意也。"<br />
当:通"挡";抵挡。动词。"非刘豫州莫可以当操者。""汉亦留之以相当。""坦墙周庭，以当南日""曹军不能抵当。"<br />
党:通"倘";倘若，偶然。副词。"风雨之不时，怪星之党见，"<br />
道:同"导";引导。动词。"故善者困之，其次利道之。"<br />
得:通"德";恩惠。名词。"所识穷乏者得我与?"<br />
吊:同"掉";落。动词。"连一根针吊在地下都听得见响!"<br />
丁宁:同"叮咛";嘱咐。动词。"府吏见丁宁，结誓不别离。"<br />
读:通"逗";即"，"。名词。"授之书而习其句读者。"<br />
度:同"渡";渡过，越过。动词。"一夜飞度镜湖月"<br />
队:通"坠";坠落。动词。"星队、木鸣、国人皆恐。"<br />
敚:同"夺";强取，夺取。动词。"再敚门，门闭不得出。"<br />
堕:通"隳";毁弃。动词。"堕军实而长寇仇，亡无日矣!"<br />
而:通"尔";"你的。代词。"吾乃与而君言，汝何为者也?"<br />
而:通"尔";你。人称代词。"某所，而母立于兹。"<br />
而:同"如"象。形容词。"军惊而坏都舍。"<br />
尔:同"耳"罢了。语气助词。"时人伤之，为诗云尔。""无他，但手熟尔。""非死则徙尔。""倘三年犹不得，即犹不归尔。""以头抢地尔。"<br />
<br />
蕃:通"繁";多。形容词。"水陆草木之花，可爱者甚蕃。"<br />
反:同"返";返回。动词。"盖亦反其本矣。""人穷则反本。""责收毕，以何市而反?""其良人出必餍酒肉而后反。""今日往而不反者，竖子也!""寒暑易节，始一反焉。"<br />
奉:通"俸";俸禄，薪俸。名词。"弘位在三公，奉禄甚多。"<br />
奉:同"捧";两手托着。动词。"王必无人，臣愿奉璧往使。<br />
缶:同"缻";盛酒浆的瓦器。名词。"请奉盆缶秦王，以相娱乐。"<br />
拂:同"弼";辅弼。动词。"入则无法家拂士。"<br />
父:同"甫"，古代在男子名字下加的美称。名词。"长乐王回深父，余弟安国平父、安上纯父。"<br />
盖:通"盍";何不。兼词。"盖亦反其本矣。"<br />
盖:通"盍";为什么，疑问代词。"嘻，善哉，技盖至此乎?"<br />
干:通"岸""坎坎伐檀兮，置之河之干兮。"<br />
估:通"贾";商人。名词。"舟中估客莫漫狂，小姑前年嫁彭郎。"<br />
灌:通"盥";洗手。动词。"媵人持汤沃灌。"<br />
函胡:同"含糊";形容词。"南声函胡，北音清越。"<br />
曷:同"何";什么。疑问代词。"蹈死不顾，亦易故哉?"<br />
何:同"呵";喝问。动词。"信臣精卒陈利兵而谁何?"<br />
衡:通"横";跟竖、直相对。名词。"有勇力者聚徒而衡击。"<br />
衡:通"横";梗塞，指不顺。动词。"困于心，衡于虑。"<br />
衡:通"横";与纵相对，"外连横而斗诸侯。"<br />
华:同"花";植物的繁殖器官。名词。"混黄华叶衰。"<br />
画:同"划"用拨子在琵琶中划一下。用拨子在琵琶中划一下。<br />
驩:同"欢"欢聚。动词。"王必欲降武，请毕今日之驩。"<br />
还:同"环";绕。动词。"秦王还柱而走。"<br />
还:同"旋";回转、掉转。动词"扁鹊望桓侯而还走。"<br />
皇:通"惶";恐惧，惊慌。形容词。"然仓皇中不可落于敌人之手以死。""赢得仓皇北顾。""仓皇东出，未及见贼而士卒离散。"<br />
皇:同"凰"传说中的雌凤。名词。"鸾鸟凤皇，日以远兮。"<br />
恍:同"恍"恍然，猛然醒来的样子。"恍惊起而长嗟。"<br />
麾:同"挥";指挥。动词。"麾众拥豪民马前。"<br />
惠:同"慧";聪明。形容词。"甚矣，汝之不惠。"<br />
惛:通"昏";昏乱糊涂。形容词。"吾惛，不能进于是矣。"<br />
混:同"浑"水不筒，污浊，形容词。"举世混浊，何不随其流而扬其波?"<br />
溷:同"混"、"浑"混浊。形容词。"世溷浊而莫余知兮。"<br />
溷:同"混"、"浑";厕所。名词。"中丞匿于溷藩以免。"<br />
火:同"伙";古代军队的组织，十个为"一火""出门看火伴"。<br />
火:同"伙";一伙。数量词。古代军队"瞎王留引定火乔男女，"<br />
机:通"几";预兆。名词。"所赖君子见机，达人知命。"<br />
疾:同"嫉";嫉妒，憎恨。动词。"君子疾夫舍曰欲之而必为之辞。""庞涓恐其贤于己，疾之。"<br />
棘:同"戟";兵器。名词。"鉏櫌棘矜,非铦于钩戟长铩也。"<br />
籍:通"藉";垫。动词。"籍柔覆温之躯。"<br />
纪:通"记";记载。动词。"又或有纪载而语焉不详。"<br />
贾:通"价";钱。名词。"如有营，予佐尔贾。"<br />
简:同"拣"选，择。动词。"宏餍慈九德，简能而任之。"<br />
简:同"拣";挑选，选拔。动词。"是以先帝简拔以遗陛下。"<br />
简:同"拣";挑选。动词。"盖简桃核修狭者为之。"<br />
见:同"现";暴露，露出来。动词。"图穷而匕首见。""譬若锥之处囊中，其末立见。"<br />
见:同"现";展现，表露出来。动词。"信义安所见乎?""才美不外见。"<br />
见:同"现";出现。动词。"何时眼前突兀见此屋?""路转溪头忽见。""风吹草低见牛羊。"<br />
见:同"现";现在。副词。"明标着册历，见放着文书!"<br />
缰:同"强";强大。形容词。"缰本而节用，则天不能贫。"<br />
疆:通"强";强壮。形容词。"始以疆壮出，及还，须发尽白。"<br />
介:同"芥";小草。名词。"无纠介之祸者，冯谖之计也。"<br />
缙:通"搢";插。动词。"缙绅、大夫、士萃于左丞相府，莫知计所出。"<br />
菁:通"精";精华，糟碎。形容词。"吾党菁华，付之一炬。"<br />
景:同"影";影子。名词。"天下云集响应，赢粮而景从。"<br />
迥:同"回";辣转。动词。"迥忆后街之屋。"<br />
鸠:同"纠";集合。动词。"豪民于闻难，鸠宗族僮奴百许人。"<br />
沮:通"阻"阻止，阻挡。动词。"帝屡欲召用瑞，执政阴沮之。<br />
句:同"勾";勾取。动词。"虽小数，然必句性情，习方俗。<br />
具:通"俱";全，都，引申为详细。副词。"此人一一为具言所闻。""愿伯具言臣之不敢倍德也。""具告所以欲死秦军状"。<br />
具:通"俱";全，皆。副词。"政通人和，百废具兴。"<br />
距:同"拒";抗拒。动问。"或走，或闭门旅距。。<br />
距:同"拒";把守。动词。"距关，毋内诸侯。"<br />
决:通"诀"诀别,离别。动词。"今太子迟之，请辞决矣!<br />
决:通"诀";离别。动词。"辞决而行"。<br />
掘:同"倔"，顽强，固执。形容词。"掘强沙塞之间，"<br />
抗:通"亢";高。形容词。"引商刻羽，抗坠疾徐，并称善也。"<br />
亏:同"诡"差异，不适应。动词"其时已与先王之法亏矣。"<br />
雷:通"擂";敲击。动词。"擂鼓大震，北军大坏。"<br />
儽:通"累";堆矗，积累。动词。"即今之儽然在墓者也。"<br />
累:通"摞";捆绑犯人的大绳子例句中作。捆绑。讲，与"臣"一起指。俘虏。""君之惠，不以累臣衅鼓。"<br />
累累:通"垒垒";形容坟墓一个连着一个的样子。形容词。"遥望是君家，松柏冢累累。"<br />
离:通"罹";遭遇。动词。"'离骚'者，犹离忧也。<br />
栗:同"栗";发抖。动词。"栗深林今惊层颠。"<br />
帘:同"奁"女子梳妆用的镜匣。"名箱帘六七十，绿碧青丝绳。"<br />
列:通"裂";分裂。动词。"列缺霹雳,丘峦崩摧。"<br />
脟:同"脔"切成块状的肉。名词。切成块状的肉。名词。<br />
廪廪:通"懔懔";危惧的样子。形容"而直为此廪廪也。"<br />
陵:通"凌";凌侮。动词。"陵压百姓而邀其上者。"<br />
流离:同"淋漓";沾湿的样子。形容词。"两股间脓血流离。"<br />
陇:同"垄";高地。名词。"冀之南，汉之阴，无陇断焉"。<br />
录:同"碌";平凡，平庸。形容词。"公等录录，所谓因人成事者也。"<br />
戮:通"勠"并力，尽力。动词。"臣与将军戮力而攻秦。"<br />
臝:同"裸";裸体。名词。"接舆髡首兮，桑扈臝行。"<br />
茆:同"茅";茅草。名词。"覆之以茆。"<br />
没:同"殁";死。动词。"孝公既没，惠文、武、昭襄蒙故业"<br />
每:同"们";词尾，表人的复数。"这都是官吏每无心正当。"<br />
甿:同"氓"耕田的人。名词。"然陈涉瓮牖绳枢之子，甿隶之人。"<br />
俛:同"俯";低头，表示服从。动词。"百越之君，俛首系颈，委命下吏。"<br />
缪:同"穆"温和，恭敬。例句中为姓。"秦自缪公以来二十余君，未尝有坚明约束者也"<br />
陌:通"百";量词。"烧不了的纸钱，与窦娥烧一陌儿。"<br />
莫:同"暮";日落的时候，晚上。名词。"至莫夜月明，独与迈乘小舟，至绝壁下。"<br />
莫:同"暮";日落时，引申为"末"。"莫春者，春服既成，"<br />
畮:同"亩"土地面积单位。量词。"末技游食之民，转而缘南畮。<br />
内:同"纳"接纳，接受。动词。"然后命使内之，则又再拜，""距关，毋内诸侯。"<br />
内:同"纳"，放人。动词。"公受珠，内所著披袄中，纫之。"<br />
那:同"挪";抽。动词。"过几时，那工夫来望恩人。"<br />
呐:同"讷";说话迟钝或口吃，的句中的"只听得差拨口里<br />
孽:同"孽";灾害，罪恶。名词。"况伪孽昏狡，自相夷戮，"<br />
女:同"汝";人称代词。"三岁贯女，莫我肯顾。"<br />
殴:通"驱"驱逐。动词。"今殴民而归之农。"<br />
畔:通"叛";背叛，离开。动词。"寡助之至，亲戚畔之。"<br />
畔:同"叛";背叛。动词。"不顾恩义，畔主背亲。"<br />
旁:通"傍"依附。接近。动词。"吾灵尚依旁汝也。"<br />
矉:同"颦";皱眉头。动词。"西施病心而矉其里。<br />
齐:同"剂";量词，例句中为名词。"在肠胃，火齐之所及也。"<br />
蕲:同"祈";求。动词。"蕲胜于人而取于人邪?"<br />
契:同"锲";刻，动词。"剑自舟中坠于水，遽契其舟。"<br />
襁:同"襁";婴儿的被子，包袱。名词。"则人物归亡，襁至而辐凑。"<br />
躈:同"噭";一说是肛门。名词。牛羊蹄躈各以千计。"<br />
禽:通"擒"捕捉。动词。"将军禽操，宜在今日。"<br />
禽:通"擒";捕捉。动词。"阴知奸党名姓，一时收禽。。<br />
诎:同"屈";弯曲。动词。"诎右臂支船。"<br />
取:通"娶";把女子接过来成亲。动词。"今若遣此妇，终老不复取。"<br />
去:同"弆";藏。动词。"掘野鼠去草实而食之。。<br />
却:同"却"，退。"大军却，离城三里止营。"<br />
郤:同"隙";空隙。名词。"依乎天理，批大却<br />
阙:通"缺";缺点。名词。"必能裨补阙漏"<br />
輮:通"揉";使……弯曲。动词。"木直中绳，輮以为轮。"<br />
蒻:同"箬"，箬竹。名词。"中轩敞者为舱，箬篷覆之。"<br />
善:通"缮";修治，拭擦。动词。"为之踌躇满志;善刀而藏之。。<br />
沈:同"沉":程度深。副词。"沈醉不知归路。"<br />
沈:同"沉";形容暮霭的程度深。念去去，千里烟波，暮霭沈沈楚天阔。"<br />
生:同"性"资质，禀赋。名词。"君子生非异也，善假于物也。<br />
声:通"伸";陈述，说明。动词。"吾社之行为士先者，为之声义。"<br />
失:通"佚";散失的。形容词。"网罗天下放失旧闻"<br />
识:通"志"，标志，记号。名词"出珠授之，封识宛然。"<br />
识:通"志";记住。动词。"因笑谓迈曰:'汝识之乎?'"<br />
识:通"志";记住。动词。"默而识之，学而不厌。"<br />
食:同"饲";喂。动词。"食马者不知其能千里而食也"。<br />
矢:同"屎";粪便。名词。"然与<br />
式:通"拭";古代车厢前用作扶手的横木。名词兵车不式。<br />
逝:通"誓";发誓。动词。"逝将去女，适彼乐土。"<br />
受:同"授"给，与。动词。"师者，所以传道受业解感也。"<br />
孰:同"熟";煮熟了的。形容词。"宰夫顾熊蟠不孰，杀之，"<br />
孰:同"熟";仔细。形容词。"唯大王与群臣孰计议之。"<br />
说:同"说高兴，愉快。形容词。"秦王必说见臣，臣乃得有以报太子..<br />
说:同"悦;高兴。形容词。:"王说，曰:'诗云:他人有心，予忖度'之。"<br />
说:同"悦";愉快。高兴。形容词。"而民说之，"<br />
说:同"悦";愉快。形容词。"秦王不说。"<br />
竦:同"耸";高。形容词。"水何澹澹，山岛竦峙。"<br />
太:通"大";大部分。形容词。"死者太半。"<br />
汤:同"烫":用热水焐。动词。"疾在腠理，汤熨之所及也。"<br />
田:同"畋";打猎。动词。"今王田猎于此。"<br />
帖:同"贴";用标签标出。动词。"不用，则以纸帖之。"<br />
帖:同"贴";粘附。动词。"对镜帖花黄。"<br />
庭:同"廷";国君听政的朝堂。名词。"使臣奉璧拜送书于庭。"<br />
涂:同"途"，道路。名词。"失迷涂知返，往哲是与"<br />
土:同"仕"作官。动词。"重争土豪，非下也，权重也。"<br />
橐:通"托";托付，委托。动词。"重争士橐，非下也，权重也。<br />
顽:同"玩";开玩笑。动词。"我又不同你顽。"<br />
亡:同"无";不。副词。"亡何国变，宁南死。"<br />
亡:同"无";没有。副词。"且陛下春秋高，法令亡常""空自苦亡人之地。""河曲智叟亡以应。""生之有时而用之亡度。""日知其所亡以就懿德。"<br />
罔:同"网";罗网。名词。例句中作动词，即张开罗网掳捉。"及陷于罪，然后从而刑之，是罔民也。"<br />
惟:通"唯";应答声。象声词。"伏惟启阿母，今若道此妇，终老不复取!"<br />
惟:通"唯";只，只有。副词。"惟先生乐游。""故惟日日呼酒买醉。""惟陈言之务去。""无恒产而有恒心者，惟士为能。""惟觉时之枕席，失向来之烟霞。"<br />
文:同"纹"纹理。名词。"其中多斑文小鱼。"<br />
文:同"纹";纹路，纹理。名词。"不以木为之者，文理有疏密。"<br />
无:通"毋";不要。副词。"孟尝君使人给其食用，无使乏。"<br />
销:通"消";消散。动词。"云霄雨霁，彩彻区明。"<br />
希:同"稀";稀疏，稀少，罕见。形容词。"鼓瑟希，铿尔。""有志乎古者希矣。"<br />
熙:同"嬉";欢乐，快乐。形容词。"其余则熙熙而乐。"<br />
郤:同"隙";隔阂，嫌怨。名词。"令将军与臣有郤。"<br />
孅:通"纤";精细。形容词。"古之治天下，至孅至悉也。"<br />
县:同"悬";挂，动词。"县明太祖御容明伦堂，率众拜且哭。""胡瞻尔庭有县廛兮?"<br />
乡:同"向";对着，朝着。介词。"秦伯素服郊次，乡师而哭。""以至晋鄙军之日北乡自刭。"<br />
飨:同"享";受。动词。"飨德怀恩，词不悉心。"<br />
向:通"响";响声。名词。砉然向然，奏刀騞然。"<br />
邪:同"耶";呢，吗，疑问语气助词。"赵王岂以一璧之故欺秦邪?"<br />
邪:同"耶";吗。疑问语气词。"其真无马邪?"<br />
羞:同"馐";食物名词。"玉盘珍羞直万钱。"<br />
虚:同"墟"，市。名词。"之虚所卖之。"<br />
畜:通"蓄";积聚，储藏。动词。"故其畜积足恃。"<br />
炎:通"焰";火焰。名词。"顷之，烟炎张天。"<br />
奄:同"晻";日无光。形容词。"奄奄黄昏后，寂寂人定初。"<br />
厌:通"餍";满足。形容词。"默而知之，学而不厌。""暴秦之欲无厌。""寡君若得而食之，不厌。""奉之者有限，而求之者无厌"<br />
燕:通"宴";安逸，安闲。形容词。"燕坐于华堂之上。"<br />
燕:通"宴";饮宴。名次。"集宾友酣燕。"<br />
燕:通"宴";玩乐。"桓公每游燕，辄命袁、伏。"<br />
阳:同"佯";假装，表面。"皆阳应曰:'诺，。"<br />
邀:同"要";要挟。动词。"陵压百姓而邀其上者，"<br />
要:同"邀";约订。动词。"虽与府吏要，渠会永无缘。"<br />
要:同"邀";邀请。动词。"便要还家，设酒杀鸡作食。""张良出，要项伯。"<br />
要:同"邀";拦住。动词。"鸠宗族僮奴百许人，欲要篡以归。"<br />
耶:通'爷";父亲。名词。"耶娘妻子走相送，尘埃不见咸阳桥。"<br />
夷:通"怡;平和，和悦。形容词。"与之论辩，言和而色夷。"<br />
已:同"以";"从此已去，勿复如是!"<br />
已:同"矣";了。语气助词。"夫神农以前，吾不知已。"<br />
已:同"矣";了。语气助词。"放辟邪侈，无不为已。"<br />
以:通"已";太甚。副词。"而吾子又欲使吾为越之雪，不以病乎?"<br />
以:同"已";止。动词。"无以，则王乎?"<br />
佚:同"逸";安逸，安闲。形容词。"而人民日以安于佚乐。"<br />
益:同"溢";涨水。动词。"澭水暴益。"<br />
逸:通"佚";散佚。动词。左忠毅公逸事。"<br />
翼:通"翌";明(天)。名词。"翼日进宰。"<br />
阴:通"荫"，树荫。名词。"绿杨阴里白沙堤。"<br />
阴:通"荫"，树荫，名词。"也傍桑阴学种瓜。"<br />
阴:通"荫";绿荫。名词。"佳木秀而繁阴。"<br />
有:同"又";更。副词。"殆有甚焉。"<br />
有:同"又";用于整数与零数之间。副词。"其为时止十有一月耳。""尔来二十有一年矣。""其级七千有余。"<br />
有:同"又";再一次。副词。"虽有槁暴，不复挺者，輮使之然也。"<br />
与:同"欤";吗。语气助词。"可得闻与?"<br />
与:同"欤";吗。语气助词。"而君逆寡人者，轻寡人与?"<br />
与:同"欤";呢。疑问语气词"是谁之过与?"<br />
豫:通"预";预先，事先。副词。"豫备走舸，系于船尾。"<br />
员:通"圆";圆形。名词。"以精铜铸成，员经八尺。"<br />
原:同"源"源泉。名词。"此四者，民所衣食之原也。"<br />
圆:同"圆";圆形。名词。"多平方，少圆。"<br />
芸:同"耘";锄草。动词。"植其杖而芸。"<br />
暂:通"渐"，欺诈。动词。"武夫力而拘诸原，妇人暂而免诸国。"<br />
蚤:通"早";在先，还没到时候。形容"使遂蚤得处囊中。"<br />
蚤:通"早";在先，还没到时候。形容词。"旦日不可不蚤来谢项王。"<br />
责:同"债";欠别人的钱财。名词。"先生不羞，乃有意欲为收责于薛乎?"<br />
曾:同"增";增加。动词。"曾益其所不能。"<br />
旃:同"毡";毛织的毡毯。名词。"与旃毛并咽之。"<br />
沾:同"沾";浸湿，浸润。动词。"因泣下沾衿，与武决去。"<br />
振:通"震";震动。动词。"虽董之以严刑，振之以威怒，"<br />
振:通"震"，惊恐或情绪过分激动。形容词。"燕王诚振怖大王之威，"<br />
振:通"震";震动。动词。"执敲扑而鞭答天下，威振四海。"<br />
振:同"赈";救济。动词。"大命将泛，其之振救。"<br />
征:同"徴";证据。名词。"京师学者咸怪其无征。"<br />
支:通"肢";肢体。名词。"四支犹温，一目未瞑，"<br />
枝:同"肢";肢体。名词。"为长者折枝，"<br />
知:通"智";聪明，智慧。形容词。"以大知而察及迩言。"<br />
知:通"智";聪明，智慧。形容词。两小儿笑曰:"孰为汝多知乎!"<br />
知:通"智";智慧。名词。"则知明而行无过矣。"<br />
祗:同"只";只是。副词。"祗辱于奴隶人之手。"<br />
直:通"值";价钱，代价。名词。"系向牛头充炭直。""昂其直，居为奇货。"<br />
直:通"值";价值，引申为公正的待遇。"乐国乐国，爱得我直。"<br />
直:通"值";值得。动词。"玉盘珍羞直万钱。"史进道:"直什么?"<br />
指:同"旨";旨趣。名词。"其称文小而其指极大"。<br />
质:通"贽";见面礼。名词。"乃令张仪佯去秦，厚币委质事楚，"<br />
质:同"锧"，刑具，杀人时作垫用的砧板。名词。"君不如肉袒伏斧质请罪。"<br />
陼:同"渚";水中间的小块陆地。朝发枉陼兮，夕辰阳。"<br />
属:同"嘱";嘱托、托付。动词。"属予作文以记之。"<br />
住:通"驻";动词"备用肃计，进住鄂县之樊口。"<br />
著:同"着"，穿。动词。"著我旧时裳。"<br />
转:通"啭";鸟宛转地叫。动词。"蝉则千转不穷。"<br />
椎:通"锤";兵器。例句中前一个"椎"为名词，后一个活用为状语。"朱亥袖四十斤铁椎椎杀晋鄙。"<br />
濯:通"浊"肮脏，水不清。形容词。"自疏濯淖污泥之中。"<br />
兹:通"滋"副词。兹，更加。"赋敛兹重。"<br />
咨:同"谘";询问。动词。"事无大小，悉以咨之。"<br />
卒:通"猝"，仓猝。形容词。"五万兵难卒合。"<br />
尊:通"樽"古代盛酒的器具。名词，"人生如梦，一尊还酹江月。"<br />
坐:同"座";座位。名词。"直上载公于上坐。""满坐寂然，无敢哗者。"<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
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[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
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[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
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[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
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[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
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[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
<br />
Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
<br />
(3)Translation Under Fidelity Rule<br />
<br />
The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
<br />
Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
<br />
In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.<br />
<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
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Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
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Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
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Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.<br />
<br />
Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.<br />
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Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
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Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
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Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
<br />
Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
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Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
<br />
Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
<br />
Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
<br />
Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14627020220630 Culture 22022-07-02T15:31:34Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
<hr />
<div>Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]] <br />
<br />
==This is the final exam paper website no. 2==<br />
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]<br />
<br />
*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
<br />
<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
<br />
===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
<br />
===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
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Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
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===Proverbs===<br />
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Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
<br />
===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
<br />
In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
<br />
However, the Tang Dynasty considered chubby women as beautiful.<br />
<br />
The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
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According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
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The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
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In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
<br />
===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
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===Some common cultural implications of Chinese lantern===<br />
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Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
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===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
<br />
===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
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'''3. Regional Features in Cuisine Names''' <br />
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There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
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The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
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===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
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===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
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* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
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* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
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* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
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* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
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* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
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* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
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* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
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===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
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The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
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Mapo Tofu：麻婆豆腐<br />
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Shrimp with green Vegetable：翡翠虾仁<br />
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Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
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Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
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Cut: 切 chop：剁 split：劈 scrape：剔<br />
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Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
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Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
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stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
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Corn Meatballs：玉米肉丸<br />
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Sweet and Sour Fish：糖醋鱼<br />
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Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
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Diced Chicken with Cashew Nuts：腰果鸡丁<br />
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Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
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Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
<br />
Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
<br />
Pork Cooked with Green Chili：辣椒炒肉<br />
<br />
Scrambled Egg with Tomato：番茄炒蛋<br />
<br />
Hairy Crabs：大闸蟹<br />
<br />
Golden Coin-shaped Scallops：金钱干贝<br />
<br />
Sour and Hot Diced Chicken：酸辣鸡丁<br />
<br />
Sweet and Sour Ribs：糖醋排骨<br />
<br />
Cola Chicken Wings：可乐鸡翅<br />
<br />
Braised Meat Balls in Brown Sauce：红烧狮子头<br />
<br />
Tai Chi Shaped Taro：太极芋头<br />
<br />
Stewed Assorted Delicacies：全家福<br />
<br />
Wishful Bamboo Shoots：如意笋<br />
<br />
Wen Si Tofu：文思豆腐<br />
<br />
Dongpo Meat：东坡肉<br />
<br />
Peking Duck：北京烤鸭<br />
<br />
West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
<br />
Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
<br />
Meat in Tomato Sauce：乾隆樱桃肉<br />
<br />
Murrel with Fresh Vegetables：将军过桥<br />
<br />
Changban Slope：长坂坡<br />
<br />
Two Winter：二冬<br />
<br />
Three Delicacies：三鲜<br />
<br />
Three Shreds：三丝<br />
<br />
Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
<br />
Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
<br />
Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
<br />
Fried Magnolia Slices：炒玉兰片<br />
<br />
Fried Bamboo Shoots Slices：炒笋片<br />
<br />
Salted Pork in Jelly：水晶肴肉<br />
<br />
Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
<br />
Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
<br />
Mirror Box Tofu：镜箱豆腐<br />
<br />
Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
<br />
Shrimp Ring with Green Vegetable：翡翠虾环<br />
<br />
Golden Eggs：金钱蛋<br />
<br />
Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
<br />
Farewell My Concubine：霸王别姬<br />
<br />
Chicken Slices with Hibiscus：芙蓉鸡片<br />
<br />
Scallops with Hibiscus：芙蓉干贝<br />
<br />
Clams with Hibiscus：芙蓉青蛤<br />
<br />
The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
<br />
The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
<br />
Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
<br />
Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
<br />
Crusade against daddy：早生贵子<br />
<br />
Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
<br />
The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
<br />
Siraitia Grosvenorii：罗汉果<br />
<br />
Prajna Dishes：般若菜<br />
<br />
Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
<br />
Yin and Yang Fish：阴阳鱼<br />
<br />
Heaven and Earth Eggs：乾坤蛋<br />
<br />
Mutton eaten with hands：手抓羊肉<br />
<br />
Sweet and Sour Pork：咕咾肉<br />
<br />
Pearl Bean Curd：珍珠豆腐<br />
<br />
Golden Prawn：金钱明虾<br />
<br />
Crispy Duck：脆皮八宝鸭<br />
<br />
Spiced Beef：五香牛肉<br />
<br />
Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
<br />
Full of Prosperity：满园春色<br />
<br />
===Questions===<br />
1.How many naming methods are mentioned?<br />
<br />
2.Who is the Four-Joy Meatballs associated with?<br />
<br />
3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
<br />
===Answers===<br />
1.Eight.<br />
<br />
2.Zhang Jiuling<br />
<br />
3.Egg white.<br />
<br />
==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
<br />
===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
<br />
===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
<br />
After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
<br />
During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
<br />
At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
<br />
===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
<br />
===Subtitle 1：The Motivation of the Miaoyu===<br />
<br />
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
<br />
===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
<br />
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
<br />
2.The Distribution of Miao Nationality<br />
<br />
(1)Domestic Distribution<br />
<br />
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
<br />
(2)Overseas Distribution<br />
<br />
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
<br />
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
<br />
===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
<br />
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
<br />
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
<br />
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
<br />
2.Historical formation of the Hmong<br />
<br />
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
<br />
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
<br />
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
<br />
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
<br />
===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
<br />
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
<br />
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
<br />
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
<br />
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
<br />
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
<br />
===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
<br />
After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
<br />
Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
<br />
1.Characteristics of Xiangxi dialect<br />
<br />
The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
<br />
2.Qiandong dialect<br />
<br />
The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
<br />
3.Chuanqian Dian dialect<br />
<br />
The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
<br />
The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
<br />
The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
<br />
The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
<br />
The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
<br />
The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
<br />
(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
<br />
(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
<br />
In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
<br />
The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
<br />
The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
<br />
(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
<br />
In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
<br />
The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
<br />
The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
<br />
===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Character (Tongjiazi) in Chinese and its English Translation in ''the Analects of Confucius'''''</center><br />
<br />
<center>LiYuan</center><br />
<br />
===Abstract===<br />
The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
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===Key words===<br />
phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
<br />
===Introduction===<br />
The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
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There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
<br />
===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
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To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
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It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
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===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
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One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
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One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
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One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
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One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
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One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
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One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
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One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
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The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods, when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yiyizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty, Xu Shen's “Shuowenjiezi” was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties, some men of letters still used Tongjiazi, but during the Tang and Song dynasties, apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
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===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
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===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. With the development of the times, the majority of ancient texts now have annotated versions, that is, intralingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
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In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. In addition, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on ''Classics of Difficulties'' Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in ''Synopsis of Golden Chamber'' Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical texts. This shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
The number of Tongjiazi in ''the Analects'' is relatively small, and the content is relatively easy to understand. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. In Xu Yuanchong’s translation of ''the Analects'', the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraqhrasing.<br />
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(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
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TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
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In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
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(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
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TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
<br />
In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
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(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
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TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
<br />
In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
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(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
<br />
TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
<br />
In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) <br />
<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
<br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
===Conclusion===<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one was due to the need for euphemism. Tongjiazi appeared in large numbers during the Spring and Autumn and Warring States periods, and were completely discontinued with the advent of vernacular Chinese. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. When translating such texts, then, translators need to acquire certain skills. In addition to a certain level of literacy and accumulation and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of ''the Analects of Confucius'' as an example, analyses the English translation of Tongjiazi in it, and comes up with three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi, so as to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
===Appendix===<br />
Common Phonetic Loan Characters(Tongjiazi)<br />
案:同"按";审察，察看。动词。"召有司案图，指从此以往十五都予赵。"<br />
罢:通"疲";疲劳。形容词。"罢夫赢老易于而咬其骨。"<br />
颁:通"班";"斑";头发花白。形容词。"颁白者不负戴于道路矣。"<br />
板:同"版";字版。名词。"板印书籍，唐人尚未盛为之。"<br />
暴:"同曝"晒。动词。"虽有槁暴，不复挺者，輮使之然也。"<br />
暴:同"曝"暴露，显露。动词。"思厥先祖父，暴霜露。""忠义暴于朝廷。"<br />
杓:同"勺";酒器。名词。"沛公不胜杯杓，不能辞。"<br />
倍:同"背"，背叛，违背。动词。"倍道而妄行，则天不能使之吉。""愿伯具言臣之不敢倍德也。"<br />
被:同"披";覆盖在肩背上，动词。"廉颇为之一饭斗米，肉十斤，被甲上马。""屈原至于江滨，被发行吟泽畔。""被明月兮佩宝璐。""闻妻言，如被冰雪。"<br />
俾倪:同"睥睨";斜着眼看。形容词。"见其客朱亥，俾倪."<br />
辟:通"避";躲避。动词。"其北陵，文王所辟风雨也。"<br />
辟:通"僻";行为不正。形容词。"放辟邪侈，无不为已。"<br />
弊:通"敝";困顿，失败。名词。"秦有余力而制其弊，"<br />
弊:通"敝";疲惫，衰败。形容词。"率疲弊之卒，将数百之众，转而攻秦;""今天下三分，益州疲弊。"<br />
徧:同"遍"遍及，普遍。动词。"小惠末徧，民弗从也。"<br />
宾:同"傧";迎接客人的人。名词"设九宾于廷，臣乃敢上璧。"<br />
不:同"否";不。副词。"或师焉，或不焉。"<br />
不:同"否";吗。疑问语气词。"察王以十五城请易寡人之璧可予不?""汝见我不?""宁可共载不?"<br />
材:同"才";才能。名词。"食之不能尽其材。"<br />
裁:通"才";刚刚。副词。"手裁举，则又超忽而跃。"<br />
采:同"彩";颜色，彩色。名词。"须臾成五采。""成五采，此天子气也。"<br />
仓:同"苍";黑色。名词。"要离刺庆忌也，仓鹰击于殿上。"<br />
藏:同"脏"脏腑。名词。"末至二三里，摧藏马悲哀。"<br />
廛:通"缠""胡取禾三百廛兮?"<br />
唱:通"倡";倡导。动词。"而予三十年前所主唱之三民主义、五权宪法，"<br />
钞:同"抄";抄写。动词。"适中手自钞录。"<br />
雠:同"仇";仇敌，仇人。"及仇雠已灭，天下已定，"<br />
鉏:同"锄";锄头。名词。"鉏櫌棘矜,非铦于钩戟长铩也。"<br />
绌:通"黜";罢免官职。动词。"屈平既绌，"<br />
从:同"纵";合纵，联合抗秦。动词。其后秦欲伐齐，齐与楚从亲。"<br />
从:同"纵";与"横"相对，"合从缔交，相与为一。""赵使平原君求救，合从于楚。"<br />
淬:通"焠":金属器械烧后放入水中，"取之百金，使工以药淬之。"<br />
厝:同"措";放置。动词。"一厝朔东，一厝雍南"。<br />
错:同"措";放。动词。"以君为长者，故不错意也。"<br />
当:通"挡";抵挡。动词。"非刘豫州莫可以当操者。""汉亦留之以相当。""坦墙周庭，以当南日""曹军不能抵当。"<br />
党:通"倘";倘若，偶然。副词。"风雨之不时，怪星之党见，"<br />
道:同"导";引导。动词。"故善者困之，其次利道之。"<br />
得:通"德";恩惠。名词。"所识穷乏者得我与?"<br />
吊:同"掉";落。动词。"连一根针吊在地下都听得见响!"<br />
丁宁:同"叮咛";嘱咐。动词。"府吏见丁宁，结誓不别离。"<br />
读:通"逗";即"，"。名词。"授之书而习其句读者。"<br />
度:同"渡";渡过，越过。动词。"一夜飞度镜湖月"<br />
队:通"坠";坠落。动词。"星队、木鸣、国人皆恐。"<br />
敚:同"夺";强取，夺取。动词。"再敚门，门闭不得出。"<br />
堕:通"隳";毁弃。动词。"堕军实而长寇仇，亡无日矣!"<br />
而:通"尔";"你的。代词。"吾乃与而君言，汝何为者也?"<br />
而:通"尔";你。人称代词。"某所，而母立于兹。"<br />
而:同"如"象。形容词。"军惊而坏都舍。"<br />
尔:同"耳"罢了。语气助词。"时人伤之，为诗云尔。""无他，但手熟尔。""非死则徙尔。""倘三年犹不得，即犹不归尔。""以头抢地尔。"<br />
<br />
蕃:通"繁";多。形容词。"水陆草木之花，可爱者甚蕃。"<br />
反:同"返";返回。动词。"盖亦反其本矣。""人穷则反本。""责收毕，以何市而反?""其良人出必餍酒肉而后反。""今日往而不反者，竖子也!""寒暑易节，始一反焉。"<br />
奉:通"俸";俸禄，薪俸。名词。"弘位在三公，奉禄甚多。"<br />
奉:同"捧";两手托着。动词。"王必无人，臣愿奉璧往使。<br />
缶:同"缻";盛酒浆的瓦器。名词。"请奉盆缶秦王，以相娱乐。"<br />
拂:同"弼";辅弼。动词。"入则无法家拂士。"<br />
父:同"甫"，古代在男子名字下加的美称。名词。"长乐王回深父，余弟安国平父、安上纯父。"<br />
盖:通"盍";何不。兼词。"盖亦反其本矣。"<br />
盖:通"盍";为什么，疑问代词。"嘻，善哉，技盖至此乎?"<br />
干:通"岸""坎坎伐檀兮，置之河之干兮。"<br />
估:通"贾";商人。名词。"舟中估客莫漫狂，小姑前年嫁彭郎。"<br />
灌:通"盥";洗手。动词。"媵人持汤沃灌。"<br />
函胡:同"含糊";形容词。"南声函胡，北音清越。"<br />
曷:同"何";什么。疑问代词。"蹈死不顾，亦易故哉?"<br />
何:同"呵";喝问。动词。"信臣精卒陈利兵而谁何?"<br />
衡:通"横";跟竖、直相对。名词。"有勇力者聚徒而衡击。"<br />
衡:通"横";梗塞，指不顺。动词。"困于心，衡于虑。"<br />
衡:通"横";与纵相对，"外连横而斗诸侯。"<br />
华:同"花";植物的繁殖器官。名词。"混黄华叶衰。"<br />
画:同"划"用拨子在琵琶中划一下。用拨子在琵琶中划一下。<br />
驩:同"欢"欢聚。动词。"王必欲降武，请毕今日之驩。"<br />
还:同"环";绕。动词。"秦王还柱而走。"<br />
还:同"旋";回转、掉转。动词"扁鹊望桓侯而还走。"<br />
皇:通"惶";恐惧，惊慌。形容词。"然仓皇中不可落于敌人之手以死。""赢得仓皇北顾。""仓皇东出，未及见贼而士卒离散。"<br />
皇:同"凰"传说中的雌凤。名词。"鸾鸟凤皇，日以远兮。"<br />
恍:同"恍"恍然，猛然醒来的样子。"恍惊起而长嗟。"<br />
麾:同"挥";指挥。动词。"麾众拥豪民马前。"<br />
惠:同"慧";聪明。形容词。"甚矣，汝之不惠。"<br />
惛:通"昏";昏乱糊涂。形容词。"吾惛，不能进于是矣。"<br />
混:同"浑"水不筒，污浊，形容词。"举世混浊，何不随其流而扬其波?"<br />
溷:同"混"、"浑"混浊。形容词。"世溷浊而莫余知兮。"<br />
溷:同"混"、"浑";厕所。名词。"中丞匿于溷藩以免。"<br />
火:同"伙";古代军队的组织，十个为"一火""出门看火伴"。<br />
火:同"伙";一伙。数量词。古代军队"瞎王留引定火乔男女，"<br />
机:通"几";预兆。名词。"所赖君子见机，达人知命。"<br />
疾:同"嫉";嫉妒，憎恨。动词。"君子疾夫舍曰欲之而必为之辞。""庞涓恐其贤于己，疾之。"<br />
棘:同"戟";兵器。名词。"鉏櫌棘矜,非铦于钩戟长铩也。"<br />
籍:通"藉";垫。动词。"籍柔覆温之躯。"<br />
纪:通"记";记载。动词。"又或有纪载而语焉不详。"<br />
贾:通"价";钱。名词。"如有营，予佐尔贾。"<br />
简:同"拣"选，择。动词。"宏餍慈九德，简能而任之。"<br />
简:同"拣";挑选，选拔。动词。"是以先帝简拔以遗陛下。"<br />
简:同"拣";挑选。动词。"盖简桃核修狭者为之。"<br />
见:同"现";暴露，露出来。动词。"图穷而匕首见。""譬若锥之处囊中，其末立见。"<br />
见:同"现";展现，表露出来。动词。"信义安所见乎?""才美不外见。"<br />
见:同"现";出现。动词。"何时眼前突兀见此屋?""路转溪头忽见。""风吹草低见牛羊。"<br />
见:同"现";现在。副词。"明标着册历，见放着文书!"<br />
缰:同"强";强大。形容词。"缰本而节用，则天不能贫。"<br />
疆:通"强";强壮。形容词。"始以疆壮出，及还，须发尽白。"<br />
介:同"芥";小草。名词。"无纠介之祸者，冯谖之计也。"<br />
缙:通"搢";插。动词。"缙绅、大夫、士萃于左丞相府，莫知计所出。"<br />
菁:通"精";精华，糟碎。形容词。"吾党菁华，付之一炬。"<br />
景:同"影";影子。名词。"天下云集响应，赢粮而景从。"<br />
迥:同"回";辣转。动词。"迥忆后街之屋。"<br />
鸠:同"纠";集合。动词。"豪民于闻难，鸠宗族僮奴百许人。"<br />
沮:通"阻"阻止，阻挡。动词。"帝屡欲召用瑞，执政阴沮之。<br />
句:同"勾";勾取。动词。"虽小数，然必句性情，习方俗。<br />
具:通"俱";全，都，引申为详细。副词。"此人一一为具言所闻。""愿伯具言臣之不敢倍德也。""具告所以欲死秦军状"。<br />
具:通"俱";全，皆。副词。"政通人和，百废具兴。"<br />
距:同"拒";抗拒。动问。"或走，或闭门旅距。。<br />
距:同"拒";把守。动词。"距关，毋内诸侯。"<br />
决:通"诀"诀别,离别。动词。"今太子迟之，请辞决矣!<br />
决:通"诀";离别。动词。"辞决而行"。<br />
掘:同"倔"，顽强，固执。形容词。"掘强沙塞之间，"<br />
抗:通"亢";高。形容词。"引商刻羽，抗坠疾徐，并称善也。"<br />
亏:同"诡"差异，不适应。动词"其时已与先王之法亏矣。"<br />
雷:通"擂";敲击。动词。"擂鼓大震，北军大坏。"<br />
儽:通"累";堆矗，积累。动词。"即今之儽然在墓者也。"<br />
累:通"摞";捆绑犯人的大绳子例句中作。捆绑。讲，与"臣"一起指。俘虏。""君之惠，不以累臣衅鼓。"<br />
累累:通"垒垒";形容坟墓一个连着一个的样子。形容词。"遥望是君家，松柏冢累累。"<br />
离:通"罹";遭遇。动词。"'离骚'者，犹离忧也。<br />
栗:同"栗";发抖。动词。"栗深林今惊层颠。"<br />
帘:同"奁"女子梳妆用的镜匣。"名箱帘六七十，绿碧青丝绳。"<br />
列:通"裂";分裂。动词。"列缺霹雳,丘峦崩摧。"<br />
脟:同"脔"切成块状的肉。名词。切成块状的肉。名词。<br />
廪廪:通"懔懔";危惧的样子。形容"而直为此廪廪也。"<br />
陵:通"凌";凌侮。动词。"陵压百姓而邀其上者。"<br />
流离:同"淋漓";沾湿的样子。形容词。"两股间脓血流离。"<br />
陇:同"垄";高地。名词。"冀之南，汉之阴，无陇断焉"。<br />
录:同"碌";平凡，平庸。形容词。"公等录录，所谓因人成事者也。"<br />
戮:通"勠"并力，尽力。动词。"臣与将军戮力而攻秦。"<br />
臝:同"裸";裸体。名词。"接舆髡首兮，桑扈臝行。"<br />
茆:同"茅";茅草。名词。"覆之以茆。"<br />
没:同"殁";死。动词。"孝公既没，惠文、武、昭襄蒙故业"<br />
每:同"们";词尾，表人的复数。"这都是官吏每无心正当。"<br />
甿:同"氓"耕田的人。名词。"然陈涉瓮牖绳枢之子，甿隶之人。"<br />
俛:同"俯";低头，表示服从。动词。"百越之君，俛首系颈，委命下吏。"<br />
缪:同"穆"温和，恭敬。例句中为姓。"秦自缪公以来二十余君，未尝有坚明约束者也"<br />
陌:通"百";量词。"烧不了的纸钱，与窦娥烧一陌儿。"<br />
莫:同"暮";日落的时候，晚上。名词。"至莫夜月明，独与迈乘小舟，至绝壁下。"<br />
莫:同"暮";日落时，引申为"末"。"莫春者，春服既成，"<br />
畮:同"亩"土地面积单位。量词。"末技游食之民，转而缘南畮。<br />
内:同"纳"接纳，接受。动词。"然后命使内之，则又再拜，""距关，毋内诸侯。"<br />
内:同"纳"，放人。动词。"公受珠，内所著披袄中，纫之。"<br />
那:同"挪";抽。动词。"过几时，那工夫来望恩人。"<br />
呐:同"讷";说话迟钝或口吃，的句中的"只听得差拨口里<br />
孽:同"孽";灾害，罪恶。名词。"况伪孽昏狡，自相夷戮，"<br />
女:同"汝";人称代词。"三岁贯女，莫我肯顾。"<br />
殴:通"驱"驱逐。动词。"今殴民而归之农。"<br />
畔:通"叛";背叛，离开。动词。"寡助之至，亲戚畔之。"<br />
畔:同"叛";背叛。动词。"不顾恩义，畔主背亲。"<br />
旁:通"傍"依附。接近。动词。"吾灵尚依旁汝也。"<br />
矉:同"颦";皱眉头。动词。"西施病心而矉其里。<br />
齐:同"剂";量词，例句中为名词。"在肠胃，火齐之所及也。"<br />
蕲:同"祈";求。动词。"蕲胜于人而取于人邪?"<br />
契:同"锲";刻，动词。"剑自舟中坠于水，遽契其舟。"<br />
襁:同"襁";婴儿的被子，包袱。名词。"则人物归亡，襁至而辐凑。"<br />
躈:同"噭";一说是肛门。名词。牛羊蹄躈各以千计。"<br />
禽:通"擒"捕捉。动词。"将军禽操，宜在今日。"<br />
禽:通"擒";捕捉。动词。"阴知奸党名姓，一时收禽。。<br />
诎:同"屈";弯曲。动词。"诎右臂支船。"<br />
取:通"娶";把女子接过来成亲。动词。"今若遣此妇，终老不复取。"<br />
去:同"弆";藏。动词。"掘野鼠去草实而食之。。<br />
却:同"却"，退。"大军却，离城三里止营。"<br />
郤:同"隙";空隙。名词。"依乎天理，批大却<br />
阙:通"缺";缺点。名词。"必能裨补阙漏"<br />
輮:通"揉";使……弯曲。动词。"木直中绳，輮以为轮。"<br />
蒻:同"箬"，箬竹。名词。"中轩敞者为舱，箬篷覆之。"<br />
善:通"缮";修治，拭擦。动词。"为之踌躇满志;善刀而藏之。。<br />
沈:同"沉":程度深。副词。"沈醉不知归路。"<br />
沈:同"沉";形容暮霭的程度深。念去去，千里烟波，暮霭沈沈楚天阔。"<br />
生:同"性"资质，禀赋。名词。"君子生非异也，善假于物也。<br />
声:通"伸";陈述，说明。动词。"吾社之行为士先者，为之声义。"<br />
失:通"佚";散失的。形容词。"网罗天下放失旧闻"<br />
识:通"志"，标志，记号。名词"出珠授之，封识宛然。"<br />
识:通"志";记住。动词。"因笑谓迈曰:'汝识之乎?'"<br />
识:通"志";记住。动词。"默而识之，学而不厌。"<br />
食:同"饲";喂。动词。"食马者不知其能千里而食也"。<br />
矢:同"屎";粪便。名词。"然与<br />
式:通"拭";古代车厢前用作扶手的横木。名词兵车不式。<br />
逝:通"誓";发誓。动词。"逝将去女，适彼乐土。"<br />
受:同"授"给，与。动词。"师者，所以传道受业解感也。"<br />
孰:同"熟";煮熟了的。形容词。"宰夫顾熊蟠不孰，杀之，"<br />
孰:同"熟";仔细。形容词。"唯大王与群臣孰计议之。"<br />
说:同"说高兴，愉快。形容词。"秦王必说见臣，臣乃得有以报太子..<br />
说:同"悦;高兴。形容词。:"王说，曰:'诗云:他人有心，予忖度'之。"<br />
说:同"悦";愉快。高兴。形容词。"而民说之，"<br />
说:同"悦";愉快。形容词。"秦王不说。"<br />
竦:同"耸";高。形容词。"水何澹澹，山岛竦峙。"<br />
太:通"大";大部分。形容词。"死者太半。"<br />
汤:同"烫":用热水焐。动词。"疾在腠理，汤熨之所及也。"<br />
田:同"畋";打猎。动词。"今王田猎于此。"<br />
帖:同"贴";用标签标出。动词。"不用，则以纸帖之。"<br />
帖:同"贴";粘附。动词。"对镜帖花黄。"<br />
庭:同"廷";国君听政的朝堂。名词。"使臣奉璧拜送书于庭。"<br />
涂:同"途"，道路。名词。"失迷涂知返，往哲是与"<br />
土:同"仕"作官。动词。"重争土豪，非下也，权重也。"<br />
橐:通"托";托付，委托。动词。"重争士橐，非下也，权重也。<br />
顽:同"玩";开玩笑。动词。"我又不同你顽。"<br />
亡:同"无";不。副词。"亡何国变，宁南死。"<br />
亡:同"无";没有。副词。"且陛下春秋高，法令亡常""空自苦亡人之地。""河曲智叟亡以应。""生之有时而用之亡度。""日知其所亡以就懿德。"<br />
罔:同"网";罗网。名词。例句中作动词，即张开罗网掳捉。"及陷于罪，然后从而刑之，是罔民也。"<br />
惟:通"唯";应答声。象声词。"伏惟启阿母，今若道此妇，终老不复取!"<br />
惟:通"唯";只，只有。副词。"惟先生乐游。""故惟日日呼酒买醉。""惟陈言之务去。""无恒产而有恒心者，惟士为能。""惟觉时之枕席，失向来之烟霞。"<br />
文:同"纹"纹理。名词。"其中多斑文小鱼。"<br />
文:同"纹";纹路，纹理。名词。"不以木为之者，文理有疏密。"<br />
无:通"毋";不要。副词。"孟尝君使人给其食用，无使乏。"<br />
销:通"消";消散。动词。"云霄雨霁，彩彻区明。"<br />
希:同"稀";稀疏，稀少，罕见。形容词。"鼓瑟希，铿尔。""有志乎古者希矣。"<br />
熙:同"嬉";欢乐，快乐。形容词。"其余则熙熙而乐。"<br />
郤:同"隙";隔阂，嫌怨。名词。"令将军与臣有郤。"<br />
孅:通"纤";精细。形容词。"古之治天下，至孅至悉也。"<br />
县:同"悬";挂，动词。"县明太祖御容明伦堂，率众拜且哭。""胡瞻尔庭有县廛兮?"<br />
乡:同"向";对着，朝着。介词。"秦伯素服郊次，乡师而哭。""以至晋鄙军之日北乡自刭。"<br />
飨:同"享";受。动词。"飨德怀恩，词不悉心。"<br />
向:通"响";响声。名词。砉然向然，奏刀騞然。"<br />
邪:同"耶";呢，吗，疑问语气助词。"赵王岂以一璧之故欺秦邪?"<br />
邪:同"耶";吗。疑问语气词。"其真无马邪?"<br />
羞:同"馐";食物名词。"玉盘珍羞直万钱。"<br />
虚:同"墟"，市。名词。"之虚所卖之。"<br />
畜:通"蓄";积聚，储藏。动词。"故其畜积足恃。"<br />
炎:通"焰";火焰。名词。"顷之，烟炎张天。"<br />
奄:同"晻";日无光。形容词。"奄奄黄昏后，寂寂人定初。"<br />
厌:通"餍";满足。形容词。"默而知之，学而不厌。""暴秦之欲无厌。""寡君若得而食之，不厌。""奉之者有限，而求之者无厌"<br />
燕:通"宴";安逸，安闲。形容词。"燕坐于华堂之上。"<br />
燕:通"宴";饮宴。名次。"集宾友酣燕。"<br />
燕:通"宴";玩乐。"桓公每游燕，辄命袁、伏。"<br />
阳:同"佯";假装，表面。"皆阳应曰:'诺，。"<br />
邀:同"要";要挟。动词。"陵压百姓而邀其上者，"<br />
要:同"邀";约订。动词。"虽与府吏要，渠会永无缘。"<br />
要:同"邀";邀请。动词。"便要还家，设酒杀鸡作食。""张良出，要项伯。"<br />
要:同"邀";拦住。动词。"鸠宗族僮奴百许人，欲要篡以归。"<br />
耶:通'爷";父亲。名词。"耶娘妻子走相送，尘埃不见咸阳桥。"<br />
夷:通"怡;平和，和悦。形容词。"与之论辩，言和而色夷。"<br />
已:同"以";"从此已去，勿复如是!"<br />
已:同"矣";了。语气助词。"夫神农以前，吾不知已。"<br />
已:同"矣";了。语气助词。"放辟邪侈，无不为已。"<br />
以:通"已";太甚。副词。"而吾子又欲使吾为越之雪，不以病乎?"<br />
以:同"已";止。动词。"无以，则王乎?"<br />
佚:同"逸";安逸，安闲。形容词。"而人民日以安于佚乐。"<br />
益:同"溢";涨水。动词。"澭水暴益。"<br />
逸:通"佚";散佚。动词。左忠毅公逸事。"<br />
翼:通"翌";明(天)。名词。"翼日进宰。"<br />
阴:通"荫"，树荫。名词。"绿杨阴里白沙堤。"<br />
阴:通"荫"，树荫，名词。"也傍桑阴学种瓜。"<br />
阴:通"荫";绿荫。名词。"佳木秀而繁阴。"<br />
有:同"又";更。副词。"殆有甚焉。"<br />
有:同"又";用于整数与零数之间。副词。"其为时止十有一月耳。""尔来二十有一年矣。""其级七千有余。"<br />
有:同"又";再一次。副词。"虽有槁暴，不复挺者，輮使之然也。"<br />
与:同"欤";吗。语气助词。"可得闻与?"<br />
与:同"欤";吗。语气助词。"而君逆寡人者，轻寡人与?"<br />
与:同"欤";呢。疑问语气词"是谁之过与?"<br />
豫:通"预";预先，事先。副词。"豫备走舸，系于船尾。"<br />
员:通"圆";圆形。名词。"以精铜铸成，员经八尺。"<br />
原:同"源"源泉。名词。"此四者，民所衣食之原也。"<br />
圆:同"圆";圆形。名词。"多平方，少圆。"<br />
芸:同"耘";锄草。动词。"植其杖而芸。"<br />
暂:通"渐"，欺诈。动词。"武夫力而拘诸原，妇人暂而免诸国。"<br />
蚤:通"早";在先，还没到时候。形容"使遂蚤得处囊中。"<br />
蚤:通"早";在先，还没到时候。形容词。"旦日不可不蚤来谢项王。"<br />
责:同"债";欠别人的钱财。名词。"先生不羞，乃有意欲为收责于薛乎?"<br />
曾:同"增";增加。动词。"曾益其所不能。"<br />
旃:同"毡";毛织的毡毯。名词。"与旃毛并咽之。"<br />
沾:同"沾";浸湿，浸润。动词。"因泣下沾衿，与武决去。"<br />
振:通"震";震动。动词。"虽董之以严刑，振之以威怒，"<br />
振:通"震"，惊恐或情绪过分激动。形容词。"燕王诚振怖大王之威，"<br />
振:通"震";震动。动词。"执敲扑而鞭答天下，威振四海。"<br />
振:同"赈";救济。动词。"大命将泛，其之振救。"<br />
征:同"徴";证据。名词。"京师学者咸怪其无征。"<br />
支:通"肢";肢体。名词。"四支犹温，一目未瞑，"<br />
枝:同"肢";肢体。名词。"为长者折枝，"<br />
知:通"智";聪明，智慧。形容词。"以大知而察及迩言。"<br />
知:通"智";聪明，智慧。形容词。两小儿笑曰:"孰为汝多知乎!"<br />
知:通"智";智慧。名词。"则知明而行无过矣。"<br />
祗:同"只";只是。副词。"祗辱于奴隶人之手。"<br />
直:通"值";价钱，代价。名词。"系向牛头充炭直。""昂其直，居为奇货。"<br />
直:通"值";价值，引申为公正的待遇。"乐国乐国，爱得我直。"<br />
直:通"值";值得。动词。"玉盘珍羞直万钱。"史进道:"直什么?"<br />
指:同"旨";旨趣。名词。"其称文小而其指极大"。<br />
质:通"贽";见面礼。名词。"乃令张仪佯去秦，厚币委质事楚，"<br />
质:同"锧"，刑具，杀人时作垫用的砧板。名词。"君不如肉袒伏斧质请罪。"<br />
陼:同"渚";水中间的小块陆地。朝发枉陼兮，夕辰阳。"<br />
属:同"嘱";嘱托、托付。动词。"属予作文以记之。"<br />
住:通"驻";动词"备用肃计，进住鄂县之樊口。"<br />
著:同"着"，穿。动词。"著我旧时裳。"<br />
转:通"啭";鸟宛转地叫。动词。"蝉则千转不穷。"<br />
椎:通"锤";兵器。例句中前一个"椎"为名词，后一个活用为状语。"朱亥袖四十斤铁椎椎杀晋鄙。"<br />
濯:通"浊"肮脏，水不清。形容词。"自疏濯淖污泥之中。"<br />
兹:通"滋"副词。兹，更加。"赋敛兹重。"<br />
咨:同"谘";询问。动词。"事无大小，悉以咨之。"<br />
卒:通"猝"，仓猝。形容词。"五万兵难卒合。"<br />
尊:通"樽"古代盛酒的器具。名词，"人生如梦，一尊还酹江月。"<br />
坐:同"座";座位。名词。"直上载公于上坐。""满坐寂然，无敢哗者。"<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
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[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
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[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
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[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
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[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
<br />
[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
<br />
Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
<br />
(3)Translation Under Fidelity Rule<br />
<br />
The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
<br />
Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
<br />
In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.<br />
<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
<br />
Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
<br />
Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
<br />
Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
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Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
<br />
Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.<br />
<br />
Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.<br />
<br />
Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
<br />
Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
<br />
Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
<br />
Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
<br />
Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
<br />
Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
<br />
Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
<br />
Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14626620220630 Culture 22022-07-02T15:21:10Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
<hr />
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==This is the final exam paper website no. 2==<br />
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]<br />
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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
<br />
<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
<br />
===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
<br />
===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
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Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
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===Proverbs===<br />
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Proverbs, as a special form of language expression, vividly reflect the social culture and people's thoughts in different periods of different countries. Some linguists compare it to the mirror of a nation with a living fossil of language. (Wang Xiuying, 2016,34)<br />
There are five types of proverbs containing gender discrimination.<br />
1. reflecting the defects of the female sex：<br />
三个女人一台戏。 (Three women can constitute a play.)<br />
红颜女子多是非。 (Beautiful women can attract troubles.)<br />
树大招风，人俊惹祸。(Tall trees are easily blown by the wind and beautiful women are easily troubled.)<br />
2. reflecting the low status of women：<br />
精女不如痴男。(Smart women are inferior to dumb men.)<br />
母以子为贵。(Mothers’ honor is their sons. )<br />
兄弟如手足，妻子如衣服。(Treat brothers as hands and feet while wives as wear.)<br />
养儿防老，养女赔钱。(Bring up sons to support parents in their old age while bringing up daughters to waste money.)<br />
3. reflecting the ignorance of women：<br />
头发长见识短。 (Long hair, short sight.)<br />
女子无才便是德。 (No knowledge is the value of a woman.)<br />
妇人之言不可听。(A woman’s advice is never to seek. )<br />
4. reflecting the existence of sexism in marriage：<br />
嫁出去的女儿，泼出去的水。(Married daughters, spilled water.)<br />
女大不中留。(You cannot keep an old daughter.)<br />
嫁鸡随鸡，嫁狗随狗。(Accept anything in a marriage.)<br />
5. reflecting that women are evil and curse:<br />
女人上屋屋要塌，女人上船船要翻。 (Women on the roof, houses will collapse.)<br />
最毒妇人心。 (There is no devil so bad as a woman’s heart.)<br />
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===Metaphors===<br />
There are a lot of words in current Chinese as well as ancient Chinese that compliment women, particularly the appreciation of women's attractiveness. Bai Jiehong wrote in "Male/Female Language, Culture and Pragmatics" that in general, the presence of an excessive number of words in a language that may all be used to represent the same issue indicates that the subject has received a great deal of attention from the society. Since ancient times, being kind and beautiful has been expected of women. This standard has not changed. It makes no difference whether a woman is intelligent or not in terms of her value. There are 72 words in the 'Modern Chinese dictionary that praise women's appearance. The literal meanings of these words are an affirmation of women and praise. Nevertheless, it demonstrates that the patriarchal society evaluates and constrains women from a male perspective.<br />
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In China, the standard of beauty varies in different periods. The Han Dynasty considered slim women as beautiful. The four words indicate slimness.<br />
柳腰 (A waist as thin as wicker): a.describes the soft strips of willow; b.refers to a woman's thin, soft waist.<br />
苗条 (sprout and branch): describes a woman's slender and feminine figure.<br />
亭亭玉立(as straight as an ancient Chinese pavilion): describe beautiful women with slender figures or straight shapes such as flowers and trees.<br />
轻盈(light): describes a woman with a slim figure and brisk movements.<br />
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However, the Tang Dynasty considered chubby women as beautiful.<br />
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The four words“丰润, 丰满, 丰盈, 丰腴” in Chinese are adjectives describing chubby women.<br />
The character "环肥燕瘦" embodies these two types of aesthetics. "环" refers to Yang Yuhuan, the corpulent concubine of Tang Dynasty Emperor Xuanzong; "燕" refers to Zhao Feiyan, the slender empress of Han Dynasty Emperor Cheng. One is chubby and the other is slim, but they both are on the list of “Ancient Four Beauties." However, whether they are thin or plump, they are all measured by men's standards, and women can only be compelled to accommodate men's vision and desires.<br />
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According to philosophers, the words used to refer to women in the English language can be divided into five categories: plaything, animal, fruit, neutral words, and sexual words, many of which have derogatory connotations. This classification may not be entirely objective, but it is not without merit; in the English language, there are numerous words that compare women to animals, playthings, or sexual objects. There are many English and Chinese words that use animal metaphors to refer to males and females, but there are significant differences in the selection of animal metaphors. The selected animals in the metaphor of men, typically with strength, aggression, ambition, and other positive connotations, such as the tiger, eagle, leopard, roc, etc., are frequently used to refer to men. However, when referring to female animals, the metaphors of being hunted, obedient, ignorant, fierce, and sexual connotations are more prevalent, and the number of female animal metaphors is significantly greater than male animal metaphors.<br />
Tiger can be used as a metaphor for both men and women, but their respective metaphorical meanings are quite distinct. When a tiger is used as a metaphor for a male, the cognitive response is typical that it demonstrates the strength and bravery of the male, and the cognitive meaning of the tiger's king of beasts will also be transferred to the metaphorical male. For instance, "the tiger descends the mountain" describes the ferocity and speed, and when used in the male, it refers to its sweeping and unstoppable momentum. However, when the tiger metaphor is applied to women, it typically refers to outrageous, provocative, unreasonable women. I fear that when the term "tigress" is mentioned, few people will associate it with a positive connotation.<br />
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The semantics of “鸡(chick)” in Chinese is endowed with heavy sexual meaning referring to women working with their bodies for money and a lot of metaphors about chicken have a derogatory sense, such as “鸡婆（a woman who ran a brothel）” who are noisy and haggle over every ounce of woman trouble; “母鸡(the hen)” is used continuously to gossip disgusting woman. Besides, “牡鸡司晨（ten on behalf of the rooster to announce the daybreak）” was used as a metaphor that women take over power from men. We can find that in people’s mind, the men should own the highest power as a king or ran the country, which has nothing to do with women. While women once at the helm of the state power will be described as hen, not fulfilling their job as a housewife. The metaphorical meaning of chicken in English is not much better. “Biddy” (chick or hen) refer to maids and gossipers, while the “hen” refer to middle-aged women who gossip or are meddlesome. “A wet hen” is used to describe unpleasant women, and “chicken” was supposed to mean a kind of meat, however, its metaphorical meaning is a young, inexperienced and gullible immature female. “Gull” means “a large gray and white bird; to fool or trick” when applied to women, it usually refers to a prostitute attached to a fleet a prostitute near a naval base or someone who is gullible.<br />
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In both Chinese and English, there are numerous plant metaphors for men and women. However, selecting the type of plant makes a substantial difference. When people use plants as metaphors for men, they select more robust plants, such as trees, to represent their positive image. The metaphor of women as plants consists primarily of flowers and plants like these. As we all know, flowers can attract people with their vibrant, eye-catching hues, the fragrance of fragrant flowers, or their pleasing appearance. In conclusion, the metaphor of women as plants, emphasizing their external ornamental value and highlighting the beauty of women's appearance, leads the community to pay more attention to women's appearance, which also reflects the social treatment of women from a particular perspective, one-sided views, and contradictory attitudes. Society evaluates women based on their appearance and pays attention to their beauty, but it also views beautiful women as a "disaster" or "vase." It is evident that society's evaluation criteria for women are contradictory and unfair.<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
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===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
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===Some common cultural implications of Chinese lantern===<br />
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Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
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===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
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===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
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<center>Li Ting</center><br />
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===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
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'''3. Regional Features in Cuisine Names''' <br />
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There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
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The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
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===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
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===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
<br />
* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
<br />
* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
<br />
* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
<br />
* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
<br />
* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
<br />
* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
<br />
* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
<br />
===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
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The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
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Mapo Tofu：麻婆豆腐<br />
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Shrimp with green Vegetable：翡翠虾仁<br />
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Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
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Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
<br />
Cut: 切 chop：剁 split：劈 scrape：剔<br />
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Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
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Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
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stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
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Corn Meatballs：玉米肉丸<br />
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Sweet and Sour Fish：糖醋鱼<br />
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Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
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Diced Chicken with Cashew Nuts：腰果鸡丁<br />
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Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
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Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
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Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
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Pork Cooked with Green Chili：辣椒炒肉<br />
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Scrambled Egg with Tomato：番茄炒蛋<br />
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Hairy Crabs：大闸蟹<br />
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Golden Coin-shaped Scallops：金钱干贝<br />
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Sour and Hot Diced Chicken：酸辣鸡丁<br />
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Sweet and Sour Ribs：糖醋排骨<br />
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Cola Chicken Wings：可乐鸡翅<br />
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Braised Meat Balls in Brown Sauce：红烧狮子头<br />
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Tai Chi Shaped Taro：太极芋头<br />
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Stewed Assorted Delicacies：全家福<br />
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Wishful Bamboo Shoots：如意笋<br />
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Wen Si Tofu：文思豆腐<br />
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Dongpo Meat：东坡肉<br />
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Peking Duck：北京烤鸭<br />
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West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
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Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
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Meat in Tomato Sauce：乾隆樱桃肉<br />
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Murrel with Fresh Vegetables：将军过桥<br />
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Changban Slope：长坂坡<br />
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Two Winter：二冬<br />
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Three Delicacies：三鲜<br />
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Three Shreds：三丝<br />
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Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
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Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
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Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
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Fried Magnolia Slices：炒玉兰片<br />
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Fried Bamboo Shoots Slices：炒笋片<br />
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Salted Pork in Jelly：水晶肴肉<br />
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Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
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Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
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Mirror Box Tofu：镜箱豆腐<br />
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Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
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Shrimp Ring with Green Vegetable：翡翠虾环<br />
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Golden Eggs：金钱蛋<br />
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Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
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Farewell My Concubine：霸王别姬<br />
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Chicken Slices with Hibiscus：芙蓉鸡片<br />
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Scallops with Hibiscus：芙蓉干贝<br />
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Clams with Hibiscus：芙蓉青蛤<br />
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The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
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The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
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Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
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Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
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Crusade against daddy：早生贵子<br />
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Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
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The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
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Siraitia Grosvenorii：罗汉果<br />
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Prajna Dishes：般若菜<br />
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Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
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Yin and Yang Fish：阴阳鱼<br />
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Heaven and Earth Eggs：乾坤蛋<br />
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Mutton eaten with hands：手抓羊肉<br />
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Sweet and Sour Pork：咕咾肉<br />
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Pearl Bean Curd：珍珠豆腐<br />
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Golden Prawn：金钱明虾<br />
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Crispy Duck：脆皮八宝鸭<br />
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Spiced Beef：五香牛肉<br />
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Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
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Full of Prosperity：满园春色<br />
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===Questions===<br />
1.How many naming methods are mentioned?<br />
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2.Who is the Four-Joy Meatballs associated with?<br />
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3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
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===Answers===<br />
1.Eight.<br />
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2.Zhang Jiuling<br />
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3.Egg white.<br />
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==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
<br />
===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
<br />
===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
<br />
After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
<br />
During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
<br />
At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
<br />
===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
<br />
===Subtitle 1：The Motivation of the Miaoyu===<br />
<br />
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
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===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
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There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
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2.The Distribution of Miao Nationality<br />
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(1)Domestic Distribution<br />
<br />
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
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(2)Overseas Distribution<br />
<br />
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
<br />
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
<br />
===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
<br />
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
<br />
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
<br />
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
<br />
2.Historical formation of the Hmong<br />
<br />
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
<br />
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
<br />
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
<br />
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
<br />
===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
<br />
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
<br />
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
<br />
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
<br />
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
<br />
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
<br />
===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
<br />
After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
<br />
Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
<br />
1.Characteristics of Xiangxi dialect<br />
<br />
The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
<br />
2.Qiandong dialect<br />
<br />
The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
<br />
3.Chuanqian Dian dialect<br />
<br />
The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
<br />
The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
<br />
The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
<br />
The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
<br />
The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
<br />
The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
<br />
(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
<br />
(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
<br />
In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
<br />
The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
<br />
The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
<br />
(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
<br />
In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
<br />
The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
<br />
The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
<br />
===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Character (Tongjiazi) in Chinese and its English Translation in ''the Analects of Confucius'''''</center><br />
<br />
<center>LiYuan</center><br />
<br />
===Abstract===<br />
The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text, in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in ''the Analects of Confucius'' as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
<br />
===Key words===<br />
phonetic loan characters(tongjiazi); Chinese-English translation methods; ''the Analects of Confucius''<br />
<br />
===Introduction===<br />
The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. <br />
<br />
There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, so they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translation of Tongjiazi on CNKI (China National Knowledge Infrastructure) and the original texts are all medical texts, which means that the field of English translation of Tongjiazi still needs more exploration. In this paper, the English translation ''the Analects of Confucius'' by Xu Yuanchong is taken as an example, and the translation methods used in translating the Tongjizi are analyzed. This paper hopes that the study of the English translation of Tongjizi in Chinese classics will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of Tongjiazi.<br />
<br />
===Definition of Phonetic Loan Characters (Tongjiazi)===<br />
The use of Tongjizi (a character with the same or similar pronunciation with another) is one of the phenomena of the use of Chinese character, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, rather than using the original character, the writer temporarily borrows a character with the same or a similar pronunciation. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific Tongjiazi is used as the standard character. As can be seen, a phonetic loan character is a borrowing of an existing character. The character that is replaced by Tongjiazi is called the “original character”. They have the same or similar pronunciation and different forms, and may or may not have related meanings with the original character.<br />
<br />
To clearly define a Tongjiazi, one needs to be aware of its distinction and connection with ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi). Ancient and modern characters are words with different forms but the same menaing in ancient and modern times, so this group of words is called ancient and modern characters (Gujinzi). As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a diachronic phenomenon of character use. In contrast, a phonetic loan character (Tongjiazi) appears at a particular time in place of the original character, and is a kind of temporal and synchronic substitution. Variant characters (Yiyizi) is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a phonetic loan character (Tongjiazi) has the same pronunciation with the original character, but is not written in the same way with the same meaning. characters acquiring meanings by phonetic association (Jiajiezi) are a kind of substitution for an original word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted it with a word with the same or similar pronunciation, in which the original character appears to be missing. By contrast a phonetic loan character is a substitution for an original word that is already there.<br />
<br />
It can be seen that there are several characteristics of phonetic loan characters (Tongjiazi): firstly, it belongs to Jiajiezi; secondly, there is an original character; thirdly, it is a synchronic substitution; and fourthly, it has the same pronunciation and different meaning and form with the original character. Therefore, it can be defined as a synchronic substitution of the original character, which is homophonic, heteromorphic and heteronymous with the phonetic character.<br />
<br />
===Origin and Development of Phonetic Loan Characters (Tongjiazi)===<br />
This paper summarizes the following views about the origin of Tongjiazi, or the cause of Tongjiazi.<br />
<br />
One is due to the limited number of ancient Chinese characters at that time. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and use going from arbitrary to standardized. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of Jiajie came into being. For an object which there was no Chinese character at the time to represent, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a borrowing for an existing character, the appearance of a phonetic loan character (Tongjiazi) would have followed the appearance of Jiajiezi.<br />
<br />
One reason is that ancient Chinese characters did not have a fixed normative use. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning, too.<br />
<br />
One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some scholars and recorded by others in writing. These scholars recited the content from their own memory, and their pronunciation might be influenced by the dialect, so that they could not say the sound of some characters accurately, and then the recording men often mistook one word as another and recorded the same word in different forms.<br />
<br />
One is the emphasis on the sound of characters rather than their forms in ancient times. The ancients believed that language existed by virtue of sound, and emphasized that the sound showed the meaning of the word, and that people knew the meaning when they heard the sound, so the ancients often recorded the words according to their pronunciation. In this way, the creation of Tongjiazi was a natural consequence of the contradiction between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan 1987:1).<br />
<br />
One is to forget the original character and substitute it with another character with the same pronunciation. The ancient people, when making records, could not think of the original word and used a different character with the same sound instead. The character with the same sound and different meaning was unknown to common scholars, and was often written by mistake. The first person to write in this way was of course writing a wrong character, as mentioned earlier, but when later people followed suit, it became a Tongjiazi.<br />
<br />
One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the original character and save writing time.<br />
<br />
One is for the sake of euphemism. It was a taboo for the ancients to call their parents by the characters in their names, or to write the characters in their parents’ names directly, so they borrowed other words instead. Except the emperor himself, other people could not write the name of the emperor.<br />
<br />
The emergency and development of Tongjiazi is inseparable from the development of history. During the Spring and Autumn and Warring States Periods, when many schools of thought were contending for supremacy with each other, society at the time was full of new ideas and changes, so the unprecedented demand of written records had a major impact on the evolution and development of Chinese characters. During that period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of Yiyizi, homograph and Tongjiazi in later times (Chen 2015:39). It was only after the Qin state unified the six states and implemented the policy of “same script”, using the small seal script as the only script used among the whole country, that the use of characters became more standardized and the use of common Tongjiazi gradually decreased. During the Eastern Han Dynasty, Xu Shen's “Shuowenjiezi” was published and the use of characters became more standardized, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties, some men of letters still used Tongjiazi, but during the Tang and Song dynasties, apart from the occasional use of previous Tongjiazi in folk literature, new Tongjiazi were generally not written, and any use of previous or new Tongjiazi was seen as a misspelling of characters. From this time onwards, the use of Tongjiazi was gradually discontinued, but the Tongjiazi in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the modern writing in the vernacular, the use of the Tongjiazi ceased completely. Many experts and scholars have systematized and standardized the use of the Tongjiazi by sorting out and verifying them, and have published some ancient Chinese dictionaries to facilitate modern readers’ access to the explanations and use of Tongjiazi in Chinese classics.<br />
<br />
===The Role of Phonetic Loan Characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of Tongjiazi has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of Tongjiazi nowadays. As to the role, or significance of the existence of Tongjiazi, some previous scholars have argued that Tongjiazi was a headwind in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of Tongjiazi ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous Tongjiazi after their use was standardized, so it is clear that it should have its own unique role in the history of Chinese character development. Therefore, an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987:2-5), the role of Tongjaizi is: firstly, a major morphological shift in the use of character harmonies; secondly, it reflects the richness and dynamism of the Chinese vocabulary; thirdly, it contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardization of Chinese characters is a regular requirement in the development of Tongjiazi. The existence of Tongjiazi is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of Tongjiazi was social rather than personal, and the correspondence of Tongjiazi with the original character in ancient texts was largely fixed (Wei 2013: 27).<br />
<br />
===Influence of Phonetic Loan Characters (Tongjiazi) on Translation===<br />
To translate ancient texts, it is a crucial step to identify Tongjiazi in them. It is only by successfully identifying Tongjiazi that the meaning of the sentence can be correctly understood and the translation can be smooth and fluent, so the English translation of Tongjiazi is of significant research value. With the development of the times, the majority of ancient texts now have annotated versions, that is, intralingual translations, from classical Chinese into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, all of which have contributed to the translation of Tongjiazi. At this point, the choice of the original book will also affect the effect of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some Tongjiazi, if the translator feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translator should promptly check and verify with methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries.<br />
<br />
In addition, in today's fast-changing world of modern science and technology, translators should have a good command of using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of Tongjiazi in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of Tongjiazi, as well as authoritative translations of some canonical texts, of which the translations of Tongjiazi are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. In addition, by typing in the keywords “通假字(Tongjiazi)” and “英译(English Transaltion)” on CNKI, I found that there are only two papers on the English translation of Tongjiazi, one of which is “Translation of Interchangeable Characters in TCM Terminology—Case Study on ''Classics of Difficulties'' Translated by Bob Flaws. The other one is “Translation of Interchangeable Characters in ''Synopsis of Golden Chamber'' Translated by Luo Xiwen”. These two studies are focused on the translation of the Tongjiazi in ancient Chinese medical texts. This shows that the depth of research in the field of English translations of Tongjiazi is still far from adequate.<br />
<br />
===English Translation Methods of Phonetic Loan Characters (Tongjiazi) in ''the Analects of Confucius'' ===<br />
The number of Tongjiazi in the Analects is relatively small, and the content is relatively easy to understand. Compared to the English versions by foreign translators, Xu Yuanchong is more proficient in Chinese and more accurate in understanding the original text. In Xu Yuanchong’s translation of the Analects, the main methods of translating the passages into English are the literal translation of the original characters, the literal translation of the Tongjiazi and paraqhrasing.<br />
<br />
(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
In this sentence, “便” means “辩”. The original meaning of “便” is to be comfortable, while the original meaning of “辩” is to conduct a lawsuit, which requires eloquence. Therefore, in the sense of “eloquence”, “便” is used as “辩”. In Xu Yuanchong's translation, “便便言” is translated as “he spoke readily”. According to the Oxford Dictionary, the word “readily” means “quickly and without difficulty”, which indeed has a meaning of being eloquent and comfortable. As for the translation method, “readily” is not a direct translation of the original word “辩”, but rather a paraphrasing by combining the Tongjiazi and the original word.<br />
<br />
(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
In this sentence, “加” is used as “假”, meaning “give”, so the method of literal translation of the original character is adopted.<br />
<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
In this sentence, “桴” is used as “泭” with the meaning of “raft”. In the English translation, “桴” is translated as “raft”, so the literal translation of the original character is adopted.<br />
<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
TT: He wears a black robe over lamp’s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
In this sentence, the word “麑” means “幼鹿(fawn)”. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The color of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the original character.<br />
<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) 。<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.<br />
In this sentence, the word “有” is used as “又”, meaning “again, plus”. The word “十有五” means “ten plus five”, and is translated as “fifteen”. The translation method adopted is a direct translation of the original character, because the meaning of “有” as “again, plus” has already been agreed upon, and the actual meaning is known even without the perspective of the Tongjiazi and the original word.<br />
<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
In this sentence, “礼” is replaced by “献”, and the original meaning of “献” is the dog used in the temple sacrifice. The word “文献” refers to a book or a sage. It has been used in modern Chinese to refer to records and documents, so it is the literal translation of the Tongjiazi.<br />
<br />
===Conclusion===<br />
This paper introduces the definition of phonetic loan characters (Tongjiazi) in ancient Chinese, which is a synchronic substitution of an original character that originally existed and has the same pronunciation and different form and meaning with Tongjiazi. Several reasons for the emergency of Tongjiazi are as follows. One is due to the limited number of characters in ancient times. One is for lack of standardized use of characters. One is the influence of dialects. One is the emphasis on the sound instead of form of characters at that time. One is to forget the original character and replace it with another character with the same or similar pronunciation. One is due to the need for simplicity; one was due to the need for euphemism. Tongjiazi appeared in large numbers during the Spring and Autumn and Warring States periods, and were completely discontinued with the advent of vernacular Chinese. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when working on such texts. When translating such texts, then, translators need to acquire certain skills. In addition to a certain level of literacy and accumulation and a basic grasp of the style and sentence structure of classical Chinese, they also need to have the ability to identify and verify Tongjiazi. In addition, modern translators should master certain computer-assisted translation technologies, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on Tongjiazi. This paper takes Xu Yuanchong's English translation of the Analects of Confucius as an example, analyses the English translation of Tongjiazi in it, and comes up with three methods for the English translation those characters: literal translation of the original character, literal translation of the Tongjiazi, and paraphrasing, in order to make the research on the English translation of Tongjiazi in Chinese classics a step forward, and to make more scholars and translators pay attention to the research on the English translation of Tongjiazi, so as to produce higher quality English translations of Chinese classics and better spread Chinese language and culture to the rest of the world.<br />
<br />
===References===<br />
Chen Zheng [陈征](2015). On the Reasons for the Emergency of Phonetic Loan Characters [通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (6): 39 pp.<br />
Tan Lin [谭麟](1987). A General View on the Emergency and Development of Phonetic Loan Characters—with an analysis of the opinion of “Phonetic Loan Characters as Headwind in Chinese Character” [概论通假字的产生于发展——兼析“通假字不是语言文字的正轨”]. Journal of Yuxi Normal University [《玉溪师专学报》], (2): 1-6 pp.<br />
Wang Li [王力](1999). Ancient Chinese [《古代汉语》]. Beijing: Zhonghua Book Company [北京: 中华书局], 546 pp.<br />
Wei Ying [魏颖](2013). Translation of Interchangeable Characters in TCM Terminology—Case Study on Classic of Difficulties Translation by Bob Flaws[通假字成因微探]. Curriculum, Teaching Material and Method [《课程 教材 教法》], (4): 26-29+34 pp.<br />
Xu Yuanchong [许渊冲](2011). Thus Spoke the Master [《论语》]. Beijing: Zhonghua Book Company [北京: 中华书局].<br />
<br />
===Appendix===<br />
案:同"按";审察，察看。动词。"召有司案图，指从此以往十五都予赵。"<br />
罢:通"疲";疲劳。形容词。"罢夫赢老易于而咬其骨。"<br />
颁:通"班";"斑";头发花白。形容词。"颁白者不负戴于道路矣。"<br />
板:同"版";字版。名词。"板印书籍，唐人尚未盛为之。"<br />
暴:"同曝"晒。动词。"虽有槁暴，不复挺者，輮使之然也。"<br />
暴:同"曝"暴露，显露。动词。"思厥先祖父，暴霜露。""忠义暴于朝廷。"<br />
杓:同"勺";酒器。名词。"沛公不胜杯杓，不能辞。"<br />
倍:同"背"，背叛，违背。动词。"倍道而妄行，则天不能使之吉。""愿伯具言臣之不敢倍德也。"<br />
被:同"披";覆盖在肩背上，动词。"廉颇为之一饭斗米，肉十斤，被甲上马。""屈原至于江滨，被发行吟泽畔。""被明月兮佩宝璐。""闻妻言，如被冰雪。"<br />
俾倪:同"睥睨";斜着眼看。形容词。"见其客朱亥，俾倪."<br />
辟:通"避";躲避。动词。"其北陵，文王所辟风雨也。"<br />
辟:通"僻";行为不正。形容词。"放辟邪侈，无不为已。"<br />
弊:通"敝";困顿，失败。名词。"秦有余力而制其弊，"<br />
弊:通"敝";疲惫，衰败。形容词。"率疲弊之卒，将数百之众，转而攻秦;""今天下三分，益州疲弊。"<br />
徧:同"遍"遍及，普遍。动词。"小惠末徧，民弗从也。"<br />
宾:同"傧";迎接客人的人。名词"设九宾于廷，臣乃敢上璧。"<br />
不:同"否";不。副词。"或师焉，或不焉。"<br />
不:同"否";吗。疑问语气词。"察王以十五城请易寡人之璧可予不?""汝见我不?""宁可共载不?"<br />
材:同"才";才能。名词。"食之不能尽其材。"<br />
裁:通"才";刚刚。副词。"手裁举，则又超忽而跃。"<br />
采:同"彩";颜色，彩色。名词。"须臾成五采。""成五采，此天子气也。"<br />
仓:同"苍";黑色。名词。"要离刺庆忌也，仓鹰击于殿上。"<br />
藏:同"脏"脏腑。名词。"末至二三里，摧藏马悲哀。"<br />
廛:通"缠""胡取禾三百廛兮?"<br />
唱:通"倡";倡导。动词。"而予三十年前所主唱之三民主义、五权宪法，"<br />
钞:同"抄";抄写。动词。"适中手自钞录。"<br />
雠:同"仇";仇敌，仇人。"及仇雠已灭，天下已定，"<br />
鉏:同"锄";锄头。名词。"鉏櫌棘矜,非铦于钩戟长铩也。"<br />
绌:通"黜";罢免官职。动词。"屈平既绌，"<br />
从:同"纵";合纵，联合抗秦。动词。其后秦欲伐齐，齐与楚从亲。"<br />
从:同"纵";与"横"相对，"合从缔交，相与为一。""赵使平原君求救，合从于楚。"<br />
淬:通"焠":金属器械烧后放入水中，"取之百金，使工以药淬之。"<br />
厝:同"措";放置。动词。"一厝朔东，一厝雍南"。<br />
错:同"措";放。动词。"以君为长者，故不错意也。"<br />
当:通"挡";抵挡。动词。"非刘豫州莫可以当操者。""汉亦留之以相当。""坦墙周庭，以当南日""曹军不能抵当。"<br />
党:通"倘";倘若，偶然。副词。"风雨之不时，怪星之党见，"<br />
道:同"导";引导。动词。"故善者困之，其次利道之。"<br />
得:通"德";恩惠。名词。"所识穷乏者得我与?"<br />
吊:同"掉";落。动词。"连一根针吊在地下都听得见响!"<br />
丁宁:同"叮咛";嘱咐。动词。"府吏见丁宁，结誓不别离。"<br />
读:通"逗";即"，"。名词。"授之书而习其句读者。"<br />
度:同"渡";渡过，越过。动词。"一夜飞度镜湖月"<br />
队:通"坠";坠落。动词。"星队、木鸣、国人皆恐。"<br />
敚:同"夺";强取，夺取。动词。"再敚门，门闭不得出。"<br />
堕:通"隳";毁弃。动词。"堕军实而长寇仇，亡无日矣!"<br />
而:通"尔";"你的。代词。"吾乃与而君言，汝何为者也?"<br />
而:通"尔";你。人称代词。"某所，而母立于兹。"<br />
而:同"如"象。形容词。"军惊而坏都舍。"<br />
尔:同"耳"罢了。语气助词。"时人伤之，为诗云尔。""无他，但手熟尔。""非死则徙尔。""倘三年犹不得，即犹不归尔。""以头抢地尔。"<br />
<br />
蕃:通"繁";多。形容词。"水陆草木之花，可爱者甚蕃。"<br />
反:同"返";返回。动词。"盖亦反其本矣。""人穷则反本。""责收毕，以何市而反?""其良人出必餍酒肉而后反。""今日往而不反者，竖子也!""寒暑易节，始一反焉。"<br />
奉:通"俸";俸禄，薪俸。名词。"弘位在三公，奉禄甚多。"<br />
奉:同"捧";两手托着。动词。"王必无人，臣愿奉璧往使。<br />
缶:同"缻";盛酒浆的瓦器。名词。"请奉盆缶秦王，以相娱乐。"<br />
拂:同"弼";辅弼。动词。"入则无法家拂士。"<br />
父:同"甫"，古代在男子名字下加的美称。名词。"长乐王回深父，余弟安国平父、安上纯父。"<br />
盖:通"盍";何不。兼词。"盖亦反其本矣。"<br />
盖:通"盍";为什么，疑问代词。"嘻，善哉，技盖至此乎?"<br />
干:通"岸""坎坎伐檀兮，置之河之干兮。"<br />
估:通"贾";商人。名词。"舟中估客莫漫狂，小姑前年嫁彭郎。"<br />
灌:通"盥";洗手。动词。"媵人持汤沃灌。"<br />
函胡:同"含糊";形容词。"南声函胡，北音清越。"<br />
曷:同"何";什么。疑问代词。"蹈死不顾，亦易故哉?"<br />
何:同"呵";喝问。动词。"信臣精卒陈利兵而谁何?"<br />
衡:通"横";跟竖、直相对。名词。"有勇力者聚徒而衡击。"<br />
衡:通"横";梗塞，指不顺。动词。"困于心，衡于虑。"<br />
衡:通"横";与纵相对，"外连横而斗诸侯。"<br />
华:同"花";植物的繁殖器官。名词。"混黄华叶衰。"<br />
画:同"划"用拨子在琵琶中划一下。用拨子在琵琶中划一下。<br />
驩:同"欢"欢聚。动词。"王必欲降武，请毕今日之驩。"<br />
还:同"环";绕。动词。"秦王还柱而走。"<br />
还:同"旋";回转、掉转。动词"扁鹊望桓侯而还走。"<br />
皇:通"惶";恐惧，惊慌。形容词。"然仓皇中不可落于敌人之手以死。""赢得仓皇北顾。""仓皇东出，未及见贼而士卒离散。"<br />
皇:同"凰"传说中的雌凤。名词。"鸾鸟凤皇，日以远兮。"<br />
恍:同"恍"恍然，猛然醒来的样子。"恍惊起而长嗟。"<br />
麾:同"挥";指挥。动词。"麾众拥豪民马前。"<br />
惠:同"慧";聪明。形容词。"甚矣，汝之不惠。"<br />
惛:通"昏";昏乱糊涂。形容词。"吾惛，不能进于是矣。"<br />
混:同"浑"水不筒，污浊，形容词。"举世混浊，何不随其流而扬其波?"<br />
溷:同"混"、"浑"混浊。形容词。"世溷浊而莫余知兮。"<br />
溷:同"混"、"浑";厕所。名词。"中丞匿于溷藩以免。"<br />
火:同"伙";古代军队的组织，十个为"一火""出门看火伴"。<br />
火:同"伙";一伙。数量词。古代军队"瞎王留引定火乔男女，"<br />
机:通"几";预兆。名词。"所赖君子见机，达人知命。"<br />
疾:同"嫉";嫉妒，憎恨。动词。"君子疾夫舍曰欲之而必为之辞。""庞涓恐其贤于己，疾之。"<br />
棘:同"戟";兵器。名词。"鉏櫌棘矜,非铦于钩戟长铩也。"<br />
籍:通"藉";垫。动词。"籍柔覆温之躯。"<br />
纪:通"记";记载。动词。"又或有纪载而语焉不详。"<br />
贾:通"价";钱。名词。"如有营，予佐尔贾。"<br />
简:同"拣"选，择。动词。"宏餍慈九德，简能而任之。"<br />
简:同"拣";挑选，选拔。动词。"是以先帝简拔以遗陛下。"<br />
简:同"拣";挑选。动词。"盖简桃核修狭者为之。"<br />
见:同"现";暴露，露出来。动词。"图穷而匕首见。""譬若锥之处囊中，其末立见。"<br />
见:同"现";展现，表露出来。动词。"信义安所见乎?""才美不外见。"<br />
见:同"现";出现。动词。"何时眼前突兀见此屋?""路转溪头忽见。""风吹草低见牛羊。"<br />
见:同"现";现在。副词。"明标着册历，见放着文书!"<br />
缰:同"强";强大。形容词。"缰本而节用，则天不能贫。"<br />
疆:通"强";强壮。形容词。"始以疆壮出，及还，须发尽白。"<br />
介:同"芥";小草。名词。"无纠介之祸者，冯谖之计也。"<br />
缙:通"搢";插。动词。"缙绅、大夫、士萃于左丞相府，莫知计所出。"<br />
菁:通"精";精华，糟碎。形容词。"吾党菁华，付之一炬。"<br />
景:同"影";影子。名词。"天下云集响应，赢粮而景从。"<br />
迥:同"回";辣转。动词。"迥忆后街之屋。"<br />
鸠:同"纠";集合。动词。"豪民于闻难，鸠宗族僮奴百许人。"<br />
沮:通"阻"阻止，阻挡。动词。"帝屡欲召用瑞，执政阴沮之。<br />
句:同"勾";勾取。动词。"虽小数，然必句性情，习方俗。<br />
具:通"俱";全，都，引申为详细。副词。"此人一一为具言所闻。""愿伯具言臣之不敢倍德也。""具告所以欲死秦军状"。<br />
具:通"俱";全，皆。副词。"政通人和，百废具兴。"<br />
距:同"拒";抗拒。动问。"或走，或闭门旅距。。<br />
距:同"拒";把守。动词。"距关，毋内诸侯。"<br />
决:通"诀"诀别,离别。动词。"今太子迟之，请辞决矣!<br />
决:通"诀";离别。动词。"辞决而行"。<br />
掘:同"倔"，顽强，固执。形容词。"掘强沙塞之间，"<br />
抗:通"亢";高。形容词。"引商刻羽，抗坠疾徐，并称善也。"<br />
亏:同"诡"差异，不适应。动词"其时已与先王之法亏矣。"<br />
雷:通"擂";敲击。动词。"擂鼓大震，北军大坏。"<br />
儽:通"累";堆矗，积累。动词。"即今之儽然在墓者也。"<br />
累:通"摞";捆绑犯人的大绳子例句中作。捆绑。讲，与"臣"一起指。俘虏。""君之惠，不以累臣衅鼓。"<br />
累累:通"垒垒";形容坟墓一个连着一个的样子。形容词。"遥望是君家，松柏冢累累。"<br />
离:通"罹";遭遇。动词。"'离骚'者，犹离忧也。<br />
栗:同"栗";发抖。动词。"栗深林今惊层颠。"<br />
帘:同"奁"女子梳妆用的镜匣。"名箱帘六七十，绿碧青丝绳。"<br />
列:通"裂";分裂。动词。"列缺霹雳,丘峦崩摧。"<br />
脟:同"脔"切成块状的肉。名词。切成块状的肉。名词。<br />
廪廪:通"懔懔";危惧的样子。形容"而直为此廪廪也。"<br />
陵:通"凌";凌侮。动词。"陵压百姓而邀其上者。"<br />
流离:同"淋漓";沾湿的样子。形容词。"两股间脓血流离。"<br />
陇:同"垄";高地。名词。"冀之南，汉之阴，无陇断焉"。<br />
录:同"碌";平凡，平庸。形容词。"公等录录，所谓因人成事者也。"<br />
戮:通"勠"并力，尽力。动词。"臣与将军戮力而攻秦。"<br />
臝:同"裸";裸体。名词。"接舆髡首兮，桑扈臝行。"<br />
茆:同"茅";茅草。名词。"覆之以茆。"<br />
没:同"殁";死。动词。"孝公既没，惠文、武、昭襄蒙故业"<br />
每:同"们";词尾，表人的复数。"这都是官吏每无心正当。"<br />
甿:同"氓"耕田的人。名词。"然陈涉瓮牖绳枢之子，甿隶之人。"<br />
俛:同"俯";低头，表示服从。动词。"百越之君，俛首系颈，委命下吏。"<br />
缪:同"穆"温和，恭敬。例句中为姓。"秦自缪公以来二十余君，未尝有坚明约束者也"<br />
陌:通"百";量词。"烧不了的纸钱，与窦娥烧一陌儿。"<br />
莫:同"暮";日落的时候，晚上。名词。"至莫夜月明，独与迈乘小舟，至绝壁下。"<br />
莫:同"暮";日落时，引申为"末"。"莫春者，春服既成，"<br />
畮:同"亩"土地面积单位。量词。"末技游食之民，转而缘南畮。<br />
内:同"纳"接纳，接受。动词。"然后命使内之，则又再拜，""距关，毋内诸侯。"<br />
内:同"纳"，放人。动词。"公受珠，内所著披袄中，纫之。"<br />
那:同"挪";抽。动词。"过几时，那工夫来望恩人。"<br />
呐:同"讷";说话迟钝或口吃，的句中的"只听得差拨口里<br />
孽:同"孽";灾害，罪恶。名词。"况伪孽昏狡，自相夷戮，"<br />
女:同"汝";人称代词。"三岁贯女，莫我肯顾。"<br />
殴:通"驱"驱逐。动词。"今殴民而归之农。"<br />
畔:通"叛";背叛，离开。动词。"寡助之至，亲戚畔之。"<br />
畔:同"叛";背叛。动词。"不顾恩义，畔主背亲。"<br />
旁:通"傍"依附。接近。动词。"吾灵尚依旁汝也。"<br />
矉:同"颦";皱眉头。动词。"西施病心而矉其里。<br />
齐:同"剂";量词，例句中为名词。"在肠胃，火齐之所及也。"<br />
蕲:同"祈";求。动词。"蕲胜于人而取于人邪?"<br />
契:同"锲";刻，动词。"剑自舟中坠于水，遽契其舟。"<br />
襁:同"襁";婴儿的被子，包袱。名词。"则人物归亡，襁至而辐凑。"<br />
躈:同"噭";一说是肛门。名词。牛羊蹄躈各以千计。"<br />
禽:通"擒"捕捉。动词。"将军禽操，宜在今日。"<br />
禽:通"擒";捕捉。动词。"阴知奸党名姓，一时收禽。。<br />
诎:同"屈";弯曲。动词。"诎右臂支船。"<br />
取:通"娶";把女子接过来成亲。动词。"今若遣此妇，终老不复取。"<br />
去:同"弆";藏。动词。"掘野鼠去草实而食之。。<br />
却:同"却"，退。"大军却，离城三里止营。"<br />
郤:同"隙";空隙。名词。"依乎天理，批大却<br />
阙:通"缺";缺点。名词。"必能裨补阙漏"<br />
輮:通"揉";使……弯曲。动词。"木直中绳，輮以为轮。"<br />
蒻:同"箬"，箬竹。名词。"中轩敞者为舱，箬篷覆之。"<br />
善:通"缮";修治，拭擦。动词。"为之踌躇满志;善刀而藏之。。<br />
沈:同"沉":程度深。副词。"沈醉不知归路。"<br />
沈:同"沉";形容暮霭的程度深。念去去，千里烟波，暮霭沈沈楚天阔。"<br />
生:同"性"资质，禀赋。名词。"君子生非异也，善假于物也。<br />
声:通"伸";陈述，说明。动词。"吾社之行为士先者，为之声义。"<br />
失:通"佚";散失的。形容词。"网罗天下放失旧闻"<br />
识:通"志"，标志，记号。名词"出珠授之，封识宛然。"<br />
识:通"志";记住。动词。"因笑谓迈曰:'汝识之乎?'"<br />
识:通"志";记住。动词。"默而识之，学而不厌。"<br />
食:同"饲";喂。动词。"食马者不知其能千里而食也"。<br />
矢:同"屎";粪便。名词。"然与<br />
式:通"拭";古代车厢前用作扶手的横木。名词兵车不式。<br />
逝:通"誓";发誓。动词。"逝将去女，适彼乐土。"<br />
受:同"授"给，与。动词。"师者，所以传道受业解感也。"<br />
孰:同"熟";煮熟了的。形容词。"宰夫顾熊蟠不孰，杀之，"<br />
孰:同"熟";仔细。形容词。"唯大王与群臣孰计议之。"<br />
说:同"说高兴，愉快。形容词。"秦王必说见臣，臣乃得有以报太子..<br />
说:同"悦;高兴。形容词。:"王说，曰:'诗云:他人有心，予忖度'之。"<br />
说:同"悦";愉快。高兴。形容词。"而民说之，"<br />
说:同"悦";愉快。形容词。"秦王不说。"<br />
竦:同"耸";高。形容词。"水何澹澹，山岛竦峙。"<br />
太:通"大";大部分。形容词。"死者太半。"<br />
汤:同"烫":用热水焐。动词。"疾在腠理，汤熨之所及也。"<br />
田:同"畋";打猎。动词。"今王田猎于此。"<br />
帖:同"贴";用标签标出。动词。"不用，则以纸帖之。"<br />
帖:同"贴";粘附。动词。"对镜帖花黄。"<br />
庭:同"廷";国君听政的朝堂。名词。"使臣奉璧拜送书于庭。"<br />
涂:同"途"，道路。名词。"失迷涂知返，往哲是与"<br />
土:同"仕"作官。动词。"重争土豪，非下也，权重也。"<br />
橐:通"托";托付，委托。动词。"重争士橐，非下也，权重也。<br />
顽:同"玩";开玩笑。动词。"我又不同你顽。"<br />
亡:同"无";不。副词。"亡何国变，宁南死。"<br />
亡:同"无";没有。副词。"且陛下春秋高，法令亡常""空自苦亡人之地。""河曲智叟亡以应。""生之有时而用之亡度。""日知其所亡以就懿德。"<br />
罔:同"网";罗网。名词。例句中作动词，即张开罗网掳捉。"及陷于罪，然后从而刑之，是罔民也。"<br />
惟:通"唯";应答声。象声词。"伏惟启阿母，今若道此妇，终老不复取!"<br />
惟:通"唯";只，只有。副词。"惟先生乐游。""故惟日日呼酒买醉。""惟陈言之务去。""无恒产而有恒心者，惟士为能。""惟觉时之枕席，失向来之烟霞。"<br />
文:同"纹"纹理。名词。"其中多斑文小鱼。"<br />
文:同"纹";纹路，纹理。名词。"不以木为之者，文理有疏密。"<br />
无:通"毋";不要。副词。"孟尝君使人给其食用，无使乏。"<br />
销:通"消";消散。动词。"云霄雨霁，彩彻区明。"<br />
希:同"稀";稀疏，稀少，罕见。形容词。"鼓瑟希，铿尔。""有志乎古者希矣。"<br />
熙:同"嬉";欢乐，快乐。形容词。"其余则熙熙而乐。"<br />
郤:同"隙";隔阂，嫌怨。名词。"令将军与臣有郤。"<br />
孅:通"纤";精细。形容词。"古之治天下，至孅至悉也。"<br />
县:同"悬";挂，动词。"县明太祖御容明伦堂，率众拜且哭。""胡瞻尔庭有县廛兮?"<br />
乡:同"向";对着，朝着。介词。"秦伯素服郊次，乡师而哭。""以至晋鄙军之日北乡自刭。"<br />
飨:同"享";受。动词。"飨德怀恩，词不悉心。"<br />
向:通"响";响声。名词。砉然向然，奏刀騞然。"<br />
邪:同"耶";呢，吗，疑问语气助词。"赵王岂以一璧之故欺秦邪?"<br />
邪:同"耶";吗。疑问语气词。"其真无马邪?"<br />
羞:同"馐";食物名词。"玉盘珍羞直万钱。"<br />
虚:同"墟"，市。名词。"之虚所卖之。"<br />
畜:通"蓄";积聚，储藏。动词。"故其畜积足恃。"<br />
炎:通"焰";火焰。名词。"顷之，烟炎张天。"<br />
奄:同"晻";日无光。形容词。"奄奄黄昏后，寂寂人定初。"<br />
厌:通"餍";满足。形容词。"默而知之，学而不厌。""暴秦之欲无厌。""寡君若得而食之，不厌。""奉之者有限，而求之者无厌"<br />
燕:通"宴";安逸，安闲。形容词。"燕坐于华堂之上。"<br />
燕:通"宴";饮宴。名次。"集宾友酣燕。"<br />
燕:通"宴";玩乐。"桓公每游燕，辄命袁、伏。"<br />
阳:同"佯";假装，表面。"皆阳应曰:'诺，。"<br />
邀:同"要";要挟。动词。"陵压百姓而邀其上者，"<br />
要:同"邀";约订。动词。"虽与府吏要，渠会永无缘。"<br />
要:同"邀";邀请。动词。"便要还家，设酒杀鸡作食。""张良出，要项伯。"<br />
要:同"邀";拦住。动词。"鸠宗族僮奴百许人，欲要篡以归。"<br />
耶:通'爷";父亲。名词。"耶娘妻子走相送，尘埃不见咸阳桥。"<br />
夷:通"怡;平和，和悦。形容词。"与之论辩，言和而色夷。"<br />
已:同"以";"从此已去，勿复如是!"<br />
已:同"矣";了。语气助词。"夫神农以前，吾不知已。"<br />
已:同"矣";了。语气助词。"放辟邪侈，无不为已。"<br />
以:通"已";太甚。副词。"而吾子又欲使吾为越之雪，不以病乎?"<br />
以:同"已";止。动词。"无以，则王乎?"<br />
佚:同"逸";安逸，安闲。形容词。"而人民日以安于佚乐。"<br />
益:同"溢";涨水。动词。"澭水暴益。"<br />
逸:通"佚";散佚。动词。左忠毅公逸事。"<br />
翼:通"翌";明(天)。名词。"翼日进宰。"<br />
阴:通"荫"，树荫。名词。"绿杨阴里白沙堤。"<br />
阴:通"荫"，树荫，名词。"也傍桑阴学种瓜。"<br />
阴:通"荫";绿荫。名词。"佳木秀而繁阴。"<br />
有:同"又";更。副词。"殆有甚焉。"<br />
有:同"又";用于整数与零数之间。副词。"其为时止十有一月耳。""尔来二十有一年矣。""其级七千有余。"<br />
有:同"又";再一次。副词。"虽有槁暴，不复挺者，輮使之然也。"<br />
与:同"欤";吗。语气助词。"可得闻与?"<br />
与:同"欤";吗。语气助词。"而君逆寡人者，轻寡人与?"<br />
与:同"欤";呢。疑问语气词"是谁之过与?"<br />
豫:通"预";预先，事先。副词。"豫备走舸，系于船尾。"<br />
员:通"圆";圆形。名词。"以精铜铸成，员经八尺。"<br />
原:同"源"源泉。名词。"此四者，民所衣食之原也。"<br />
圆:同"圆";圆形。名词。"多平方，少圆。"<br />
芸:同"耘";锄草。动词。"植其杖而芸。"<br />
暂:通"渐"，欺诈。动词。"武夫力而拘诸原，妇人暂而免诸国。"<br />
蚤:通"早";在先，还没到时候。形容"使遂蚤得处囊中。"<br />
蚤:通"早";在先，还没到时候。形容词。"旦日不可不蚤来谢项王。"<br />
责:同"债";欠别人的钱财。名词。"先生不羞，乃有意欲为收责于薛乎?"<br />
曾:同"增";增加。动词。"曾益其所不能。"<br />
旃:同"毡";毛织的毡毯。名词。"与旃毛并咽之。"<br />
沾:同"沾";浸湿，浸润。动词。"因泣下沾衿，与武决去。"<br />
振:通"震";震动。动词。"虽董之以严刑，振之以威怒，"<br />
振:通"震"，惊恐或情绪过分激动。形容词。"燕王诚振怖大王之威，"<br />
振:通"震";震动。动词。"执敲扑而鞭答天下，威振四海。"<br />
振:同"赈";救济。动词。"大命将泛，其之振救。"<br />
征:同"徴";证据。名词。"京师学者咸怪其无征。"<br />
支:通"肢";肢体。名词。"四支犹温，一目未瞑，"<br />
枝:同"肢";肢体。名词。"为长者折枝，"<br />
知:通"智";聪明，智慧。形容词。"以大知而察及迩言。"<br />
知:通"智";聪明，智慧。形容词。两小儿笑曰:"孰为汝多知乎!"<br />
知:通"智";智慧。名词。"则知明而行无过矣。"<br />
祗:同"只";只是。副词。"祗辱于奴隶人之手。"<br />
直:通"值";价钱，代价。名词。"系向牛头充炭直。""昂其直，居为奇货。"<br />
直:通"值";价值，引申为公正的待遇。"乐国乐国，爱得我直。"<br />
直:通"值";值得。动词。"玉盘珍羞直万钱。"史进道:"直什么?"<br />
指:同"旨";旨趣。名词。"其称文小而其指极大"。<br />
质:通"贽";见面礼。名词。"乃令张仪佯去秦，厚币委质事楚，"<br />
质:同"锧"，刑具，杀人时作垫用的砧板。名词。"君不如肉袒伏斧质请罪。"<br />
陼:同"渚";水中间的小块陆地。朝发枉陼兮，夕辰阳。"<br />
属:同"嘱";嘱托、托付。动词。"属予作文以记之。"<br />
住:通"驻";动词"备用肃计，进住鄂县之樊口。"<br />
著:同"着"，穿。动词。"著我旧时裳。"<br />
转:通"啭";鸟宛转地叫。动词。"蝉则千转不穷。"<br />
椎:通"锤";兵器。例句中前一个"椎"为名词，后一个活用为状语。"朱亥袖四十斤铁椎椎杀晋鄙。"<br />
濯:通"浊"肮脏，水不清。形容词。"自疏濯淖污泥之中。"<br />
兹:通"滋"副词。兹，更加。"赋敛兹重。"<br />
咨:同"谘";询问。动词。"事无大小，悉以咨之。"<br />
卒:通"猝"，仓猝。形容词。"五万兵难卒合。"<br />
尊:通"樽"古代盛酒的器具。名词，"人生如梦，一尊还酹江月。"<br />
坐:同"座";座位。名词。"直上载公于上坐。""满坐寂然，无敢哗者。"<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
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[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
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[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
<br />
[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
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[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
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[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
<br />
Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
<br />
(3)Translation Under Fidelity Rule<br />
<br />
The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
<br />
Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
<br />
In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.<br />
<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
<br />
Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
<br />
Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
<br />
Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
<br />
Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
<br />
Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.<br />
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Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.<br />
<br />
Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
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Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
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Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
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Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
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Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
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Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
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Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
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Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
There is no superior culture, but there are strong and weak ones. According to Toury's multiple systems theory, Chinese culture is relatively weak compared with British and American culture. Chinese literature has been marginalized in the world literature system for a long time, so when entering the field of English literature, it is usually dominated in the field of English literature. In the past few decades, the translation of contemporary Chinese literature to the English world has not been very successful. Readers in the English-speaking world object to translated literature from any culture, and it is very difficult for translated literature to enter the English world. Although there were two large-scale translation and introduction activities of Panda Series and Great China Library with a lot of material and human resources invested, but the result was not ideal. Although Dragon Raja, as an online literature, can not represent Chinese culture, its exciting plot and low barrier of readers would make it a good guide in achieving the "go global" strategy.<br />
Both Harry Potter and Dragon Raja are a series of fantasy novels that have achieved great success, and both their main characters Harry Potter, Lu Mingfei and their storyline shares many similarities. One is popular across the world, and one is popular in China. So when translating Dragon Raja into English, we can learn many useful words, expressions and sentence patterns from Harry Potter.===Subtitle1===<br />
===Similarities===<br />
2.1 A Special Academy <br />
There is a special academy in both Harry Potter and Dragon, the Hogwarts College in Harry Potter and Kassel College in Dragon Raja, which are places where the main characters learn corresponding knowledge. Both colleges are extremely special. Hogwarts is about magic, kassel is about dragons, and both colleges are different from real universities. Neither college is known to the general public, and both have some mysteries.<br />
<br />
In "Harry Potter" the headmaster of Hogwarts Dumbledore is a very powerful wizard, numerous honors, proficient in all kinds of high order magic, and is also the backbone of Hogwarts and even the whole magic community. In The Dragon Clan, The principal of Kassel Academy, Anger, is also a powerful dragon slayer. Kassel Academy, with Anger as its seat, has a great say in the mixed-race society. Both headmasters act as guides for the main characters in their respective works. Dumbledore loves Harry very much, while Angers loves Lummingfield even more than his pocketknife.<br />
<br />
<br />
Both works depict a grand worldview that is different from the real world. Harry Potter describes an imaginary magical world in which all sorts of magical things are fascinating. Dragons also portrays the magical world of the dragon clan, attracting many fans with its whimsical ideas about various characters and historical events.<br />
<br />
Neither Harry nor Lu Mingfei, who played the leading role in "Harry Potter" nor "Dragon", was the best in the academy. In Harry Potter, Harry is not good either in actual combat ability or in school, while Lu Mingfei is a famous diaos in Dragon clan. But they both have extraordinary fates, Harry is the chosen one, and Lumingfei is also the key to ending the history of the dragon race.<br />
<br />
<br />
In both books, there is a special race that has special abilities that ordinary people do not have. Magic in Harry Potter and speech and Spirit in Dragons are both powerful special abilities. Those who possess these special abilities are divided between wizards and hybrids. Wizards and hybrids are difficult groups for ordinary people to reach, and they don't want them to.<br />
<br />
Before entering the academy, both Lumingfield and Harry stayed in their uncle's house, and neither of them was very popular. Both grew up in very similar environments, with few friends and often being bullied. Both men met their best friends after attending special schools. Harry meets Hermione and Ron on the train to Hogwarts, and Lummingfield meets Fingal at the station.<br />
===Application===<br />
Since the two novels share many similarities, when translating Dragon Raja, we can learn some useful words, expressions from Harry Potter.<br />
<br />
1.The Dursleys had a small son called Dudley and in their opinion there was no finer boy anywhere.<br />
德思礼夫妇有一个小儿子，名叫达力。在他们看来，人世间没有比达力更好的孩子了。<br />
婶婶觉得路鸣泽聪明，好读书，求上进，还特热爱文学，路鸣泽看《小说绘》在婶婶的嘴里也是“我们家鸣泽在学习”。<br />
In Mrs. Lu’s opinion, her son Lu Mingze was smart and diligent with enthusiasm in literature. Even when Lu Mingze read Fiction and Draw, she thought he was doing some serious work.<br />
<br />
Might this not all be some huge joke that the Dursleys had cooked up? If Harry hadn’t known that the Dursleys had no sense of humor, he might have thought so...<br />
这也许是杜斯礼一家搞的恶作剧？<br />
<br />
也许“夕阳的刻痕”的真实身份给路鸣泽发觉了？路鸣泽想办法报复他玩呢？<br />
Might this not all be some huge prank that Lu Mingze cooked up since he found out about the secret of “sunset”?<br />
When receiving the letter from their respective special college, Harry and Lu Mingfei both showed confusion and doubt.<br />
===Conclusion===<br />
===References===<br />
[1]封寿炎.中国网文何以成为海外读者新宠[J].上海采风,2019(03):96.<br />
[2]李佳欣,余堃贤.美国主流电影十年回顾（2010—2019）[J].北京电影学院学报,2021(06):105-118.<br />
[3]刘毅.《射雕英雄传》在西方的译介传播:行动者网络、译者惯习与翻译策略[J].解放军外国语学院学报,2021,44(02):58-65+159-160.<br />
[4]傅西平.美国市场翻译图书生存状态[J].出版参考,2015(16):18-20.<br />
[5]陈梦媛,石金娟,张诚玉.从《龙族》热看传统奇幻文学的可行性传播[J].今古文创,2022(03):29-31.<br />
[6]刘闽峰.论《龙族》与文学市场需求的契合性[J].品位·经典,2021(22):9-13.<br />
[7]Munday Jeremy. Introducing Translation Studies:Theories and Applications[M].Taylor and Francis:2016-02-05.<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Classics_2&diff=14616420220630 Classics 22022-06-30T15:34:17Z<p>Li Yuan: /* Insights from the successful translation of Sun Tzu's The Art of War from the perspective of communication */</p>
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==This is the final exam paper website no. 1==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575 CE==<br />
<br />
<br />
<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Abstract===<br />
<br />
The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.<br />
<br />
===Key words===<br />
<br />
Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt<br />
<br />
===Introduction===<br />
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.<br />
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment<br />
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.<br />
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.<br />
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.<br />
<br />
===Literature Review===<br />
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).<br />
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).<br />
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).<br />
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.<br />
<br />
===Methods and Theories===<br />
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.<br />
<br />
===An introduction to the translator's subjectivity===<br />
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).<br />
<br />
===Cultural transmission in translation===<br />
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.<br />
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)<br />
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.<br />
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)<br />
The original text is translated one by one to show the original ecological scene.<br />
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)<br />
The original text shows the backward means of production at that time, using cattle to plow the land.<br />
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)<br />
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。<br />
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)<br />
The original text shows the good ecological environment at that time.<br />
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)<br />
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。<br />
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)<br />
The text presents the ecological topics that farmers were concerned about at that time.<br />
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)<br />
译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。<br />
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.<br />
<br />
===A Study on Detailed Translation===<br />
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.<br />
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)<br />
The original text presents the state of backward production tools and daily necessities at that time.<br />
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)<br />
Literal translation is adopted to maintain the cultural characteristics of the original text.<br />
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)<br />
The original text presents the age and costume characteristics of material scarcity at that time.<br />
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)<br />
原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。<br />
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)<br />
The original text presents the enclosure architecture and the ecology around the enclosure at that time.<br />
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)<br />
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。<br />
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.<br />
<br />
===Translation Studies of Socio-cultural and Religious Cultures===<br />
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.<br />
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)<br />
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)<br />
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。<br />
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)<br />
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.<br />
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)<br />
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.<br />
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.<br />
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.<br />
<br />
===Conclusion===<br />
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.<br />
<br />
===References===<br />
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.<br />
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.<br />
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.<br />
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.<br />
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.<br />
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.<br />
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.<br />
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.<br />
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103. <br />
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.<br />
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.<br />
<br />
==英语笔译 李婷 Li Ting 202170081576 MW==<br />
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Abstract===<br />
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.<br />
<br />
''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.<br />
<br />
===Key words===<br />
''The Border Town''; Eco-Translatology; three-dimensional transformation<br />
<br />
===Introduction===<br />
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)<br />
<br />
''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)<br />
<br />
As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)<br />
<br />
This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.<br />
<br />
===Literature Review===<br />
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.<br />
<br />
Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)<br />
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)<br />
<br />
Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.<br />
<br />
The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .<br />
<br />
All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.<br />
<br />
===Methods and Theories===<br />
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.<br />
<br />
'''1.The Origin of Eco-Translatology'''<br />
<br />
Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.<br />
<br />
Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)<br />
<br />
'''2.Some Core Concepts'''<br />
<br />
In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.<br />
<br />
'''2.1 Translation as Adaptation and Selection'''<br />
<br />
The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.<br />
<br />
'''2.2 Three-dimensional Transformation'''<br />
<br />
Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one. <br />
<br />
The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.<br />
<br />
Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''<br />
<br />
The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)<br />
<br />
The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)<br />
<br />
===Case Study===<br />
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)<br />
<br />
'''1. Linguistic Dimension'''<br />
<br />
The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)<br />
<br />
Example 1:<br />
<br />
Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）<br />
<br />
Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）<br />
<br />
The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)<br />
<br />
Example 2:<br />
<br />
SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）<br />
<br />
TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）<br />
<br />
"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)<br />
<br />
'''2. Cultural Dimension'''<br />
<br />
Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.<br />
<br />
Example 3:<br />
<br />
SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）<br />
<br />
TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）<br />
<br />
"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.<br />
<br />
Example 4:<br />
<br />
SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）<br />
<br />
TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）<br />
<br />
Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)<br />
<br />
Example 5:<br />
<br />
SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）<br />
<br />
TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）<br />
<br />
Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.<br />
<br />
When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.<br />
<br />
'''3. Communicative Dimension'''<br />
<br />
In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
Example 6:<br />
<br />
SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）<br />
<br />
TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）<br />
<br />
"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.<br />
<br />
Example 7:<br />
<br />
SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）<br />
<br />
TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）<br />
<br />
Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.<br />
<br />
===Conclusion===<br />
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.<br />
<br />
===References===<br />
*Hall E T .(1976).Beyond Culture. chicago.<br />
<br />
*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.<br />
<br />
*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123. <br />
<br />
*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.<br />
<br />
*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh<br />
<br />
*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.<br />
<br />
*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.<br />
<br />
*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.<br />
<br />
*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28. <br />
<br />
*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.<br />
<br />
*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96. <br />
<br />
*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.<br />
<br />
*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209. <br />
<br />
*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh<br />
<br />
*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh<br />
<br />
*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.<br />
<br />
*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.<br />
<br />
*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95. <br />
<br />
*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.<br />
<br />
==英语笔译 李欣 Li Xin 202170081577 CE==<br />
<br />
<br />
<center>'''The dissemination of Chinese Classics in modern media'''</center><br />
<br />
<center>Li Xin</center><br />
<br />
===Abstract===<br />
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578 MW==<br />
<br />
<center>'''On the Translation of The Moon and Sixpence'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.<br />
<br />
In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.<br />
===Key words===<br />
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation<br />
===Introduction===<br />
1.A Brief Introducation to William Somerset Maugham<br />
<br />
William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.<br />
<br />
As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on. <br />
<br />
Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.<br />
<br />
In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.<br />
<br />
2.A Brief Introduction to The Moon and Sixpence<br />
<br />
The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.<br />
<br />
The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”<br />
<br />
The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.<br />
<br />
3.A Brief Introduction to the Translater and Translating Verisons<br />
<br />
The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm. <br />
<br />
Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.<br />
<br />
Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.<br />
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.<br />
<br />
===Literature Review===<br />
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.<br />
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.<br />
<br />
Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.<br />
<br />
Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.<br />
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.<br />
<br />
The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.<br />
<br />
===Methods and Theories===<br />
1.The Translator's Role in Traditional Translation Studies<br />
<br />
From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.<br />
<br />
The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.<br />
<br />
1.The Translator’s subjectivity <br />
<br />
Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)<br />
<br />
2. Factors of Affecting Translator's Subjectivity<br />
<br />
Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.<br />
<br />
The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。<br />
<br />
===Subtitle 1 Analysis on Translating Cases ===<br />
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.<br />
<br />
1.Translator's Subjectivity in Semantic Comprehension and Interpretation<br />
<br />
In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:<br />
<br />
（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)<br />
<br />
傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）<br />
<br />
陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）<br />
<br />
李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）<br />
<br />
In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.<br />
<br />
Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.<br />
<br />
Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.<br />
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.<br />
<br />
2. Translation Strategies in the Choice of Translator’s Subjectivity<br />
<br />
中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。<br />
<br />
Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.<br />
<br />
(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)<br />
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）<br />
<br />
In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.<br />
<br />
Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.<br />
<br />
(3)He followed me, and entered the apartment on my heels.(P98)<br />
<br />
傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)<br />
<br />
陈译：他尾随我进入公寓。（P180）<br />
<br />
李译：他跟在我身后，紧贴着我走进了房间。（P179）<br />
<br />
The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.<br />
<br />
Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.<br />
<br />
3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance<br />
<br />
Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.<br />
<br />
(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)<br />
<br />
傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)<br />
<br />
陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)<br />
<br />
李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)<br />
<br />
According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."<br />
<br />
The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.<br />
<br />
Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.<br />
<br />
4. Translator's Subjectivity in Language Style<br />
<br />
As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:<br />
<br />
(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)<br />
<br />
傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）<br />
<br />
陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）<br />
<br />
李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）<br />
<br />
This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.<br />
<br />
===Conclusion===<br />
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.<br />
<br />
This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.<br />
<br />
In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.<br />
<br />
To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.<br />
===References===<br />
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House<br />
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.<br />
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.<br />
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.<br />
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp. <br />
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.<br />
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.<br />
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.<br />
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University<br />
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579 CE==<br />
<center>'''On the Reception of the English Translation of Sunzi's ''The Art of War'' in the West'''</center><br />
<br />
<center>Li Yuan</center><br />
<br />
===Abstract===<br />
The Art of War is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes The Art of War as the research object, mainly adopts the literature research method and interdisciplinary research method to introduce the English translation of The Art of War from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present day in the West. "The aim is to provide reference and inspiration for the selection of the original text, the choice of translator, the choice of translation strategy, the choice of initiator, the choice of communication channel, and the analysis of audience in the practice of foreign translation of Chinese classics, so as to help Chinese language and culture to spread internationally more effectively.<br />
<br />
===Key words===<br />
The Art of War; communication; translation and reception; revelation<br />
<br />
===Introduction===<br />
The Art of War, also known as Sun Tzu and Sun Wu's Art of War, is an ancient Chinese military book, the world's oldest surviving work on military theory, and one of the Seven Books of the Military Scriptures, written by Sun Wu in the late Spring and Autumn Period. Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of planning, combat, strategy and attack, shape, potential, virtual reality, military disputes, nine changes, marching, terrain, nine lands, fire attack, and use of the intervening chapter. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as "if you know yourself and your enemy, you will not be in danger in a hundred battles", "if you do not fight, you will give up the army", and "if you are not prepared, you will be able to attack them. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected at home and abroad and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest surviving version of The Art of War in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest surviving engraved version is The Seven Books of the Book of Wushu from the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty, and the three-volume version of The Eleven Books of Sun Tzu from the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book "Qi Sun Tzu", it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of "Sun Bin Art of War".<br />
Since the first English translation of The Art of War by E.F. Calthrop in 1905, many translators at home and abroad have translated The Art of War into English, and more than 50 full English translations of The Art of War have been published. According to the survey data on Amazon.com in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou Xinyi and Ji Hongqin 2021:54-58). It can be seen that the English translations of Sun Tzu's The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Chinese scholars and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries began to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's wisdom to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:68-69).<br />
Lasswell's "5W model" is a classic theory of communication, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of The Art of War in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what is the degree of acceptance and feedback of readers. From the perspective of communication science, this translation practice of the English translation of The Art of War can be studied comprehensively, three-dimensionally and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.<br />
<br />
===Literature Review===<br />
By typing in the keywords "The Art of War", "English translation" and "acceptance" on China Knowledge Network, there are only 12 relevant papers, which shows that there is a lack of research on the overseas acceptance of the Art of War. The current studies, such as Li Ning's "The Art of War" and "The Art of War", have been published. The current studies, such as Li Ning's survey on the overseas acceptance of the Chinese English translation of The Art of War in the Greater China Library - Sun Tzu's Art of War as an example, investigate the acceptance of the Lin Wusun translation of Sun Tzu's Art of War in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. It was concluded that in order to change the situation of "self-indulgence" of the Chinese translators of the Greater China Library, and to make Chinese culture broadcast to the world and become a unique part of the world culture, it is urgent to conduct a study on the acceptance of the English translation of the text from the readers' perspective (Li Ning, 2015: 81). Subsequently, there are many scholars began to carry out research on the acceptance of Chinese canonical texts in foreign translations from the readers' perspective, such as Zhou Xinyi and Ji Hongqin's "The Art of War" English translation of the English translation of the overseas dissemination of the current situation and reflections on the English translation - based on the survey of the British and American Amazon.com, from the reader reviews of the English translation of "The Art of War" on the British and American Amazon.com, summarizing We analyze the three major problems of the English translation of Sun Tzu's Art of War by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation, and propose countermeasures to improve the reading experience of foreign readers. In addition to improving the "hard power" of translation quality, it is also important to improve the "soft power" of translation editing and appearance. Good appearance, professional editing and good printing will increase readers' favorable impression of the translation and bring them a better reading experience (Zhou Xinyi and Ji Hongqin 2021: 58). The English translation and reception of The Art of War contains many elements and links, and audience and feedback analysis are only two of them. No one has yet studied the insights from the perspective of communication science on the successful reception of the English translation of The Art of War by foreign translators of Sun Tzu in the West. The translation and acceptance of The Art of War in the West is itself a communication process, so it is feasible to analyze the characteristics of the translation journey of Sun Tzu's The Art of War in the West and the revelation of successful translation from the perspective of communication science.<br />
<br />
===Communication Theory--Lasswell's "5W Model"===<br />
The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in The 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical. In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:Convenient way to describe an act of communication is to answer the following questions: <br />
Who<br />
Says What<br />
In Which Channel<br />
To Whom<br />
With What Effect?<br />
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the "who", the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the "says what" engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).<br />
This is the detailed explanation of Lasswell's 5W models, including five factors in the communication process, namely communicator, Therefore, this model can be illustrated as the following figure:<br />
"Who" refers to the communicator, a person who collects, handles and sends the information in the communication process. communicator can be only one person, a community or an organization, who is to make the communication process get started. "It can also be <br />
"In Which Channel" is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. "To Whom" stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. It can be called feedback as well, measuring whether the communication activity is effective or not. In fact, there are many similarities between the communication process and the translation <br />
The author is the communicator, the information is the original text, and the audience is the target reader. It is the translator who renders the original information and transmits the translated information to the target reader through a certain medium. In this sense, the effect is the target reader's feedback to the In this sense, the effect is the target reader's feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation process from the perspective of communication The property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation process from the perspective of communication science.<br />
<br />
===The History and Characteristics of the English Translation of Sunzi's The Art of War in the West from the Perspective of Communication===<br />
The history of the English translation of The Art of War can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication, using Lasswell's "5W" model.<br />
Phase I: 1905 to the 1930s<br />
The representative translations of this period are E.F. Calthrop's English translation in 1905 and Lionel Giles's English translation in 1910. From the two elements of initiator and translator, Calthrop and Zhai Linnaeus are both the initiator and the translator of the translation practice of Sun Tzu's Art of War. The difference lies in their different purposes of translating The Art of War. Calthrop was a British captain studying in Japan at that time, and seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English using the Japanese version of Sun Tzu's Art of War as a base. Zhai Linnaeus, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, who had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text, the original text sent and translated by Karthrop and Zhai Linnaeus is different, one is translated through the intermediary language Japanese, and the other is directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Kalthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Zhai Linnaeus, on the other hand, did not translate The Art of War for a specific purpose, so his target audience was not a specific group of people, but to translate The Art of War to the whole foreign readership and introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the readers' feedback, Kalthrop does not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Kalthrop is not a professional translator, and his translation level is limited. He chooses to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Zhai Linnaeus chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, smooth and rhythmic, not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge of ancient Chinese culture, which is still a classic work, and is useful for It is still a classic work and has had a very profound impact on the spread of Sun Tzu's thought in the Western world (Tu, Guoyuan, and Wu, 2011:188).<br />
Second phase 1940s to 1980s<br />
One of the representative English translations of The Art of War of this period was the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations by Chinese delegates, and has been reprinted several times since then, becoming an Amazon.com top bestseller for more than 100 weeks and replacing the Jai Linnaeus The English translation has taken over the authoritative status of the entire Western world. Thus, from the feedback of readers, Griffith's English translation is very effective in spreading. Like Karthrop and Zhai Linnaeus, Griffith's translation of The Art of War was initiated by and translated by himself, and the purpose of the translation, like Karthrop's, was influenced by the context of the times and the desire to use the Art of War to formulate operational guidelines. The channel of dissemination of Griffith's translation was also books, and the target audience was narrowly himself, who translated Sun Tzu's Art of War to guide his own military combat practice, but in a broader sense, with the development of the times, the target should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and discusses the relationship between The Art of War and Mao Zedong's thought, while having a clear tendency to naturalize in its translation strategy (Tu, Guoyuan, and Wu, 2011:188). Another representative version is James Clavell's 1983 edited reprint of the English translation of Zhai Linnaeus' version of Sun Tzu's The Art of War. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Zhai Linnaeus' translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel, and gave feedback to the readers by focusing on the vulgarity of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating Sun Tzu's The Art of War changed from military studies to popularizing Chinese culture and ancient philosophical thought.<br />
The third phase 1990s to present<br />
During this period, from 1991 to 2010, 21 English translations of The Art of War have appeared in just 20 years, each with a different focus, adding to the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of the English translation of The Art of War by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and the translator are still the same, the initiator and translator of the translation of The Art of War by the Denma group are no longer a single individual, but a group focused on translation, consisting of several individuals whose research on The Art of War has lasted for 10 years and adopts a translation strategy of alienation. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Danmar group has set up a relevant website, where it posts its own translations from time to time during the translation process, welcoming scholars and researchers from all over the world to read and discuss them, give suggestions for changes, and give reasons. Such a practice puts the translation and dissemination of The Art of War into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, the readers' feedback is given directly to the translators during the translation activity, which can fully mobilize the Western readers and enhance the dissemination effect.<br />
<br />
===Insights from the Successful Translation of Sunzi's The Art of War from the Perspective of Communication===<br />
From the perspective of the initiator of translation activities, the initiator of many Chinese canonical foreign translation activities is currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of Sun Tzu's The Art of War that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese canonical texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese canonical texts, which will make the translation and dissemination activities better. By penetrating the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send, that is, the publisher will have a reference for the selection of the original text to be translated, and the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers. Secondly, the choice of translators is also important. According to the history of English translation of The Art of War, it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically will not produce serious translation errors. However, if only domestic translators are allowed to translate, the acceptance of foreign readers will not be high due to their low popularity abroad. Therefore, it is advisable to adopt the mode of cooperation between foreign translators and domestic translators, which can not only keep a check on the correct understanding of the original text, but also open up the foreign reading market by reasonably making use of the popularity of foreign translators. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is books. However, many times, foreign readers look at the difficult translation and lose interest in reading before they understand the main content of the book. In order to improve the acceptance of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to prescribe the right remedy, and then a reasonable and effective feedback mechanism is very important.<br />
<br />
===Conclusion===<br />
Since the first English translation appeared in 1905, several hundred years have passed since the English translation of The Art of War in the West, producing a large number of excellent translations that have contributed greatly to the dissemination of Chinese culture in the West. The translation and reception of The Art of War in the West is itself a communication process, in which the originator, the original text, the translator, the target audience and the feedback all become different with the changing times and each has its own characteristics. The wide acceptance of the English translation of The Art of War by foreign translators in the West from the perspective of communication science shows that it is feasible and necessary to introduce communication science into translation research, which can provide reference and inspiration for the selection of the original text, translators, translation strategies, initiators, dissemination channels and audience analysis in the practice of foreign translation of Chinese classics, in order to help Chinese language and culture to be more effectively disseminated internationally. This will help Chinese language and culture to spread internationally more effectively.<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581 MW==<br />
On the Reception of Vanity Fair in China<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582 CE==<br />
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
This is a paragraph. (Wang 2021:423)<br />
<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583 MW==<br />
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.<br />
<br />
===Key words===<br />
lyrics translation; Chinese music; Chinese into English<br />
<br />
===Introduction===<br />
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.<br />
<br />
===Standards to Be Followed in the Translation of Songs===<br />
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.<br />
<br />
(1)General Standards<br />
<br />
As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.<br />
<br />
The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).<br />
<br />
Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.<br />
<br />
To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.<br />
<br />
(2)Special Standards<br />
<br />
In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:<br />
<br />
First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)<br />
<br />
Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.<br />
<br />
Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.<br />
<br />
===Instance Analysis===<br />
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.<br />
<br />
(1)Analysis of Ancient Style Music<br />
<br />
First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.<br />
<br />
Example 1:<br />
<br />
Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。<br />
<br />
English Version: Thoughts of you are like a river, comforting chilling my soul.<br />
<br />
In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.<br />
<br />
Example 2:<br />
<br />
Chinese Version : 凉凉三生三世恍然如梦<br />
<br />
English Version: Past present and future<br />
<br />
In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.<br />
<br />
（2）Analysis of Pop Music<br />
<br />
Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)<br />
<br />
Example 3:<br />
<br />
Chinese Version: 怎么二十多年到头来 还在人海里浮沉<br />
<br />
English Version: How come after all that I've been through I still suffer vicissitudes<br />
<br />
This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability<br />
<br />
Example 4:<br />
<br />
Chinese Version: 像我这样碌碌无为的人 你还见过多少人<br />
<br />
English Version: Someone busy with his needs I'm sure you know quite a few<br />
<br />
This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.<br />
<br />
===Conclusion===<br />
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.<br />
<br />
===References===<br />
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.<br />
<br />
Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.<br />
<br />
Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.<br />
<br />
Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34<br />
<br />
Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584 CE==<br />
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja<br />
<br />
Abstract<br />
Key words<br />
1.Introduction<br />
2.Value of Communication<br />
3.Content of Communication<br />
4.Feasible Procedures of Translation<br />
5.Platform for Translation and Communication<br />
Conclusion<br />
References<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Classics_2&diff=14616220220630 Classics 22022-06-30T15:33:28Z<p>Li Yuan: /* Communication theory--Lasswell's "5W model" */</p>
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<br />
==英语笔译 李思源 Li Siyuan 202170081575 CE==<br />
<br />
<br />
<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Abstract===<br />
<br />
The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.<br />
<br />
===Key words===<br />
<br />
Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt<br />
<br />
===Introduction===<br />
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.<br />
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment<br />
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.<br />
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.<br />
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.<br />
<br />
===Literature Review===<br />
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).<br />
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).<br />
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).<br />
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.<br />
<br />
===Methods and Theories===<br />
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.<br />
<br />
===An introduction to the translator's subjectivity===<br />
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).<br />
<br />
===Cultural transmission in translation===<br />
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.<br />
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)<br />
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.<br />
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)<br />
The original text is translated one by one to show the original ecological scene.<br />
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)<br />
The original text shows the backward means of production at that time, using cattle to plow the land.<br />
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)<br />
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。<br />
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)<br />
The original text shows the good ecological environment at that time.<br />
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)<br />
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。<br />
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)<br />
The text presents the ecological topics that farmers were concerned about at that time.<br />
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)<br />
译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。<br />
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.<br />
<br />
===A Study on Detailed Translation===<br />
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.<br />
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)<br />
The original text presents the state of backward production tools and daily necessities at that time.<br />
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)<br />
Literal translation is adopted to maintain the cultural characteristics of the original text.<br />
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)<br />
The original text presents the age and costume characteristics of material scarcity at that time.<br />
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)<br />
原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。<br />
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)<br />
The original text presents the enclosure architecture and the ecology around the enclosure at that time.<br />
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)<br />
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。<br />
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.<br />
<br />
===Translation Studies of Socio-cultural and Religious Cultures===<br />
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.<br />
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)<br />
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)<br />
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。<br />
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)<br />
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.<br />
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)<br />
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.<br />
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.<br />
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.<br />
<br />
===Conclusion===<br />
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.<br />
<br />
===References===<br />
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.<br />
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.<br />
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.<br />
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.<br />
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.<br />
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.<br />
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.<br />
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.<br />
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103. <br />
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.<br />
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.<br />
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==英语笔译 李婷 Li Ting 202170081576 MW==<br />
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Abstract===<br />
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.<br />
<br />
''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.<br />
<br />
===Key words===<br />
''The Border Town''; Eco-Translatology; three-dimensional transformation<br />
<br />
===Introduction===<br />
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)<br />
<br />
''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)<br />
<br />
As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)<br />
<br />
This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.<br />
<br />
===Literature Review===<br />
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.<br />
<br />
Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)<br />
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)<br />
<br />
Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.<br />
<br />
The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .<br />
<br />
All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.<br />
<br />
===Methods and Theories===<br />
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.<br />
<br />
'''1.The Origin of Eco-Translatology'''<br />
<br />
Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.<br />
<br />
Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)<br />
<br />
'''2.Some Core Concepts'''<br />
<br />
In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.<br />
<br />
'''2.1 Translation as Adaptation and Selection'''<br />
<br />
The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.<br />
<br />
'''2.2 Three-dimensional Transformation'''<br />
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Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one. <br />
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The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
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Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.<br />
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Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
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'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''<br />
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The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)<br />
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The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)<br />
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===Case Study===<br />
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)<br />
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'''1. Linguistic Dimension'''<br />
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The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)<br />
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Example 1:<br />
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Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）<br />
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Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）<br />
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The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)<br />
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Example 2:<br />
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SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）<br />
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TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）<br />
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"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)<br />
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'''2. Cultural Dimension'''<br />
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Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.<br />
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Example 3:<br />
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SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）<br />
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TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）<br />
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"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.<br />
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Example 4:<br />
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SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）<br />
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TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）<br />
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Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)<br />
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Example 5:<br />
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SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）<br />
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TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）<br />
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Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.<br />
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When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.<br />
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'''3. Communicative Dimension'''<br />
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In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
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Example 6:<br />
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SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）<br />
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TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）<br />
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"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.<br />
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Example 7:<br />
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SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）<br />
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TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）<br />
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Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.<br />
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===Conclusion===<br />
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.<br />
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===References===<br />
*Hall E T .(1976).Beyond Culture. chicago.<br />
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*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.<br />
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*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123. <br />
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*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.<br />
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*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh<br />
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*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.<br />
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*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.<br />
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*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.<br />
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*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28. <br />
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*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.<br />
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*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96. <br />
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*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.<br />
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*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209. <br />
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*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh<br />
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*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh<br />
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*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.<br />
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*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.<br />
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*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95. <br />
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*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.<br />
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==英语笔译 李欣 Li Xin 202170081577 CE==<br />
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<br />
<center>'''The dissemination of Chinese Classics in modern media'''</center><br />
<br />
<center>Li Xin</center><br />
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===Abstract===<br />
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.<br />
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===Key words===<br />
<br />
===Introduction===<br />
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===Literature Review===<br />
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===Methods and Theories===<br />
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===Subtitle 1===<br />
正文. (Wang 2021:423)<br />
===Subtitle 2===<br />
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===Subtitle 3===<br />
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===Subtitle 4===<br />
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===Conclusion===<br />
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===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
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==英语笔译 李颖 Li Ying 202170081578 MW==<br />
<br />
<center>'''On the Translation of The Moon and Sixpence'''</center><br />
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<center>Li Ying</center><br />
<br />
This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.<br />
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In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.<br />
===Key words===<br />
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation<br />
===Introduction===<br />
1.A Brief Introducation to William Somerset Maugham<br />
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William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.<br />
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As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on. <br />
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Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.<br />
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In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.<br />
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2.A Brief Introduction to The Moon and Sixpence<br />
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The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.<br />
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The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”<br />
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The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.<br />
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3.A Brief Introduction to the Translater and Translating Verisons<br />
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The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm. <br />
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Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.<br />
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Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.<br />
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.<br />
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===Literature Review===<br />
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.<br />
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.<br />
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Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.<br />
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Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.<br />
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.<br />
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The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.<br />
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===Methods and Theories===<br />
1.The Translator's Role in Traditional Translation Studies<br />
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From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.<br />
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The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.<br />
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1.The Translator’s subjectivity <br />
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Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)<br />
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2. Factors of Affecting Translator's Subjectivity<br />
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Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.<br />
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The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。<br />
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===Subtitle 1 Analysis on Translating Cases ===<br />
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.<br />
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1.Translator's Subjectivity in Semantic Comprehension and Interpretation<br />
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In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:<br />
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（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)<br />
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傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）<br />
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陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）<br />
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李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）<br />
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In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.<br />
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Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.<br />
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Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.<br />
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.<br />
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2. Translation Strategies in the Choice of Translator’s Subjectivity<br />
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中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。<br />
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Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.<br />
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(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)<br />
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）<br />
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In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.<br />
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Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.<br />
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(3)He followed me, and entered the apartment on my heels.(P98)<br />
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傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)<br />
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陈译：他尾随我进入公寓。（P180）<br />
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李译：他跟在我身后，紧贴着我走进了房间。（P179）<br />
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The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.<br />
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Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.<br />
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3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance<br />
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Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.<br />
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(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)<br />
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傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)<br />
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陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)<br />
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李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)<br />
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According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."<br />
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The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.<br />
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Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.<br />
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4. Translator's Subjectivity in Language Style<br />
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As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:<br />
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(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)<br />
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傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）<br />
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陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）<br />
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李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）<br />
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This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.<br />
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===Conclusion===<br />
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.<br />
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This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.<br />
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In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.<br />
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To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.<br />
===References===<br />
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House<br />
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.<br />
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.<br />
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.<br />
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp. <br />
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.<br />
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.<br />
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.<br />
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University<br />
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.<br />
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==英语笔译 李媛 Li Yuan 202170081579 CE==<br />
<center>'''On the Reception of the English Translation of Sunzi's ''The Art of War'' in the West'''</center><br />
<br />
<center>Li Yuan</center><br />
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===Abstract===<br />
The Art of War is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes The Art of War as the research object, mainly adopts the literature research method and interdisciplinary research method to introduce the English translation of The Art of War from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present day in the West. "The aim is to provide reference and inspiration for the selection of the original text, the choice of translator, the choice of translation strategy, the choice of initiator, the choice of communication channel, and the analysis of audience in the practice of foreign translation of Chinese classics, so as to help Chinese language and culture to spread internationally more effectively.<br />
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===Key words===<br />
The Art of War; communication; translation and reception; revelation<br />
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===Introduction===<br />
The Art of War, also known as Sun Tzu and Sun Wu's Art of War, is an ancient Chinese military book, the world's oldest surviving work on military theory, and one of the Seven Books of the Military Scriptures, written by Sun Wu in the late Spring and Autumn Period. Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of planning, combat, strategy and attack, shape, potential, virtual reality, military disputes, nine changes, marching, terrain, nine lands, fire attack, and use of the intervening chapter. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as "if you know yourself and your enemy, you will not be in danger in a hundred battles", "if you do not fight, you will give up the army", and "if you are not prepared, you will be able to attack them. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected at home and abroad and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest surviving version of The Art of War in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest surviving engraved version is The Seven Books of the Book of Wushu from the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty, and the three-volume version of The Eleven Books of Sun Tzu from the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book "Qi Sun Tzu", it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of "Sun Bin Art of War".<br />
Since the first English translation of The Art of War by E.F. Calthrop in 1905, many translators at home and abroad have translated The Art of War into English, and more than 50 full English translations of The Art of War have been published. According to the survey data on Amazon.com in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou Xinyi and Ji Hongqin 2021:54-58). It can be seen that the English translations of Sun Tzu's The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Chinese scholars and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries began to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's wisdom to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:68-69).<br />
Lasswell's "5W model" is a classic theory of communication, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of The Art of War in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what is the degree of acceptance and feedback of readers. From the perspective of communication science, this translation practice of the English translation of The Art of War can be studied comprehensively, three-dimensionally and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.<br />
<br />
===Literature Review===<br />
By typing in the keywords "The Art of War", "English translation" and "acceptance" on China Knowledge Network, there are only 12 relevant papers, which shows that there is a lack of research on the overseas acceptance of the Art of War. The current studies, such as Li Ning's "The Art of War" and "The Art of War", have been published. The current studies, such as Li Ning's survey on the overseas acceptance of the Chinese English translation of The Art of War in the Greater China Library - Sun Tzu's Art of War as an example, investigate the acceptance of the Lin Wusun translation of Sun Tzu's Art of War in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. It was concluded that in order to change the situation of "self-indulgence" of the Chinese translators of the Greater China Library, and to make Chinese culture broadcast to the world and become a unique part of the world culture, it is urgent to conduct a study on the acceptance of the English translation of the text from the readers' perspective (Li Ning, 2015: 81). Subsequently, there are many scholars began to carry out research on the acceptance of Chinese canonical texts in foreign translations from the readers' perspective, such as Zhou Xinyi and Ji Hongqin's "The Art of War" English translation of the English translation of the overseas dissemination of the current situation and reflections on the English translation - based on the survey of the British and American Amazon.com, from the reader reviews of the English translation of "The Art of War" on the British and American Amazon.com, summarizing We analyze the three major problems of the English translation of Sun Tzu's Art of War by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation, and propose countermeasures to improve the reading experience of foreign readers. In addition to improving the "hard power" of translation quality, it is also important to improve the "soft power" of translation editing and appearance. Good appearance, professional editing and good printing will increase readers' favorable impression of the translation and bring them a better reading experience (Zhou Xinyi and Ji Hongqin 2021: 58). The English translation and reception of The Art of War contains many elements and links, and audience and feedback analysis are only two of them. No one has yet studied the insights from the perspective of communication science on the successful reception of the English translation of The Art of War by foreign translators of Sun Tzu in the West. The translation and acceptance of The Art of War in the West is itself a communication process, so it is feasible to analyze the characteristics of the translation journey of Sun Tzu's The Art of War in the West and the revelation of successful translation from the perspective of communication science.<br />
<br />
===Communication Theory--Lasswell's "5W Model"===<br />
The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in The 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical. In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:Convenient way to describe an act of communication is to answer the following questions: <br />
Who<br />
Says What<br />
In Which Channel<br />
To Whom<br />
With What Effect?<br />
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the "who", the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the "says what" engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).<br />
This is the detailed explanation of Lasswell's 5W models, including five factors in the communication process, namely communicator, Therefore, this model can be illustrated as the following figure:<br />
"Who" refers to the communicator, a person who collects, handles and sends the information in the communication process. communicator can be only one person, a community or an organization, who is to make the communication process get started. "It can also be <br />
"In Which Channel" is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. "To Whom" stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. It can be called feedback as well, measuring whether the communication activity is effective or not. In fact, there are many similarities between the communication process and the translation <br />
The author is the communicator, the information is the original text, and the audience is the target reader. It is the translator who renders the original information and transmits the translated information to the target reader through a certain medium. In this sense, the effect is the target reader's feedback to the In this sense, the effect is the target reader's feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation process from the perspective of communication The property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation process from the perspective of communication science.<br />
<br />
===The History and Characteristics of the English Translation of Sunzi's The Art of War in the West from the Perspective of Communication===<br />
The history of the English translation of The Art of War can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication, using Lasswell's "5W" model.<br />
Phase I: 1905 to the 1930s<br />
The representative translations of this period are E.F. Calthrop's English translation in 1905 and Lionel Giles's English translation in 1910. From the two elements of initiator and translator, Calthrop and Zhai Linnaeus are both the initiator and the translator of the translation practice of Sun Tzu's Art of War. The difference lies in their different purposes of translating The Art of War. Calthrop was a British captain studying in Japan at that time, and seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English using the Japanese version of Sun Tzu's Art of War as a base. Zhai Linnaeus, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, who had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text, the original text sent and translated by Karthrop and Zhai Linnaeus is different, one is translated through the intermediary language Japanese, and the other is directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Kalthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Zhai Linnaeus, on the other hand, did not translate The Art of War for a specific purpose, so his target audience was not a specific group of people, but to translate The Art of War to the whole foreign readership and introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the readers' feedback, Kalthrop does not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Kalthrop is not a professional translator, and his translation level is limited. He chooses to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Zhai Linnaeus chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, smooth and rhythmic, not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge of ancient Chinese culture, which is still a classic work, and is useful for It is still a classic work and has had a very profound impact on the spread of Sun Tzu's thought in the Western world (Tu, Guoyuan, and Wu, 2011:188).<br />
Second phase 1940s to 1980s<br />
One of the representative English translations of The Art of War of this period was the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations by Chinese delegates, and has been reprinted several times since then, becoming an Amazon.com top bestseller for more than 100 weeks and replacing the Jai Linnaeus The English translation has taken over the authoritative status of the entire Western world. Thus, from the feedback of readers, Griffith's English translation is very effective in spreading. Like Karthrop and Zhai Linnaeus, Griffith's translation of The Art of War was initiated by and translated by himself, and the purpose of the translation, like Karthrop's, was influenced by the context of the times and the desire to use the Art of War to formulate operational guidelines. The channel of dissemination of Griffith's translation was also books, and the target audience was narrowly himself, who translated Sun Tzu's Art of War to guide his own military combat practice, but in a broader sense, with the development of the times, the target should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and discusses the relationship between The Art of War and Mao Zedong's thought, while having a clear tendency to naturalize in its translation strategy (Tu, Guoyuan, and Wu, 2011:188). Another representative version is James Clavell's 1983 edited reprint of the English translation of Zhai Linnaeus' version of Sun Tzu's The Art of War. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Zhai Linnaeus' translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel, and gave feedback to the readers by focusing on the vulgarity of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating Sun Tzu's The Art of War changed from military studies to popularizing Chinese culture and ancient philosophical thought.<br />
The third phase 1990s to present<br />
During this period, from 1991 to 2010, 21 English translations of The Art of War have appeared in just 20 years, each with a different focus, adding to the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of the English translation of The Art of War by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and the translator are still the same, the initiator and translator of the translation of The Art of War by the Denma group are no longer a single individual, but a group focused on translation, consisting of several individuals whose research on The Art of War has lasted for 10 years and adopts a translation strategy of alienation. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Danmar group has set up a relevant website, where it posts its own translations from time to time during the translation process, welcoming scholars and researchers from all over the world to read and discuss them, give suggestions for changes, and give reasons. Such a practice puts the translation and dissemination of The Art of War into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, the readers' feedback is given directly to the translators during the translation activity, which can fully mobilize the Western readers and enhance the dissemination effect.<br />
<br />
===Insights from the successful translation of Sun Tzu's The Art of War from the perspective of communication===<br />
From the perspective of the initiator of translation activities, the initiator of many Chinese canonical foreign translation activities is currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of Sun Tzu's The Art of War that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese canonical texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese canonical texts, which will make the translation and dissemination activities better. By penetrating the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send, that is, the publisher will have a reference for the selection of the original text to be translated, and the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers. Secondly, the choice of translators is also important. According to the history of English translation of The Art of War, it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically will not produce serious translation errors. However, if only domestic translators are allowed to translate, the acceptance of foreign readers will not be high due to their low popularity abroad. Therefore, it is advisable to adopt the mode of cooperation between foreign translators and domestic translators, which can not only keep a check on the correct understanding of the original text, but also open up the foreign reading market by reasonably making use of the popularity of foreign translators. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is books. However, many times, foreign readers look at the difficult translation and lose interest in reading before they understand the main content of the book. In order to improve the acceptance of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to prescribe the right remedy, and then a reasonable and effective feedback mechanism is very important.<br />
<br />
===Conclusion===<br />
Since the first English translation appeared in 1905, several hundred years have passed since the English translation of The Art of War in the West, producing a large number of excellent translations that have contributed greatly to the dissemination of Chinese culture in the West. The translation and reception of The Art of War in the West is itself a communication process, in which the originator, the original text, the translator, the target audience and the feedback all become different with the changing times and each has its own characteristics. The wide acceptance of the English translation of The Art of War by foreign translators in the West from the perspective of communication science shows that it is feasible and necessary to introduce communication science into translation research, which can provide reference and inspiration for the selection of the original text, translators, translation strategies, initiators, dissemination channels and audience analysis in the practice of foreign translation of Chinese classics, in order to help Chinese language and culture to be more effectively disseminated internationally. This will help Chinese language and culture to spread internationally more effectively.<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581 MW==<br />
On the Reception of Vanity Fair in China<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582 CE==<br />
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
This is a paragraph. (Wang 2021:423)<br />
<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583 MW==<br />
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.<br />
<br />
===Key words===<br />
lyrics translation; Chinese music; Chinese into English<br />
<br />
===Introduction===<br />
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.<br />
<br />
===Standards to Be Followed in the Translation of Songs===<br />
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.<br />
<br />
(1)General Standards<br />
<br />
As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.<br />
<br />
The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).<br />
<br />
Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.<br />
<br />
To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.<br />
<br />
(2)Special Standards<br />
<br />
In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:<br />
<br />
First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)<br />
<br />
Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.<br />
<br />
Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.<br />
<br />
===Instance Analysis===<br />
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.<br />
<br />
(1)Analysis of Ancient Style Music<br />
<br />
First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.<br />
<br />
Example 1:<br />
<br />
Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。<br />
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English Version: Thoughts of you are like a river, comforting chilling my soul.<br />
<br />
In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.<br />
<br />
Example 2:<br />
<br />
Chinese Version : 凉凉三生三世恍然如梦<br />
<br />
English Version: Past present and future<br />
<br />
In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.<br />
<br />
（2）Analysis of Pop Music<br />
<br />
Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)<br />
<br />
Example 3:<br />
<br />
Chinese Version: 怎么二十多年到头来 还在人海里浮沉<br />
<br />
English Version: How come after all that I've been through I still suffer vicissitudes<br />
<br />
This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability<br />
<br />
Example 4:<br />
<br />
Chinese Version: 像我这样碌碌无为的人 你还见过多少人<br />
<br />
English Version: Someone busy with his needs I'm sure you know quite a few<br />
<br />
This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.<br />
<br />
===Conclusion===<br />
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.<br />
<br />
===References===<br />
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.<br />
<br />
Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.<br />
<br />
Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.<br />
<br />
Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34<br />
<br />
Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584 CE==<br />
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja<br />
<br />
Abstract<br />
Key words<br />
1.Introduction<br />
2.Value of Communication<br />
3.Content of Communication<br />
4.Feasible Procedures of Translation<br />
5.Platform for Translation and Communication<br />
Conclusion<br />
References<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Classics_2&diff=14616020220630 Classics 22022-06-30T15:29:32Z<p>Li Yuan: /* Communication theory--Laswell's "5W model" */</p>
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==This is the final exam paper website no. 1==<br />
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==英语笔译 李思源 Li Siyuan 202170081575 CE==<br />
<br />
<br />
<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Abstract===<br />
<br />
The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.<br />
<br />
===Key words===<br />
<br />
Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt<br />
<br />
===Introduction===<br />
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.<br />
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment<br />
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.<br />
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.<br />
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.<br />
<br />
===Literature Review===<br />
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).<br />
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).<br />
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).<br />
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.<br />
<br />
===Methods and Theories===<br />
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.<br />
<br />
===An introduction to the translator's subjectivity===<br />
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).<br />
<br />
===Cultural transmission in translation===<br />
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.<br />
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)<br />
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.<br />
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)<br />
The original text is translated one by one to show the original ecological scene.<br />
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)<br />
The original text shows the backward means of production at that time, using cattle to plow the land.<br />
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)<br />
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。<br />
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)<br />
The original text shows the good ecological environment at that time.<br />
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)<br />
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。<br />
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)<br />
The text presents the ecological topics that farmers were concerned about at that time.<br />
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)<br />
译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。<br />
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.<br />
<br />
===A Study on Detailed Translation===<br />
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.<br />
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)<br />
The original text presents the state of backward production tools and daily necessities at that time.<br />
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)<br />
Literal translation is adopted to maintain the cultural characteristics of the original text.<br />
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)<br />
The original text presents the age and costume characteristics of material scarcity at that time.<br />
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)<br />
原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。<br />
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)<br />
The original text presents the enclosure architecture and the ecology around the enclosure at that time.<br />
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)<br />
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。<br />
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.<br />
<br />
===Translation Studies of Socio-cultural and Religious Cultures===<br />
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.<br />
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)<br />
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)<br />
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。<br />
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)<br />
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.<br />
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)<br />
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.<br />
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.<br />
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.<br />
<br />
===Conclusion===<br />
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.<br />
<br />
===References===<br />
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.<br />
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.<br />
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.<br />
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.<br />
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.<br />
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.<br />
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.<br />
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.<br />
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103. <br />
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.<br />
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.<br />
<br />
==英语笔译 李婷 Li Ting 202170081576 MW==<br />
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Abstract===<br />
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.<br />
<br />
''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.<br />
<br />
===Key words===<br />
''The Border Town''; Eco-Translatology; three-dimensional transformation<br />
<br />
===Introduction===<br />
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)<br />
<br />
''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)<br />
<br />
As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)<br />
<br />
This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.<br />
<br />
===Literature Review===<br />
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.<br />
<br />
Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)<br />
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)<br />
<br />
Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.<br />
<br />
The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .<br />
<br />
All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.<br />
<br />
===Methods and Theories===<br />
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.<br />
<br />
'''1.The Origin of Eco-Translatology'''<br />
<br />
Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.<br />
<br />
Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)<br />
<br />
'''2.Some Core Concepts'''<br />
<br />
In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.<br />
<br />
'''2.1 Translation as Adaptation and Selection'''<br />
<br />
The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.<br />
<br />
'''2.2 Three-dimensional Transformation'''<br />
<br />
Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one. <br />
<br />
The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.<br />
<br />
Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''<br />
<br />
The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)<br />
<br />
The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)<br />
<br />
===Case Study===<br />
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)<br />
<br />
'''1. Linguistic Dimension'''<br />
<br />
The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)<br />
<br />
Example 1:<br />
<br />
Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）<br />
<br />
Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）<br />
<br />
The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)<br />
<br />
Example 2:<br />
<br />
SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）<br />
<br />
TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）<br />
<br />
"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)<br />
<br />
'''2. Cultural Dimension'''<br />
<br />
Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.<br />
<br />
Example 3:<br />
<br />
SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）<br />
<br />
TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）<br />
<br />
"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.<br />
<br />
Example 4:<br />
<br />
SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）<br />
<br />
TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）<br />
<br />
Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)<br />
<br />
Example 5:<br />
<br />
SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）<br />
<br />
TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）<br />
<br />
Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.<br />
<br />
When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.<br />
<br />
'''3. Communicative Dimension'''<br />
<br />
In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
<br />
Example 6:<br />
<br />
SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）<br />
<br />
TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）<br />
<br />
"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.<br />
<br />
Example 7:<br />
<br />
SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）<br />
<br />
TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）<br />
<br />
Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.<br />
<br />
===Conclusion===<br />
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.<br />
<br />
===References===<br />
*Hall E T .(1976).Beyond Culture. chicago.<br />
<br />
*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.<br />
<br />
*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123. <br />
<br />
*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.<br />
<br />
*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh<br />
<br />
*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.<br />
<br />
*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.<br />
<br />
*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.<br />
<br />
*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28. <br />
<br />
*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.<br />
<br />
*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96. <br />
<br />
*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.<br />
<br />
*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209. <br />
<br />
*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh<br />
<br />
*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh<br />
<br />
*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.<br />
<br />
*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.<br />
<br />
*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95. <br />
<br />
*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.<br />
<br />
==英语笔译 李欣 Li Xin 202170081577 CE==<br />
<br />
<br />
<center>'''The dissemination of Chinese Classics in modern media'''</center><br />
<br />
<center>Li Xin</center><br />
<br />
===Abstract===<br />
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578 MW==<br />
<br />
<center>'''On the Translation of The Moon and Sixpence'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.<br />
<br />
In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.<br />
===Key words===<br />
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation<br />
===Introduction===<br />
1.A Brief Introducation to William Somerset Maugham<br />
<br />
William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.<br />
<br />
As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on. <br />
<br />
Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.<br />
<br />
In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.<br />
<br />
2.A Brief Introduction to The Moon and Sixpence<br />
<br />
The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.<br />
<br />
The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”<br />
<br />
The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.<br />
<br />
3.A Brief Introduction to the Translater and Translating Verisons<br />
<br />
The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm. <br />
<br />
Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.<br />
<br />
Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.<br />
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.<br />
<br />
===Literature Review===<br />
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.<br />
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.<br />
<br />
Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.<br />
<br />
Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.<br />
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.<br />
<br />
The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.<br />
<br />
===Methods and Theories===<br />
1.The Translator's Role in Traditional Translation Studies<br />
<br />
From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.<br />
<br />
The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.<br />
<br />
1.The Translator’s subjectivity <br />
<br />
Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)<br />
<br />
2. Factors of Affecting Translator's Subjectivity<br />
<br />
Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.<br />
<br />
The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。<br />
<br />
===Subtitle 1 Analysis on Translating Cases ===<br />
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.<br />
<br />
1.Translator's Subjectivity in Semantic Comprehension and Interpretation<br />
<br />
In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:<br />
<br />
（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)<br />
<br />
傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）<br />
<br />
陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）<br />
<br />
李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）<br />
<br />
In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.<br />
<br />
Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.<br />
<br />
Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.<br />
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.<br />
<br />
2. Translation Strategies in the Choice of Translator’s Subjectivity<br />
<br />
中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。<br />
<br />
Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.<br />
<br />
(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)<br />
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）<br />
<br />
In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.<br />
<br />
Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.<br />
<br />
(3)He followed me, and entered the apartment on my heels.(P98)<br />
<br />
傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)<br />
<br />
陈译：他尾随我进入公寓。（P180）<br />
<br />
李译：他跟在我身后，紧贴着我走进了房间。（P179）<br />
<br />
The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.<br />
<br />
Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.<br />
<br />
3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance<br />
<br />
Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.<br />
<br />
(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)<br />
<br />
傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)<br />
<br />
陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)<br />
<br />
李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)<br />
<br />
According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."<br />
<br />
The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.<br />
<br />
Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.<br />
<br />
4. Translator's Subjectivity in Language Style<br />
<br />
As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:<br />
<br />
(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)<br />
<br />
傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）<br />
<br />
陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）<br />
<br />
李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）<br />
<br />
This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.<br />
<br />
===Conclusion===<br />
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.<br />
<br />
This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.<br />
<br />
In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.<br />
<br />
To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.<br />
===References===<br />
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House<br />
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.<br />
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.<br />
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.<br />
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp. <br />
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.<br />
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.<br />
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.<br />
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University<br />
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579 CE==<br />
<center>'''On the Reception of the English Translation of Sunzi's ''The Art of War'' in the West'''</center><br />
<br />
<center>Li Yuan</center><br />
<br />
===Abstract===<br />
The Art of War is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes The Art of War as the research object, mainly adopts the literature research method and interdisciplinary research method to introduce the English translation of The Art of War from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present day in the West. "The aim is to provide reference and inspiration for the selection of the original text, the choice of translator, the choice of translation strategy, the choice of initiator, the choice of communication channel, and the analysis of audience in the practice of foreign translation of Chinese classics, so as to help Chinese language and culture to spread internationally more effectively.<br />
<br />
===Key words===<br />
The Art of War; communication; translation and reception; revelation<br />
<br />
===Introduction===<br />
The Art of War, also known as Sun Tzu and Sun Wu's Art of War, is an ancient Chinese military book, the world's oldest surviving work on military theory, and one of the Seven Books of the Military Scriptures, written by Sun Wu in the late Spring and Autumn Period. Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of planning, combat, strategy and attack, shape, potential, virtual reality, military disputes, nine changes, marching, terrain, nine lands, fire attack, and use of the intervening chapter. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as "if you know yourself and your enemy, you will not be in danger in a hundred battles", "if you do not fight, you will give up the army", and "if you are not prepared, you will be able to attack them. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected at home and abroad and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest surviving version of The Art of War in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest surviving engraved version is The Seven Books of the Book of Wushu from the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty, and the three-volume version of The Eleven Books of Sun Tzu from the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book "Qi Sun Tzu", it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of "Sun Bin Art of War".<br />
Since the first English translation of The Art of War by E.F. Calthrop in 1905, many translators at home and abroad have translated The Art of War into English, and more than 50 full English translations of The Art of War have been published. According to the survey data on Amazon.com in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou Xinyi and Ji Hongqin 2021:54-58). It can be seen that the English translations of Sun Tzu's The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Chinese scholars and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries began to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's wisdom to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:68-69).<br />
Lasswell's "5W model" is a classic theory of communication, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of The Art of War in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what is the degree of acceptance and feedback of readers. From the perspective of communication science, this translation practice of the English translation of The Art of War can be studied comprehensively, three-dimensionally and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.<br />
<br />
===Literature Review===<br />
By typing in the keywords "The Art of War", "English translation" and "acceptance" on China Knowledge Network, there are only 12 relevant papers, which shows that there is a lack of research on the overseas acceptance of the Art of War. The current studies, such as Li Ning's "The Art of War" and "The Art of War", have been published. The current studies, such as Li Ning's survey on the overseas acceptance of the Chinese English translation of The Art of War in the Greater China Library - Sun Tzu's Art of War as an example, investigate the acceptance of the Lin Wusun translation of Sun Tzu's Art of War in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. It was concluded that in order to change the situation of "self-indulgence" of the Chinese translators of the Greater China Library, and to make Chinese culture broadcast to the world and become a unique part of the world culture, it is urgent to conduct a study on the acceptance of the English translation of the text from the readers' perspective (Li Ning, 2015: 81). Subsequently, there are many scholars began to carry out research on the acceptance of Chinese canonical texts in foreign translations from the readers' perspective, such as Zhou Xinyi and Ji Hongqin's "The Art of War" English translation of the English translation of the overseas dissemination of the current situation and reflections on the English translation - based on the survey of the British and American Amazon.com, from the reader reviews of the English translation of "The Art of War" on the British and American Amazon.com, summarizing We analyze the three major problems of the English translation of Sun Tzu's Art of War by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation, and propose countermeasures to improve the reading experience of foreign readers. In addition to improving the "hard power" of translation quality, it is also important to improve the "soft power" of translation editing and appearance. Good appearance, professional editing and good printing will increase readers' favorable impression of the translation and bring them a better reading experience (Zhou Xinyi and Ji Hongqin 2021: 58). The English translation and reception of The Art of War contains many elements and links, and audience and feedback analysis are only two of them. No one has yet studied the insights from the perspective of communication science on the successful reception of the English translation of The Art of War by foreign translators of Sun Tzu in the West. The translation and acceptance of The Art of War in the West is itself a communication process, so it is feasible to analyze the characteristics of the translation journey of Sun Tzu's The Art of War in the West and the revelation of successful translation from the perspective of communication science.<br />
<br />
===Communication theory--Lasswell's "5W model"===<br />
The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in The 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical. In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:Convenient way to describe an act of communication is to answer the following questions: <br />
Who<br />
Says What<br />
In Which Channel<br />
To Whom<br />
With What Effect?<br />
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the "who", the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the "says what" engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).<br />
This is the detailed explanation of Lasswell's 5W models, including five factors in the communication process, namely communicator, Therefore, this model can be illustrated as the following figure:<br />
"Who" refers to the communicator, a person who collects, handles and sends the information in the communication process. communicator can be only one person, a community or an organization, who is to make the communication process get started. "It can also be <br />
"In Which Channel" is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. "To Whom" stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. It can be called feedback as well, measuring whether the communication activity is effective or not. In fact, there are many similarities between the communication process and the translation <br />
The author is the communicator, the information is the original text, and the audience is the target reader. It is the translator who renders the original information and transmits the translated information to the target reader through a certain medium. In this sense, the effect is the target reader's feedback to the In this sense, the effect is the target reader's feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation process from the perspective of communication The property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation process from the perspective of communication science.<br />
<br />
===The History and Characteristics of the English Translation of Sunzi's The Art of War in the West from the Perspective of Communication===<br />
The history of the English translation of The Art of War can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication, using Lasswell's "5W" model.<br />
Phase I: 1905 to the 1930s<br />
The representative translations of this period are E.F. Calthrop's English translation in 1905 and Lionel Giles's English translation in 1910. From the two elements of initiator and translator, Calthrop and Zhai Linnaeus are both the initiator and the translator of the translation practice of Sun Tzu's Art of War. The difference lies in their different purposes of translating The Art of War. Calthrop was a British captain studying in Japan at that time, and seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English using the Japanese version of Sun Tzu's Art of War as a base. Zhai Linnaeus, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, who had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text, the original text sent and translated by Karthrop and Zhai Linnaeus is different, one is translated through the intermediary language Japanese, and the other is directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Kalthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Zhai Linnaeus, on the other hand, did not translate The Art of War for a specific purpose, so his target audience was not a specific group of people, but to translate The Art of War to the whole foreign readership and introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the readers' feedback, Kalthrop does not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Kalthrop is not a professional translator, and his translation level is limited. He chooses to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Zhai Linnaeus chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, smooth and rhythmic, not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge of ancient Chinese culture, which is still a classic work, and is useful for It is still a classic work and has had a very profound impact on the spread of Sun Tzu's thought in the Western world (Tu, Guoyuan, and Wu, 2011:188).<br />
Second phase 1940s to 1980s<br />
One of the representative English translations of The Art of War of this period was the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations by Chinese delegates, and has been reprinted several times since then, becoming an Amazon.com top bestseller for more than 100 weeks and replacing the Jai Linnaeus The English translation has taken over the authoritative status of the entire Western world. Thus, from the feedback of readers, Griffith's English translation is very effective in spreading. Like Karthrop and Zhai Linnaeus, Griffith's translation of The Art of War was initiated by and translated by himself, and the purpose of the translation, like Karthrop's, was influenced by the context of the times and the desire to use the Art of War to formulate operational guidelines. The channel of dissemination of Griffith's translation was also books, and the target audience was narrowly himself, who translated Sun Tzu's Art of War to guide his own military combat practice, but in a broader sense, with the development of the times, the target should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and discusses the relationship between The Art of War and Mao Zedong's thought, while having a clear tendency to naturalize in its translation strategy (Tu, Guoyuan, and Wu, 2011:188). Another representative version is James Clavell's 1983 edited reprint of the English translation of Zhai Linnaeus' version of Sun Tzu's The Art of War. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Zhai Linnaeus' translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel, and gave feedback to the readers by focusing on the vulgarity of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating Sun Tzu's The Art of War changed from military studies to popularizing Chinese culture and ancient philosophical thought.<br />
The third phase 1990s to present<br />
During this period, from 1991 to 2010, 21 English translations of The Art of War have appeared in just 20 years, each with a different focus, adding to the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of the English translation of The Art of War by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and the translator are still the same, the initiator and translator of the translation of The Art of War by the Denma group are no longer a single individual, but a group focused on translation, consisting of several individuals whose research on The Art of War has lasted for 10 years and adopts a translation strategy of alienation. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Danmar group has set up a relevant website, where it posts its own translations from time to time during the translation process, welcoming scholars and researchers from all over the world to read and discuss them, give suggestions for changes, and give reasons. Such a practice puts the translation and dissemination of The Art of War into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, the readers' feedback is given directly to the translators during the translation activity, which can fully mobilize the Western readers and enhance the dissemination effect.<br />
<br />
===Insights from the successful translation of Sun Tzu's The Art of War from the perspective of communication===<br />
From the perspective of the initiator of translation activities, the initiator of many Chinese canonical foreign translation activities is currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of Sun Tzu's The Art of War that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese canonical texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese canonical texts, which will make the translation and dissemination activities better. By penetrating the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send, that is, the publisher will have a reference for the selection of the original text to be translated, and the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers. Secondly, the choice of translators is also important. According to the history of English translation of The Art of War, it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically will not produce serious translation errors. However, if only domestic translators are allowed to translate, the acceptance of foreign readers will not be high due to their low popularity abroad. Therefore, it is advisable to adopt the mode of cooperation between foreign translators and domestic translators, which can not only keep a check on the correct understanding of the original text, but also open up the foreign reading market by reasonably making use of the popularity of foreign translators. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is books. However, many times, foreign readers look at the difficult translation and lose interest in reading before they understand the main content of the book. In order to improve the acceptance of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to prescribe the right remedy, and then a reasonable and effective feedback mechanism is very important.<br />
<br />
===Conclusion===<br />
Since the first English translation appeared in 1905, several hundred years have passed since the English translation of The Art of War in the West, producing a large number of excellent translations that have contributed greatly to the dissemination of Chinese culture in the West. The translation and reception of The Art of War in the West is itself a communication process, in which the originator, the original text, the translator, the target audience and the feedback all become different with the changing times and each has its own characteristics. The wide acceptance of the English translation of The Art of War by foreign translators in the West from the perspective of communication science shows that it is feasible and necessary to introduce communication science into translation research, which can provide reference and inspiration for the selection of the original text, translators, translation strategies, initiators, dissemination channels and audience analysis in the practice of foreign translation of Chinese classics, in order to help Chinese language and culture to be more effectively disseminated internationally. This will help Chinese language and culture to spread internationally more effectively.<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581 MW==<br />
On the Reception of Vanity Fair in China<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582 CE==<br />
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
This is a paragraph. (Wang 2021:423)<br />
<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583 MW==<br />
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.<br />
<br />
===Key words===<br />
lyrics translation; Chinese music; Chinese into English<br />
<br />
===Introduction===<br />
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.<br />
<br />
===Standards to Be Followed in the Translation of Songs===<br />
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.<br />
<br />
(1)General Standards<br />
<br />
As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.<br />
<br />
The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).<br />
<br />
Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.<br />
<br />
To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.<br />
<br />
(2)Special Standards<br />
<br />
In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:<br />
<br />
First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)<br />
<br />
Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.<br />
<br />
Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.<br />
<br />
===Instance Analysis===<br />
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.<br />
<br />
(1)Analysis of Ancient Style Music<br />
<br />
First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.<br />
<br />
Example 1:<br />
<br />
Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。<br />
<br />
English Version: Thoughts of you are like a river, comforting chilling my soul.<br />
<br />
In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.<br />
<br />
Example 2:<br />
<br />
Chinese Version : 凉凉三生三世恍然如梦<br />
<br />
English Version: Past present and future<br />
<br />
In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.<br />
<br />
（2）Analysis of Pop Music<br />
<br />
Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)<br />
<br />
Example 3:<br />
<br />
Chinese Version: 怎么二十多年到头来 还在人海里浮沉<br />
<br />
English Version: How come after all that I've been through I still suffer vicissitudes<br />
<br />
This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability<br />
<br />
Example 4:<br />
<br />
Chinese Version: 像我这样碌碌无为的人 你还见过多少人<br />
<br />
English Version: Someone busy with his needs I'm sure you know quite a few<br />
<br />
This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.<br />
<br />
===Conclusion===<br />
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.<br />
<br />
===References===<br />
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.<br />
<br />
Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.<br />
<br />
Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.<br />
<br />
Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34<br />
<br />
Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584 CE==<br />
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja<br />
<br />
Abstract<br />
Key words<br />
1.Introduction<br />
2.Value of Communication<br />
3.Content of Communication<br />
4.Feasible Procedures of Translation<br />
5.Platform for Translation and Communication<br />
Conclusion<br />
References<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Classics_2&diff=14615820220630 Classics 22022-06-30T15:28:33Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 CE */</p>
<hr />
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==This is the final exam paper website no. 1==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575 CE==<br />
<br />
<br />
<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Abstract===<br />
<br />
The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.<br />
<br />
===Key words===<br />
<br />
Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt<br />
<br />
===Introduction===<br />
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.<br />
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment<br />
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.<br />
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.<br />
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.<br />
<br />
===Literature Review===<br />
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).<br />
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).<br />
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).<br />
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.<br />
<br />
===Methods and Theories===<br />
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.<br />
<br />
===An introduction to the translator's subjectivity===<br />
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).<br />
<br />
===Cultural transmission in translation===<br />
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.<br />
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)<br />
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.<br />
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)<br />
The original text is translated one by one to show the original ecological scene.<br />
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)<br />
The original text shows the backward means of production at that time, using cattle to plow the land.<br />
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)<br />
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。<br />
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)<br />
The original text shows the good ecological environment at that time.<br />
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)<br />
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。<br />
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)<br />
The text presents the ecological topics that farmers were concerned about at that time.<br />
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)<br />
译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。<br />
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.<br />
<br />
===A Study on Detailed Translation===<br />
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.<br />
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)<br />
The original text presents the state of backward production tools and daily necessities at that time.<br />
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)<br />
Literal translation is adopted to maintain the cultural characteristics of the original text.<br />
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)<br />
The original text presents the age and costume characteristics of material scarcity at that time.<br />
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)<br />
原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。<br />
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)<br />
The original text presents the enclosure architecture and the ecology around the enclosure at that time.<br />
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)<br />
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。<br />
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.<br />
<br />
===Translation Studies of Socio-cultural and Religious Cultures===<br />
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.<br />
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)<br />
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)<br />
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。<br />
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)<br />
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.<br />
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)<br />
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.<br />
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.<br />
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.<br />
<br />
===Conclusion===<br />
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.<br />
<br />
===References===<br />
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.<br />
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.<br />
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.<br />
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.<br />
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.<br />
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.<br />
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.<br />
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.<br />
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103. <br />
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.<br />
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.<br />
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==英语笔译 李婷 Li Ting 202170081576 MW==<br />
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center><br />
<br />
<center>Li Ting</center><br />
<br />
===Abstract===<br />
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.<br />
<br />
''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.<br />
<br />
===Key words===<br />
''The Border Town''; Eco-Translatology; three-dimensional transformation<br />
<br />
===Introduction===<br />
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)<br />
<br />
''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)<br />
<br />
As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)<br />
<br />
This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.<br />
<br />
===Literature Review===<br />
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.<br />
<br />
Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)<br />
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)<br />
<br />
The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)<br />
<br />
Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.<br />
<br />
The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .<br />
<br />
All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.<br />
<br />
===Methods and Theories===<br />
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.<br />
<br />
'''1.The Origin of Eco-Translatology'''<br />
<br />
Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.<br />
<br />
Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)<br />
<br />
'''2.Some Core Concepts'''<br />
<br />
In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.<br />
<br />
'''2.1 Translation as Adaptation and Selection'''<br />
<br />
The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.<br />
<br />
'''2.2 Three-dimensional Transformation'''<br />
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Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one. <br />
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The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
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Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.<br />
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Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
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'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''<br />
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The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)<br />
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The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)<br />
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===Case Study===<br />
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)<br />
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'''1. Linguistic Dimension'''<br />
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The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)<br />
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Example 1:<br />
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Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）<br />
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Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）<br />
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The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)<br />
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Example 2:<br />
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SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）<br />
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TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）<br />
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"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)<br />
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'''2. Cultural Dimension'''<br />
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Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.<br />
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Example 3:<br />
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SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）<br />
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TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）<br />
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"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.<br />
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Example 4:<br />
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SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）<br />
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TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）<br />
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Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)<br />
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Example 5:<br />
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SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）<br />
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TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）<br />
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Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.<br />
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When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.<br />
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'''3. Communicative Dimension'''<br />
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In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)<br />
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Example 6:<br />
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SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）<br />
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TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）<br />
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"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.<br />
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Example 7:<br />
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SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）<br />
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TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）<br />
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Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.<br />
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===Conclusion===<br />
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.<br />
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===References===<br />
*Hall E T .(1976).Beyond Culture. chicago.<br />
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*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.<br />
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*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123. <br />
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*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.<br />
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*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh<br />
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*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.<br />
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*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.<br />
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*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.<br />
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*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28. <br />
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*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.<br />
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*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96. <br />
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*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.<br />
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*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209. <br />
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*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh<br />
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*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh<br />
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*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.<br />
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*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.<br />
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*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95. <br />
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*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.<br />
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==英语笔译 李欣 Li Xin 202170081577 CE==<br />
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<br />
<center>'''The dissemination of Chinese Classics in modern media'''</center><br />
<br />
<center>Li Xin</center><br />
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===Abstract===<br />
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.<br />
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===Key words===<br />
<br />
===Introduction===<br />
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===Literature Review===<br />
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===Methods and Theories===<br />
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===Subtitle 1===<br />
正文. (Wang 2021:423)<br />
===Subtitle 2===<br />
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===Subtitle 3===<br />
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===Subtitle 4===<br />
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===Conclusion===<br />
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===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
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==英语笔译 李颖 Li Ying 202170081578 MW==<br />
<br />
<center>'''On the Translation of The Moon and Sixpence'''</center><br />
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<center>Li Ying</center><br />
<br />
This thesis choose a renowned and well-received novel in the 20th century. The Moon and Sixpence, first published in 1919,is written by W.Somerset Maugham. The book became popular after being translated into Chineses in 1989. Two new versions of translation were published in the Chinese mainland in 2016.However, no studies on these three translations have been carried out. Therefore, this thesis is aimed at analyzing the translations from the perspective of translator’s subjectivity.<br />
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In this thesis,theories on the position of translators have been reviewed, especially the studies on translator’s subjectivity. Typical examples have been extracted from the three versions for comparison and analysis. Translator’s subjectivity is reflected from four aspects: understanding and expression of the source text, translation strategies, culture of the target language, and the style of language. In the end, fingdings of the comparison and analysis were concluded.<br />
===Key words===<br />
The Moon and Sixpence, translator’s subjectivity, translation strategies,cultural values of translation<br />
===Introduction===<br />
1.A Brief Introducation to William Somerset Maugham<br />
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William Somerset Maugham is a well-known British novelist and dramatist,known as English Maupassant. Maugham was born in Paris in 1874. He is born in a lawyer’s family.His grandfather is a well-known High Court lawyer in London. His father, Robert Maugham was also a lawyer at the British Embassy in Paris in 1850.In addition to being a lawyer, Robert Maugham is also a auther and editor.So the William Somerset lived in a family full of sensity and rationality. He was the youngerst one in his family. In his young age, he lost his parents, so he lived in his uncle’s house and lived a dependent lifee.His school life wasn’t going well.In 1892, he studied at the University of Heidelberg in Germany, he was influnenced by Ibsen, which lays a deep foundation on his future writing.In 1897, he abandoned medicine and chose to be a writer. At his early age,he lived in Paris, which makes Maugham khow more about beauty,honor, wisdom and writing methods. For he has underdone World War II, he has a unique artistic style in his work.<br />
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As a novelist and dramatist ,he has written many novels and dramas. The most famous novels are Of Human Bondage(1915), The Moon and Sixpence(1919) and The Razor’s Edge(1944), and there are some other novels,such as Lisa of Lamebeth(1897), Mrs. Craddock(1902), The Merry-go-round(1904), The Magician(1908) and so on. <br />
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Maugham’s death consciousness is often reflected in his novels. The death of his parents, the identity of the physician and the World War make him see a lot of death.The description of death enables the readers to realize the significance of life and inspires the reader’s deeper thinking of humanity. He also attaches the pursuit of the spiritual world.In his novels, the pleasure obtained by material world is illusory, only the spiritual pursuit is meaningful.<br />
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In addition, the experience at Maugham’s very early age makes Maugham develop a withdrawn personality, many of his novels can reflect the characters’ lonely, whthdrawn and indifferent personality.<br />
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2.A Brief Introduction to The Moon and Sixpence<br />
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The Moon and Sixpence is one of the Maugham’s best-known novels which was put out in 1919. The novel is based on the French impressionist, Paul Gauguin. Gauguin used to be a broker at the Verdun Stock Exchange,but later,because he likes painting, he resigns to forcus on painting. He is willing to live a poor life for painting.Gauguin wants to find psychological pursuit , he sails across the sea to the Tahiti in the South Pacific where he paints a lot of paintings. On the basis of Gauguin, Maugham’s writing in The Moon and Sixpence can deeply embody the protagnist’s pursuit of dreams, consideration of life and perception of humanity.<br />
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The name of the novel is very profound. “Moon” in the The Moon and Sixpence expresses the bright and distant dreams, and “Sixpence” in it expresses the real material life.When a person needs to choose between dream and reality,giving up the dreamm to choose the life or ignoring the life to choose the dream, this is a thought-provoking question. In this novel, Strickland’s first choose is “Sixpence”. In the first half og his life, he lives a regular and ordinary life. He is a strockbroker and lives happily with his spouse and two childre. Later, he chooses the “Moon”. For his hobby of painting, he leaves his home, his wife and his lovely children. In addition to the protagonist Strickland, some characters in the novel also face the problem of “Moon ” and “Sixpence”<br />
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The novel is written with “I” as the narrator, and “I” is a participant and a bystander. This narrative structure is an important feature of Maugham’s novels. As the begining of the novel, because Mrs.Strickland likes to make friends with literati, “I” meets Mrs. Strickland at Miss Waterford's tea party. At first, “I” knows Strickland that he is an ordinary and boring person.<br />
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3.A Brief Introduction to the Translater and Translating Verisons<br />
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The earliest Chinese verison of The Moon and Sixpence was Fu Weici's translation published by Foreign Literature Publishing House in 1981 (Qin Hong, 2008). The translation was so popular that it was republished by Shanghai Translation Publishing House in 1995, 1997 and 2003. Mr. Fu Weici ( 1923 - 2014) was a native of Beijing. He studied in the Western Department of Beijing Fu Jen Catholic University, Zhejiang University (Guizhou) and Peking University. After graduation in 1950, he taught Chinese courses for overseas students and worked as a translator. He was once a professor in the Foreign Languages Department of Beijing Language and Culture University. His major English translations include the novels The Moon and Sixpence, The Core of the Problem and Animal Farm. <br />
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Chen Yixuan's translation of The Moon and Sixpence was published by Taiwan's Rye Publishing House in 2013, and Chen's translation was introduced by East China Normal University Press in January 2016.This paper chooses the latter version of simplified Chinese characters.Chen Yi-hsuan, a native of Kaohsiung, Taiwan, is a senior translator of foreign literature. His masterpieces include The Chameleon and The Moon and Sixpence.<br />
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Also in January 2016, Tianjin People's Publishing House published Li Jihong's translation of The Moon and Sixpence.The two recent translations also show the vitality of Maugham's work in domestic readers.Li Jihong, born in 1980, is a visiting scholar at the Shakespeare Institute of the University of Birmingham and a visiting researcher at the English Department of the University of United States, Irvine. His best-selling translations include The Kite Runner and The Little Prince.<br />
Fu Weici's translation appeared earliest and lasted longest, while Chen Yixuan's and Li Jihong's versions were newer.Due to the long distance between the translation years and the different authors in Beijing, the three versions are selected for specific analysis through specific cases.<br />
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===Literature Review===<br />
As one of the masterpieces of Maugham’s novels, The Moon and Sixpence attracts many attention of readers and literary circle. It becomes the object of study among scholars.Many scholars at home and abroad study this novel from different perspectives.<br />
Study about The Moon and Sixpence is from various perspectives, such as the psychological analyses, the study of narrative methods, colonialism, genre,misogyny, characters and modernism.<br />
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Psychilogical researches include the contradiction between rationality and irrationality, Schopenhauer’s theory, the combination of psychological analysis with feminism,human nature. Yangyan Huan（2015）probes into confrontations between reason and irrational which are demonstrated by conflicts between soul and body in The Moon and Sixpence. The confrontations between reason and irrationality is the basic paradox in human life. Therefore, this novel is a miniature of real society with consistent struggles and pains. Moreover, it explores the influence of writer’s psychological situation on writing.<br />
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Ding Xia(2014) analyzes the bahavior of Strickland from two perspectives of Feud’s “id” theory and sexism. Then, he compares Strickland to Freudian hero in the novel. In lines with Freud’s “id” theory, artists may transfer their sexual desire into more sublimed field such as art. The fact that Maugham was a homesexual strengthened his misogynistic view in this novel. It is relevant to Maugham’s affection to man in real life.<br />
Wangya Nan(2014) combines modernism and nihilism to make a systematic expatiation and discussion of the novel from four perspectives, including formation of modernist characteristics ,modernist consciousness,modernist theme, and Maugham’s application of modernist techniques. The thought of nihimism also find its vivid expression in the protagonist’s being fed up with secular society, his strong desire to escape from the realistic society and his hostile relationship with enviroment.<br />
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The study of human nature is illustrated by various characters. Huang Lei(2015) makes a study of Strickland’s spiritual trek is a crazy gesture. Although Strickland is depicted as an anti-social man who goes against social conventions, he mirrors other people’s personalities. Actually, Maugham expresses his feelings and emotions through Strickland.<br />
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===Methods and Theories===<br />
1.The Translator's Role in Traditional Translation Studies<br />
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From translation perspective, the translationg version could not by analyzed from the literary and cultural level but only from the gain and loss of language, so the status of the translator in history is very low.<br />
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The traditional view holds that the translation cannot be compared with creation. Even Lin Shu，who is known as a "famous translator," believes that translation is very low (Qian Zhongshu, 1981).Similarly, Lawrence Venuti has made a systematic study of the translator's “invisibility” in his book The Invisibility of Ttranslator, and put forward his unique views on the root of the translator's invisibility and its influence on the translator's status.The translator and the author may have different races and language habits, different expressions and even different values, but the translator will try his best to present the information to the readers completely. The translator chooses the latter between highlighting the subjectivity of himself or showing the subjectivity of the author completely. The translator hides the subjectivity of himself behind the subjectivity of the author, so as to present the author's works to the target language readers as original.<br />
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1.The Translator’s subjectivity <br />
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Among them, the translator's subjectivity runs through the whole translating process , while the other ones are only reflected in a certain part of translation, so the translator's subjectivity is conter of translation subjectivity. The translator is the one undertaking translation practice, on the one hand, the translator has full independence withtout attracting to the original text,author or readers,so the translator has full play to thier subjective initiative;on the other hand, the translator’s subjectivity has also been restricted by some conditions.(Tu Guoyuan, 2003)<br />
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2. Factors of Affecting Translator's Subjectivity<br />
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Xiong Bingjiao（2005）concerns that “cultural turn” of translation studies is a turning point, which the research field swift to the subjectivity of translator. This new swift expand the new horizon and come into the scope of translation studies. Before the “stylistic turn”, translation studies forcused on the translated text subordinate. Xiong Bingjiao(2005) further pointed out that the “cultural turn” highlighted the subjectivity of the translator and forcused on the tranlator.<br />
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The main factors affectiong the translator’s subjectivity include: (1) the characteristics of the two languages, habits;(2) the objective law of language transformation;(3) the linguistic, cultural and aesthetic characteristics of the original work and the aesthetic expectations of the target readers;(4) the translation view and the adoption of translation strategies in a specific era;(5) the translator's own cultural structure and language ability, etc. (Zhong Weihe, Zhou Jing: 2006）。<br />
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===Subtitle 1 Analysis on Translating Cases ===<br />
Through a careful study and comparison of the original text and three translated versions of The Moon and Sixpence, this paper selects some typical sentences which can fully embody the translator's subjectivity.<br />
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1.Translator's Subjectivity in Semantic Comprehension and Interpretation<br />
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In the translating process, the translator are supposed to have a full understanding of the source text, although it also require the translator be objective as far as possible. For the high subjectivity of literary works, the translator’s undrstanding is inevitably with the translator’s subjective color.The translator exerts his subjective initiative and makes use of his own understanding of the original text to present it in the translated text.Therefore, the translator's subjectivity is first reflected in the translator's understanding and interpretation of the work, which is the most prone to significant differences between different versions of the place. The following is a specific analysis of translation cases:<br />
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（1）The Prime Minister out of office is seen,too often, to have been but a pompous rhetorician, and the General without an army is but the tame hero of a market town.(P1)<br />
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傅译:人们常常发现一位离了职的首相当年只不过是个大言不惭的演说家；一个解甲归田的将军无非是个平淡乏味的市井英雄。（P1）<br />
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陈译：一国首相下台后，常被看穿过往只是个口若悬河的说客；而没了军队的将军，不过是解甲归田的落魄英雄。（P1）<br />
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李译:人们常常发现，离任的总理原来只是个能言善辩的口舌之主，卸职的将军也无非是个软弱可欺的市井之徒。（P1）<br />
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In the 1st example,they have different understanding to the original words“the tame hero”.According to the Collins Advanced English-Chinese Dictionary, tame means "tame; Plain; dull; submissive. "The English definition describes the meaning of the adjective come in more detail: “If you say that something or someone is tame, you are criticizing them for being weak and uninteresting, rather than forceful or shocking”. The word “tame” is used to describe the general’s “weak”.From the Collins Advanced English-Chinese Dictionary,the word “hero” means “someone, especially a man , who has done something brave,new, or good, and who is therefore greatley admired by a lot of people”.In this phrase, the author uses an oxymoron, using two diametrically opposed frontal words, tame and hero, to describe "the General without an army," highlighting its "not great."Therefore, it is necessary to retain the rhetorical devices of the original text in translation, reflecting the contrast between the meanings of adjectives and names.<br />
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Both Fu and Chen retained the word "hero”.Fu Weici understood “tame” as "plain and boring," which did not reflect the key meaning of "weak," which was not conducive to highlighting the contradiction between the two words.The "Shijing hero"(Chinese Pinyin) refers to the brave, just and responsible people in ordinary life, and is a praise for ordinary people. “Shijin” is added contents, reflecting the mighty general return to the plain people’s lives, but the part of speech deviated from the original irony of praise. Chen will translate “tame” as “returning home”,which is a neutral word. Does not reflect the “weak ” derogatory sense.However, in the translation of “hero”, “落魄”（luopo，which is Chinese pinyin), reflecting a certain sense of contrast.<br />
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Li Jihong translate “tame” into “软弱可欺”（ruan ruo ke qi，which means weak and bullied in English）,which is more accurate.The meaning of “市井之徒”（Chinese 拼音shi jing zhi tu）refers to the humble peddlers or uneducated people.Unlike the Fu and Chen’s verison,Li deletes the key image of “hero”. “Weak and bullied” and “shijingzhitu” are derogatory, which can be said to not reflect the oxymoron of the original text.<br />
Three versions are different, the translators give their own understanding .In translation practice, the expression of meaning often depends on the translator's own understanding, extension and creativity, this case reflects the translator's subjectivity,which has an important influence on the understanding and interpretation of the original meaning.<br />
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2. Translation Strategies in the Choice of Translator’s Subjectivity<br />
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中国传统的翻译策略可以分为意译与直译，归化与异化（叶如祥，2011）。选择意译或译入语为导向的翻译策略，说明译者更多的遵从于译入语的语言规范，这样有利于译文的被读者接纳；而选择直译或以原语为导向的翻译策略，说明译者希望引进新的表达方式，丰富译入语。无论哪种策略，都是译者发挥主观能动性，进行主动选择的结果，都可不同程度地体现译者主体性。通过结合译例，本节对三位译者在选择翻译策略时体现的主体性进行分析。<br />
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Traditional translation strategies in China can be divided into free translation and literal translation, domestication and foreignization (Ye Ruxiang, 2011).The choice of free translation or targeted translation strategy shows that the translator is more compliant with the target language norms, which is conducive to the acceptance of the translation by the readers; The choice of literal translation or source-oriented translation strategy shows that the translator hopes to introduce new expressions to enrich the target language.In this section, I will analyze the subjectivity of the three translators in choosing translation strategies through examples.<br />
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(2)I find myself in a position to throw light on just that part of his tragic career which has remained most obscure.(P4)<br />
傅译；我发现对他悲剧的一生中人们最不清晰的一段日子，我恰好可以投掷一道亮光。(P8）陈译：我发现自己正好可Ｗ针对他悲剧性的生涯中最隐晦的那段时间，做出澄清与说明。(P9)李译；我发现我可以向大家讲述他的悲剧人生中最不为人所知的几年。（P9）<br />
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In the 2nd example, three translators have different ways to translate the phrase“throw light on”. According to the dictionary, the fixed phrase “throw light on ” means “make clear” “clarify” “illustrate” “make sb understand” or “provide clues,ideas to sb”, having the same meaning with the word “enlignten” or “illustrate”. This is a common fixed phrase,rather than created by Maugham, It is also not a metaphor.<br />
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Fu Weici chose a foreignization, retaining the metaphor of the original phrase and translating it literally into "throwing a light."The phrase is a very common in English phrase, however there is no corresponding Chinese expression.This method of translation retains the language features of English, but may cause some difficulties for readers who are not familiar with English.Chen Yixuan adopted the method of free translation, translated as "to clarify and illustrate," to express direclyt, clearly, completely in line with the native Chinese usage, which is easy to understand for the reader. Li Weihong weakened this phrase, translated as "tell," and then the text is just the beginning of the "telling" Strickland's experience. Three translators have an accurate understanding of the original, but are in different considerations to choose different translation strategies , reflecting the subjectivity of the translators.<br />
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(3)He followed me, and entered the apartment on my heels.(P98)<br />
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傅译：他跟在后面，踩着我的脚后跟走进我的住房。(P178)<br />
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陈译：他尾随我进入公寓。（P180）<br />
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李译：他跟在我身后，紧贴着我走进了房间。（P179）<br />
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The text is an common narrative.In this sentence, the three translators have different treatment of the phrase "on my heels."According to the dictionary,"on one's heels" is a fixed phrase, a figurative expression meaning "to follow closely behind." As in the previous example, this is a common fixed expression rather than a Maugham’s literary technique.<br />
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Once again, Fu Weici chose to literal translation.Compared with the case of "throwing a light",this metaphor is different.The phrase"standing on the heel"has a really meaning in Chinese, it may be a little abrupt to use it here.It is not always possible to copy English figurative expressions into Chinese by literal translation, and in this case it may be inappropriate. Chen Yixuan and Li Jihong have chosen the free translation, in line with Chinese expression habits, natural and smooth, not in the text to attract the reader's attention.<br />
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3. The Embodiment of Translator's Subjectivity in Target Culture Inheritance<br />
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Translation is not only a superficial conversion between words, but also a deep communication at the cultural level.Therefore, in addition to convert the original text into the target language text, the translator also needs to exert influence on the text according to the target language culture, in order to make it into a text that conforms to the target language culture.<br />
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(4)His face was deeply lined, burned brown by long exposure to the sun, and he had a pair of small blue eyes which were astonishingly shifty.)They moved quickly , following my smallest gesture, and they gave him the look og a very thogough rogue.(P114)<br />
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傅译；随着我的手势，他的眼睛很快地转来转去，叫人一望而知是个社会上的老油子。（P206)<br />
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陈译：那对眼珠跟随着我的一举一动快速转动，让他看起来像极了恶棍。(P209)<br />
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李译；它们贼溜溜地转得很快，连我最细微的动作都不肯放过，一看就是那种奸诈的流民.(P208)<br />
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According to the Collins Advanced English-Chinese Dictionary, “rogue” has two meanings when used as a noun: the one is "A rogue is a man who behaves in a gangster or criminal way," which is derogatory;another is"If a man behaves in a way that you do not approve of but you still him, you can refer to him as a rogue," or "troublemaker," is a nickname.The latter address with spoil, generally is an adult for children, here is not appropriate, so the original “rogue” should be understood as the meaning of "flow qiao, villain."<br />
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The short sentence"a pair of small blue eyes which were astonishingly shifty. They moved quickly "reflects the character's shrewdness and flexibility, so the author use the word “rogue” more likely to describe the character 's" dishonest " than the" criminal ".Fu Weici translated it into "Lao Youzi"(Chinese pinyin) whch is a Beijing dialect, meaning with someone is"cunny," refers to the experienced and flattering people .In line with the meaning of the author.Lao She in the his book Camel Xiangzi (1936) also used the word: 'As for the bargaining for seats, his words express his slow and energetic attitude, but failed to those Lao Youzi.' With Mr. Lao She, Fu Weici is also from Beijing, so in his works will not consciously use some of the expression of Beijing dialect. Here reflects the translation of works will be subject to their own growth environment, language environment.<br />
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Chen Yixuan's translation “ rogue” as "villain" is in line with the dictionary meaning.Li Jihong treated it as a "treacherous refugee."'Refugees' from the ancient book Four times of Guanzi', meaning 'affected by the exile in the field, life is not available for people', apparently used here does not meet the original meaning. Although the term selection has been biased, but the adjective 'treacherous' and 'bold' translated by Li Jihong has similar meaning with the source text, which can be described as half merits and demerits.<br />
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4. Translator's Subjectivity in Language Style<br />
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As the reproducer of the original text, the translator reproduces the literary works, so the translator's writing and language style are also the important embodiment of the translator's subjectivity in the translation.The following translation of specific examples of the three authors of the language style analysis:<br />
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(5)It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. It is long since I frequented it, and if the novles that describe its present singularities are accurate much in it is now changed.The venue is different.(P6)<br />
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傅译：我刚刚被引进伦敦文学界的时候，也情又是热切又是羞涩；现在回忆起当时的种种情况，不无凄凉之感。很久我没有到伦敦去了，如果现在出版的小说里面的描写是真，伦敦一定发生了很大变化了。文人聚会的地点已经改变了。（P12）<br />
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陈译：初踏伦敦文艺界，我虽怯生但也渴切，忆起当时情景心中难免低徊。我不再涉足其中己久，倘若描述当前奇观的小说所言无误，那么如今许多事物不复以往。（P13）<br />
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李译：最早踏进伦敦的文学世界时，我也里既忐忑又期待。回忆起当初的种种情状，真是不无物是人非的感慨。我久已远离那个世界，假如各种小说对其现状的描写是准确的，那么如今的情况有所改变。活动的场所和以前不同。（P12）<br />
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This sentence is the background of "I" reviewed my own fledglings London literary and arts, recall the past and to look at now, can not help but sighing with emotion.This example is very typical, which can reflect the three translators different language style.Among the three versions, Fu Weici's translation is the earliest, but the expression is more plain and easy to understand, without using words with classical Chinese color, nor using four-character idioms.Chen Yixuan's language style is graceful and poetic, with classical Chinese color, such as "inevitable low,""no longer the past" and so on. Li Jihong's version is the latest version, but the language is more than Fu's version based on a little more literary color, such as "not without,""long already" and so on.<br />
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===Conclusion===<br />
In the 1970s, the translation circle began to pay attention to the translator's subjectivity, that is, the translator's subjectivity. The translator should be regarded as the center of translation activities.There are many factors that influence the translator's subjectivity, such as the translator's region, time, educational background, the translator's ability to control the language and the translator's choice of translation strategies.<br />
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This thesis focuses on three Chinese versions of the famous novelist Maugham's The Moon and Sixpence from the perspective of translator's subjectivity.Through that analysis and comparison of the selected examples, it can be seen that the three translator, as the main body of translation, have exerted their own subjective initiative in translating The Moon and Sixpence, which embodies the respective characteristic of the translators of the three translators.<br />
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In the choice of translation strategies, Fu Weici tends to literal translation and foreignization, Chen Yixuan tends to free translation and domestication, and Li Jihong tends to weaken the cultural characteristics of the original text on the basis of free translation.In terms of cultural inheritance, Fu Weici's translation uses some Beijing dialect on the basis of conforming to Mandarin, Chen Yixuan's translation reflects the characteristics of Chinese in Taiwan, Li Jihong's translation uses standard Mandarin without dialect expression.In the language style, Fu Weici's language style is plain and simple, Li Jihong's language style contains a trace of written color on the basis of plain and easy to understand, Chen Yixuan's language style is poetic and gentle, with the most rich literary color.The analysis of translation examples shows that the difference of translator's subjectivity is not only reflected in the translator's understanding and interpretation of the work and artistic recreation at the linguistic level, but also reflected in the choice of the translated text, the cultural purpose of viewing the translation and the translation strategies, which are the linguistic, cultural and aesthetic characteristics of the original work and are influenced by the translator's cultural pre-structure (including regional environment, social background, national character, religious background, cultural origin, ideology, aesthetic taste, language ability) and the influence of the translation concept of the specific era.<br />
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To sum up, from the perspective of translator's subjectivity, the three Chinese versions of The Moon and Sixpence all show their subjective initiative and different styles in translation activities.This paper, to a certain extent, fills the gap in the study of the translation of The Moon and Sixpence.By analyzing the role and embodiment of the translator's subjectivity in the translation process, the translator can make better use of his subjectivity and deal with the influence of various factors on the translation, so as to present a better translation to the readers.<br />
===References===<br />
*William Somerset Maugham(1919/2016). The Moon and Sixpence. Translator:Chen Yixuan. Shanghai：East China Normal University<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Fu Weici. Shanghai：Shanghai Translation Publishing House<br />
*William Somerset Maugham(1919/2015). The Moon and Sixpence. Translator:Li Jihong. Tianjin：Tianjin People's Publishing House<br />
*Qian Zhongshu（1981). Lin Shu and His translation. Beijing:Commercial Press.<br />
*Tu Guoyuan. "Translator's Subjectivity: A Hermeneutic Interpretation,"Chinese Translators Journal, 24 (6): 8-14pp.<br />
*Xu Jun (2003),"'Creative Treason' and the Establishment of Subjectivity in Translation," Chinese Translators Journal, 24 (1): 6-11pp.<br />
*Yang Yun (2008),"The Art of Blooming in Exile: A Spiritual Analysis of the Protagonist in The Moon and Sixpence," Contemporary Literature, 6:115-118pp. <br />
*Xiong Bingjiao (2005). On Translator's Subjectivity Involvement in Translation Process.Journal of jiangxi university of finance and economics 2005 (5): 100-102pp.<br />
*Ye Ruxiang (2013), On the Subjectivity Differences between the Two Chinese Versions. Journal of Changchun University of Science and Technology (social science edition),26 (11): 140-142pp.<br />
*Yuan Yiying.Contrastive Analysis of the Two Chinese Versions of The Moon and Sixpence. Liaoning: Lining Normal University.<br />
*Yu Dian.A Comparative Study of The Moon and Sixpence from the Perspective of Translator Subjectivity.Beijing: Beijing Foreign Studies University<br />
*Huang Rong, Liang Mei. A comparative analysis of that two Chinese version of The Moon and Sixpence. Literature Education (2): 2019（11）：40-42pp.<br />
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==英语笔译 李媛 Li Yuan 202170081579 CE==<br />
<center>'''On the Reception of the English Translation of Sunzi's ''The Art of War'' in the West'''</center><br />
<br />
<center>Li Yuan</center><br />
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===Abstract===<br />
The Art of War is a famous ancient Chinese work on military theory, and through the translation and dissemination of foreign translators, the ideas in the book have gained wide acceptance and recognition in the West. This paper takes The Art of War as the research object, mainly adopts the literature research method and interdisciplinary research method to introduce the English translation of The Art of War from 1905 to the late 1930s, from the 1940s to the 1980s, and from the 1990s to the present day in the West. "The aim is to provide reference and inspiration for the selection of the original text, the choice of translator, the choice of translation strategy, the choice of initiator, the choice of communication channel, and the analysis of audience in the practice of foreign translation of Chinese classics, so as to help Chinese language and culture to spread internationally more effectively.<br />
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===Key words===<br />
The Art of War; communication; translation and reception; revelation<br />
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===Introduction===<br />
The Art of War, also known as Sun Tzu and Sun Wu's Art of War, is an ancient Chinese military book, the world's oldest surviving work on military theory, and one of the Seven Books of the Military Scriptures, written by Sun Wu in the late Spring and Autumn Period. Although the number of volumes recorded in successive generations is different, the number of chapters are all thirteen, divided into the chapter of planning, combat, strategy and attack, shape, potential, virtual reality, military disputes, nine changes, marching, terrain, nine lands, fire attack, and use of the intervening chapter. The book summarizes the experience of warfare at the end of the Spring and Autumn Period and before, reveals a series of universal military laws, and puts forward many incisive rules of warfare, such as "if you know yourself and your enemy, you will not be in danger in a hundred battles", "if you do not fight, you will give up the army", and "if you are not prepared, you will be able to attack them. It contains simple materialistic and dialectical ideas, and has formed a systematic military theory system, which is highly respected at home and abroad and is well known at home and abroad. It was introduced to Japan in the 8th century A.D. and to Europe in the 18th century, with translations in Japanese, French, English, Russian, German, Italian, Hebrew, Arabic and other languages. At present, the earliest surviving version of The Art of War in Chinese is the bamboo book from the Han tomb at Yinqishan; the earliest surviving engraved version is The Seven Books of the Book of Wushu from the reign of Emperor Xiaozong and Emperor Guangzong of the Southern Song Dynasty, and the three-volume version of The Eleven Books of Sun Tzu from the reign of Emperor Ningzong of the Southern Song Dynasty. After the unearthing of the bamboo book "Qi Sun Tzu", it was collated and publicly published by the Cultural Relics Publishing House in 1975 under the name of "Sun Bin Art of War".<br />
Since the first English translation of The Art of War by E.F. Calthrop in 1905, many translators at home and abroad have translated The Art of War into English, and more than 50 full English translations of The Art of War have been published. According to the survey data on Amazon.com in the UK and the US, The Art of War is very popular among readers in the English-speaking world, and the top English translations include Lionel Giles (1910), Samuel B. Griffith (1963), Thomas Cleary (1988 (1993), Ralph D. Sawyer (1993), Roger Ames (1993), Gary Gagliard (1999), The Denma Translation Group (2001), John Minford (2001). John Minford) English translation (2002), Clements (Jonathan Clements) English translation (2012), Peter Harris (Peter Harris) English translation (2018), Demeco (Michael Nylan) English translation (2020) (Zhou Xinyi and Ji Hongqin 2021:54-58). It can be seen that the English translations of Sun Tzu's The Art of War that are more influential and widely circulated abroad are all from foreign translators. Generally speaking, although there may be mistranslations, the translation of The Art of War by some well-known Chinese scholars and translators abroad, taking advantage of their own academic status and fame and adopting translation strategies that are easily accepted by foreign readers, has also been a great help in promoting the foreign dissemination of the book. The influence of The Art of War has gradually expanded after its long-term popularity, and the attention to it in English-speaking countries began to gradually expand from text translation and military research to its application in other non-military fields, using Sun Tzu's wisdom to solve difficult problems that arise in social life, making the study of The Art of War begin to develop in a diversified direction (Zhou 2019:68-69).<br />
Lasswell's "5W model" is a classic theory of communication, which illustrates the five elements of the communication process, namely, communicator, message, communication channel, audience, and feedback. In the process of receiving the English translation of The Art of War in the West, there are also these communication elements and links, such as who initiated this translation practice, which translator translated it, through which channels it was disseminated to the West, what characteristics of foreign readers, and what is the degree of acceptance and feedback of readers. From the perspective of communication science, this translation practice of the English translation of The Art of War can be studied comprehensively, three-dimensionally and multidimensionally, and the reasons for its successful dissemination and acceptance in the West can be analyzed to provide reference for the general direction and specific operation process of the foreign translation of Chinese classics and to enlighten the better foreign dissemination of Chinese culture.<br />
<br />
===Literature Review===<br />
By typing in the keywords "The Art of War", "English translation" and "acceptance" on China Knowledge Network, there are only 12 relevant papers, which shows that there is a lack of research on the overseas acceptance of the Art of War. The current studies, such as Li Ning's "The Art of War" and "The Art of War", have been published. The current studies, such as Li Ning's survey on the overseas acceptance of the Chinese English translation of The Art of War in the Greater China Library - Sun Tzu's Art of War as an example, investigate the acceptance of the Lin Wusun translation of Sun Tzu's Art of War in the translated language from three aspects: global collections, focus group readership surveys, and published reviews. It was concluded that in order to change the situation of "self-indulgence" of the Chinese translators of the Greater China Library, and to make Chinese culture broadcast to the world and become a unique part of the world culture, it is urgent to conduct a study on the acceptance of the English translation of the text from the readers' perspective (Li Ning, 2015: 81). Subsequently, there are many scholars began to carry out research on the acceptance of Chinese canonical texts in foreign translations from the readers' perspective, such as Zhou Xinyi and Ji Hongqin's "The Art of War" English translation of the English translation of the overseas dissemination of the current situation and reflections on the English translation - based on the survey of the British and American Amazon.com, from the reader reviews of the English translation of "The Art of War" on the British and American Amazon.com, summarizing We analyze the three major problems of the English translation of Sun Tzu's Art of War by domestic translators, namely, the popularity of the translation, the quality of the translation, and the editing and binding of the translation, and propose countermeasures to improve the reading experience of foreign readers. In addition to improving the "hard power" of translation quality, it is also important to improve the "soft power" of translation editing and appearance. Good appearance, professional editing and good printing will increase readers' favorable impression of the translation and bring them a better reading experience (Zhou Xinyi and Ji Hongqin 2021: 58). The English translation and reception of The Art of War contains many elements and links, and audience and feedback analysis are only two of them. No one has yet studied the insights from the perspective of communication science on the successful reception of the English translation of The Art of War by foreign translators of Sun Tzu in the West. The translation and acceptance of The Art of War in the West is itself a communication process, so it is feasible to analyze the characteristics of the translation journey of Sun Tzu's The Art of War in the West and the revelation of successful translation from the perspective of communication science.<br />
<br />
===Communication theory--Laswell's "5W model"===<br />
The science of communication appeared in the 1920s, and it was designated as an independent discipline in the 1940s. The 1980s witnessed further gains in The 1980s witnessed further gains in popularity of this subject. communication science is to study the process of human communication behaviors and the relationship between people and society. When it comes to communication process, many scholars have proposed their own models, among which 5W models of Harold Lasswell is one of the most classical. classical. In his magnum opus, The Structure and Function of Communication in Society (2017), Harold Lasswell gave a description of the act of communication:Convenient way to describe an act of communication is to answer the following questions: <br />
Who<br />
Says What<br />
In Which Channel<br />
To Whom<br />
With What Effect?<br />
The scientific study of the process of communication tends to be concentrated upon one or another of these questions. Scholars who study the "who", the communicator, look into the factors that initiate and guide the act of communication. Specialists who focus upon the "says what" engage in content analysis. Those who look primarily at the radio, press, film, and other channels of communication are doing media analysis. If the question is the impact upon audiences, the problem is effect analysis (2017: 3-4).<br />
This is the detailed explanation of Lasswell's 5W models, including five factors in the communication process, namely communicator, Therefore, this model can be illustrated as the following figure:<br />
"Who" refers to the communicator, a person who collects, handles and sends the information in the communication process. communicator can be only one person, a community or an organization, who is to make the communication process get started. "It can also be <br />
"In Which Channel" is the media through which the information is sent by the communicator. It can be private forms like letters or telephones, and it can also be mass media such as newspaper, television or radio. "To Whom" stands for the audience who receive the information from the communicator by a certain channel. As the final part of the communication process, they can be readers, listeners or spectators. It can be called feedback as well, measuring whether the communication activity is effective or not. In fact, there are many similarities between the communication process and the translation <br />
The author is the communicator, the information is the original text, and the audience is the target reader. It is the translator who renders the original information and transmits the translated information to the target reader through a certain medium. In this sense, the effect is the target reader's feedback to the In this sense, the effect is the target reader's feedback to the translated information, which can be used to assess the quality of the version. From this point of view, the property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation process from the perspective of communication The property of translation is a communication activity containing the exchange of information, thus providing a basis for studying translation process from the perspective of communication science.<br />
<br />
===The History and Characteristics of the English Translation of Sunzi's The Art of War in the West from the Perspective of Communication===<br />
The history of the English translation of The Art of War can be divided into three stages. This paper will select representative translations of each stage and analyze the characteristics of each stage from the perspective of communication, using Lasswell's "5W" model.<br />
Phase I: 1905 to the 1930s<br />
The representative translations of this period are E.F. Calthrop's English translation in 1905 and Lionel Giles's English translation in 1910. From the two elements of initiator and translator, Calthrop and Zhai Linnaeus are both the initiator and the translator of the translation practice of Sun Tzu's Art of War. The difference lies in their different purposes of translating The Art of War. Calthrop was a British captain studying in Japan at that time, and seeing that the Japanese naval commander at that time carried Sun Tzu's Art of War with him and used the art of war to guide his operations with very satisfactory results, he wanted to translate the military ideas in the book to England, so he translated it into English using the Japanese version of Sun Tzu's Art of War as a base. Zhai Linnaeus, on the other hand, was a sinologist, influenced by his father, Herbert A. Giles, who had a strong interest in Chinese culture, a solid background in sinology, and a rigorous approach to learning. In this way, from the point of view of the information, that is, the original text, the original text sent and translated by Karthrop and Zhai Linnaeus is different, one is translated through the intermediary language Japanese, and the other is directly translated through the source language version. In terms of the channel of dissemination, that is, the media, both translations are disseminated in the form of books. From the perspective of the target audience, that is, the readers, Kalthrop mainly wanted to translate Sun Tzu's Art of War into English for officers to refer to and learn from the operational ideas in it when commanding operations. Zhai Linnaeus, on the other hand, did not translate The Art of War for a specific purpose, so his target audience was not a specific group of people, but to translate The Art of War to the whole foreign readership and introduce and spread the traditional Chinese culture. Finally, from the viewpoint of the dissemination effect, that is, the readers' feedback, Kalthrop does not translate from the Chinese text, but from the Japanese text, so in this process, there are inevitably mistranslations and omissions that do not match the original Chinese text. At the same time, Kalthrop is not a professional translator, and his translation level is limited. He chooses to omit or pass over some difficult chapters, and the final English translation of Sun Tzu's Art of War is definitely not of high quality. In contrast, Zhai Linnaeus chose the original Chinese text as the base text, and with his proficiency in both Chinese and English, and his rigorous attitude as a sinologist, his translation is smooth, smooth and rhythmic, not only translating the Chinese version of The Art of War, but also introducing the person who made the commentary for the original text one by one, providing a wealth of information for the western readers to understand the knowledge of ancient Chinese culture, which is still a classic work, and is useful for It is still a classic work and has had a very profound impact on the spread of Sun Tzu's thought in the Western world (Tu, Guoyuan, and Wu, 2011:188).<br />
Second phase 1940s to 1980s<br />
One of the representative English translations of The Art of War of this period was the 1963 translation by American Brigadier General Samuel Griffith, which was popular in the West at the time and was included in the UNESCO series of translations by Chinese delegates, and has been reprinted several times since then, becoming an Amazon.com top bestseller for more than 100 weeks and replacing the Jai Linnaeus The English translation has taken over the authoritative status of the entire Western world. Thus, from the feedback of readers, Griffith's English translation is very effective in spreading. Like Karthrop and Zhai Linnaeus, Griffith's translation of The Art of War was initiated by and translated by himself, and the purpose of the translation, like Karthrop's, was influenced by the context of the times and the desire to use the Art of War to formulate operational guidelines. The channel of dissemination of Griffith's translation was also books, and the target audience was narrowly himself, who translated Sun Tzu's Art of War to guide his own military combat practice, but in a broader sense, with the development of the times, the target should be any group of people interested in military theory. His translation interprets Sun Tzu's thought well from the perspective of military strategy, discusses Sun Tzu's view of war, and discusses the relationship between The Art of War and Mao Zedong's thought, while having a clear tendency to naturalize in its translation strategy (Tu, Guoyuan, and Wu, 2011:188). Another representative version is James Clavell's 1983 edited reprint of the English translation of Zhai Linnaeus' version of Sun Tzu's The Art of War. Again, he was both the initiator of the translation activity and the translator himself. From the information of the original text, he relied on Zhai Linnaeus' translation, added his own commentary to the translation, targeted the entire Western readership, and disseminated the book through the same channel, and gave feedback to the readers by focusing on the vulgarity of the translation to make it more acceptable to Western readers. In the 1980s, the purpose of translating Sun Tzu's The Art of War changed from military studies to popularizing Chinese culture and ancient philosophical thought.<br />
The third phase 1990s to present<br />
During this period, from 1991 to 2010, 21 English translations of The Art of War have appeared in just 20 years, each with a different focus, adding to the translation and dissemination of The Art of War and contributing to the spread of Chinese culture. Among them, the process of the English translation of The Art of War by the American Denma translation group in 2002 has its unique characteristics. Although the initiator and the translator are still the same, the initiator and translator of the translation of The Art of War by the Denma group are no longer a single individual, but a group focused on translation, consisting of several individuals whose research on The Art of War has lasted for 10 years and adopts a translation strategy of alienation. The target audience is all Western readers who are interested in Chinese culture. In terms of dissemination channels, in addition to the traditional use of books as the main channel, the Danmar group has set up a relevant website, where it posts its own translations from time to time during the translation process, welcoming scholars and researchers from all over the world to read and discuss them, give suggestions for changes, and give reasons. Such a practice puts the translation and dissemination of The Art of War into a circular mode. Instead of waiting until the end of the whole translation activity to give feedback to the initiators and translators, the readers' feedback is given directly to the translators during the translation activity, which can fully mobilize the Western readers and enhance the dissemination effect.<br />
<br />
===Insights from the successful translation of Sun Tzu's The Art of War from the perspective of communication===<br />
From the perspective of the initiator of translation activities, the initiator of many Chinese canonical foreign translation activities is currently undertaken by publishing houses. In order to achieve a good dissemination effect, as the initiator, the publisher must act as a good gatekeeper to ensure a reasonable interaction between each element and link of translation, dissemination and reception. As can be seen from the above, the English translations of Sun Tzu's The Art of War that are currently more popular among the Western readership are all translated by foreign translators and published by foreign publishers. This also gives the initiators of translation activities an inspiration: in order to make the Chinese canonical texts more effectively translated and accepted in the West, it is necessary to penetrate into the Western reading market and find more authoritative and famous foreign publishers to cooperate in publishing translations of Chinese canonical texts, which will make the translation and dissemination activities better. By penetrating the foreign reading market through well-known foreign publishers and knowing the kinds of books Western readers like, the initiator will know what kind of information to send, that is, the publisher will have a reference for the selection of the original text to be translated, and the selection of the appropriate original text for translation and dissemination is a prerequisite for successful acceptance by readers. Secondly, the choice of translators is also important. According to the history of English translation of The Art of War, it can be found that the translations by foreign translators are easier to appear and circulate in the foreign reading market, because many foreign translators are quite famous abroad. The Art of War has been translated into English for hundreds of years, and there are many versions available for its retranslation, which basically will not produce serious translation errors. However, if only domestic translators are allowed to translate, the acceptance of foreign readers will not be high due to their low popularity abroad. Therefore, it is advisable to adopt the mode of cooperation between foreign translators and domestic translators, which can not only keep a check on the correct understanding of the original text, but also open up the foreign reading market by reasonably making use of the popularity of foreign translators. The innovation of translation mode also means the innovation of communication channels, and the most traditional communication channel is books. However, many times, foreign readers look at the difficult translation and lose interest in reading before they understand the main content of the book. In order to improve the acceptance of foreign readers to the translation of Chinese classics, we must first understand where the obstacles to their reading are in order to prescribe the right remedy, and then a reasonable and effective feedback mechanism is very important.<br />
<br />
===Conclusion===<br />
Since the first English translation appeared in 1905, several hundred years have passed since the English translation of The Art of War in the West, producing a large number of excellent translations that have contributed greatly to the dissemination of Chinese culture in the West. The translation and reception of The Art of War in the West is itself a communication process, in which the originator, the original text, the translator, the target audience and the feedback all become different with the changing times and each has its own characteristics. The wide acceptance of the English translation of The Art of War by foreign translators in the West from the perspective of communication science shows that it is feasible and necessary to introduce communication science into translation research, which can provide reference and inspiration for the selection of the original text, translators, translation strategies, initiators, dissemination channels and audience analysis in the practice of foreign translation of Chinese classics, in order to help Chinese language and culture to be more effectively disseminated internationally. This will help Chinese language and culture to spread internationally more effectively.<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581 MW==<br />
On the Reception of Vanity Fair in China<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582 CE==<br />
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Methods and Theories===<br />
<br />
===Subtitle 1===<br />
This is a paragraph. (Wang 2021:423)<br />
<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583 MW==<br />
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.<br />
<br />
===Key words===<br />
lyrics translation; Chinese music; Chinese into English<br />
<br />
===Introduction===<br />
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.<br />
<br />
===Standards to Be Followed in the Translation of Songs===<br />
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.<br />
<br />
(1)General Standards<br />
<br />
As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.<br />
<br />
The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).<br />
<br />
Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.<br />
<br />
To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.<br />
<br />
(2)Special Standards<br />
<br />
In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:<br />
<br />
First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)<br />
<br />
Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.<br />
<br />
Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.<br />
<br />
===Instance Analysis===<br />
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.<br />
<br />
(1)Analysis of Ancient Style Music<br />
<br />
First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.<br />
<br />
Example 1:<br />
<br />
Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。<br />
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English Version: Thoughts of you are like a river, comforting chilling my soul.<br />
<br />
In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.<br />
<br />
Example 2:<br />
<br />
Chinese Version : 凉凉三生三世恍然如梦<br />
<br />
English Version: Past present and future<br />
<br />
In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.<br />
<br />
（2）Analysis of Pop Music<br />
<br />
Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)<br />
<br />
Example 3:<br />
<br />
Chinese Version: 怎么二十多年到头来 还在人海里浮沉<br />
<br />
English Version: How come after all that I've been through I still suffer vicissitudes<br />
<br />
This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability<br />
<br />
Example 4:<br />
<br />
Chinese Version: 像我这样碌碌无为的人 你还见过多少人<br />
<br />
English Version: Someone busy with his needs I'm sure you know quite a few<br />
<br />
This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.<br />
<br />
===Conclusion===<br />
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.<br />
<br />
===References===<br />
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.<br />
<br />
Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.<br />
<br />
Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.<br />
<br />
Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34<br />
<br />
Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584 CE==<br />
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja<br />
<br />
Abstract<br />
Key words<br />
1.Introduction<br />
2.Value of Communication<br />
3.Content of Communication<br />
4.Feasible Procedures of Translation<br />
5.Platform for Translation and Communication<br />
Conclusion<br />
References<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14614220220630 Culture 22022-06-30T15:06:59Z<p>Li Yuan: /* References */</p>
<hr />
<div>Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]] <br />
<br />
==This is the final exam paper website no. 2==<br />
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]<br />
<br />
*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
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<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
<br />
===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
<br />
===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
<br />
Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
<br />
===Proverbs===<br />
===Metaphors===<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
<br />
===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
<br />
===Some common cultural implications of Chinese lantern===<br />
<br />
Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
<br />
===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
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===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
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===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
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'''3. Regional Features in Cuisine Names''' <br />
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There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
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The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
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Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
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===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
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===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
<br />
* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
<br />
* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
<br />
* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
<br />
* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
<br />
* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
<br />
* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
<br />
* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
<br />
===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
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The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
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Mapo Tofu：麻婆豆腐<br />
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Shrimp with green Vegetable：翡翠虾仁<br />
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Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
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Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
<br />
Cut: 切 chop：剁 split：劈 scrape：剔<br />
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Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
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Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
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stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
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Corn Meatballs：玉米肉丸<br />
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Sweet and Sour Fish：糖醋鱼<br />
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Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
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Diced Chicken with Cashew Nuts：腰果鸡丁<br />
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Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
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Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
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Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
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Pork Cooked with Green Chili：辣椒炒肉<br />
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Scrambled Egg with Tomato：番茄炒蛋<br />
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Hairy Crabs：大闸蟹<br />
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Golden Coin-shaped Scallops：金钱干贝<br />
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Sour and Hot Diced Chicken：酸辣鸡丁<br />
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Sweet and Sour Ribs：糖醋排骨<br />
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Cola Chicken Wings：可乐鸡翅<br />
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Braised Meat Balls in Brown Sauce：红烧狮子头<br />
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Tai Chi Shaped Taro：太极芋头<br />
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Stewed Assorted Delicacies：全家福<br />
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Wishful Bamboo Shoots：如意笋<br />
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Wen Si Tofu：文思豆腐<br />
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Dongpo Meat：东坡肉<br />
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Peking Duck：北京烤鸭<br />
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West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
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Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
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Meat in Tomato Sauce：乾隆樱桃肉<br />
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Murrel with Fresh Vegetables：将军过桥<br />
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Changban Slope：长坂坡<br />
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Two Winter：二冬<br />
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Three Delicacies：三鲜<br />
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Three Shreds：三丝<br />
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Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
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Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
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Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
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Fried Magnolia Slices：炒玉兰片<br />
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Fried Bamboo Shoots Slices：炒笋片<br />
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Salted Pork in Jelly：水晶肴肉<br />
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Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
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Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
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Mirror Box Tofu：镜箱豆腐<br />
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Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
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Shrimp Ring with Green Vegetable：翡翠虾环<br />
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Golden Eggs：金钱蛋<br />
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Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
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Farewell My Concubine：霸王别姬<br />
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Chicken Slices with Hibiscus：芙蓉鸡片<br />
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Scallops with Hibiscus：芙蓉干贝<br />
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Clams with Hibiscus：芙蓉青蛤<br />
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The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
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The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
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Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
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Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
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Crusade against daddy：早生贵子<br />
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Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
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The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
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Siraitia Grosvenorii：罗汉果<br />
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Prajna Dishes：般若菜<br />
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Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
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Yin and Yang Fish：阴阳鱼<br />
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Heaven and Earth Eggs：乾坤蛋<br />
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Mutton eaten with hands：手抓羊肉<br />
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Sweet and Sour Pork：咕咾肉<br />
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Pearl Bean Curd：珍珠豆腐<br />
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Golden Prawn：金钱明虾<br />
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Crispy Duck：脆皮八宝鸭<br />
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Spiced Beef：五香牛肉<br />
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Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
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Full of Prosperity：满园春色<br />
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===Questions===<br />
1.How many naming methods are mentioned?<br />
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2.Who is the Four-Joy Meatballs associated with?<br />
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3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
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===Answers===<br />
1.Eight.<br />
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2.Zhang Jiuling<br />
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3.Egg white.<br />
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==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
<br />
===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
<br />
===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
<br />
After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
<br />
During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
<br />
At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
<br />
===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
<br />
===Subtitle 1：The Motivation of the Miaoyu===<br />
<br />
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
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===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
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There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
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2.The Distribution of Miao Nationality<br />
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(1)Domestic Distribution<br />
<br />
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
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(2)Overseas Distribution<br />
<br />
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
<br />
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
<br />
===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
<br />
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
<br />
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
<br />
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
<br />
2.Historical formation of the Hmong<br />
<br />
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
<br />
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
<br />
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
<br />
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
<br />
===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
<br />
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
<br />
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
<br />
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
<br />
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
<br />
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
<br />
===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
<br />
After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
<br />
Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
<br />
1.Characteristics of Xiangxi dialect<br />
<br />
The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
<br />
2.Qiandong dialect<br />
<br />
The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
<br />
3.Chuanqian Dian dialect<br />
<br />
The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
<br />
The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
<br />
The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
<br />
The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
<br />
The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
<br />
The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
<br />
(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
<br />
(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
<br />
In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
<br />
The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
<br />
The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
<br />
(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
<br />
In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
<br />
The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
<br />
The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
<br />
===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Character (Tongjiazi) in Chinese and its English Translation in The Analects of Confucius'''</center><br />
<br />
<center>LiYuan</center><br />
<br />
===Abstract===<br />
The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in The Analects of Confucius as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
<br />
===Key words===<br />
phonetic loan characters(tongjiazi); English translation methods; The Analects of Confucius<br />
<br />
===Introduction===<br />
The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context, and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang Li, 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, and that they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translations of passwords on the Internet, and the original texts are all medical texts, which means that the field of English translations of passwords still needs more exploration. In this paper, the English translation of Xu Yuanchong's text of the Analects of Confucius is taken as an example, and the translation methods used in translating the passages are analysed. hopes that the study of the English translation of passages in canonical texts will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of passages.<br />
<br />
===Definition of phonetic loan characters (Tongjiazi)===<br />
The use of a character with the same or similar pronunciation is one of the phenomena of Chinese character use, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, instead of using the original character, the writer temporarily borrows a character with the same or a similar sound. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific character is used as the standard character. As can be seen, a generic character is a borrowing of an existing character. The character that is replaced by a generic character is called the 'original character'. They may or may not have the same or similar pronunciation, different forms, or related meanings as the original character.<br />
To clearly define a generic word, one needs to be aware of its distinction and connection with archaic and modern words, variant words and pseudonyms. Ancient and modern characters are different words used in the same word in ancient and modern times, and this group of words is called ancient and modern characters. As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a phenomenon of substitution through time. In contrast, a generic character appears at a particular time in place of the original character, and is a kind of co-temporal substitution. A variant character is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a generic character has the same pronunciation as the original character, but is not written in the same sense or in the same way. A pseudoword is a substitution for a word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted a word with the same or similar pronunciation, in which case the original character appears to be missing. By contrast a pass-word is a substitution for a word that is already there.<br />
It can be seen that there are several characteristics of the Tongjiao character: firstly, it is a pseudonym; secondly, there is an original character; thirdly, it is a co-temporal substitution; and fourthly, it is homophonic, non-homonymous and non-homomomorphic. Therefore, it can be defined as a co-temporal substitution of the original character, which is homophonic, heteromorphic and heteronymous with the original character.<br />
<br />
===Origin and Development of phonetic loan characters (Tongjiazi)===<br />
This article summarises the following theories about the origins of tongyongzi, or the causes of tongyongzi.<br />
<br />
One is due to the limited number of ancient Chinese characters. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and usage going from arbitrary to standardised. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of pseudo-borrowing came into being. In his Shuowen Jiezi, Xu Shen writes: "A pseudo-borrower is one who originally has no character, but relies on the sound to support the matter, so that the long is also." This is the situation he is referring to, where for an object, for which there was no Chinese character at the time to represent the object, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a pseudonym for an existing character, the appearance of a generic character would have followed the appearance of the pseudonym.<br />
<br />
One reason is that ancient Chinese characters did not develop a fixed normative usage. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning.<br />
<br />
One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some readers and recorded by others in writing. These readers also recited the content from their own memory, and their pronunciation may have been influenced by the dialect and they could not say the sound of some words, and then the writers often heard one word as another and recorded the same word in different forms.<br />
<br />
One is the ancient emphasis on the sound of words rather than their form. The ancients believed that language existed by virtue of sound, and emphasized that the sound was the meaning of the word, and that the hearer knew the meaning when he heard the sound, so the ancients often recorded the words according to sound. In this way, the creation of tongyong characters was a natural consequence of the contradictory movement between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan Lin, 1987).<br />
<br />
One is to forget the original word and substitute it with the same sound. The ancient people, when making records, could not think of the original word and used a different word instead, as pointed out by Zhao Yi of the Qing Dynasty: "The word with the same sound and different meaning is unknown to common scholars, and is often written by mistake, as the world calls it." The first person to write this way was of course writing a white character, as mentioned earlier, but when later people followed suit, it became a "generic" character.<br />
<br />
One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the character and save writing time.<br />
<br />
One is for the sake of avoidance. It was most taboo for the ancients to call their parents by the word in their names, or to write the word in their parents' names directly, borrowing other words instead. All but the emperor himself could not write the name of the emperor of the dynasty.<br />
<br />
The creation and development of the Tongjiao character is inseparable from history. During the Spring and Autumn and Warring States Periods, when a hundred schools of thought were contending for supremacy, society at the time was full of new ideas and changes, and the unprecedented demand and usefulness of written records had a major impact on the evolution and development of Chinese characters. During this period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of variant, homograph and passwords in later times (Chen Zheng, 2015). It was only after the Qin state unified the six states and implemented the "same script", using the small seal script as the unified script for the whole country, that the use of characters became more standardized and the use of common pseudonyms gradually decreased. During the Eastern Han Dynasty, Xu Shen's "Shuowen Jiezi" was published and the use of characters became more standardised, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties, some literati still used pass-words, but during the Tang and Song dynasties, apart from the occasional use of previous pass-words in folk literature, new pass-words were generally not written, and any use of previous pass-words or new pass-words was seen as a misspelling of characters. From this time onwards, the use of tongyong characters was gradually discontinued, but the tongyong characters in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the vernacular, the use of the Tongjiao characters ceased completely. Many experts and scholars have systematized and standardized the customary usage of the ancient Tong Pai characters by sorting out and examining them, and have published some ancient Chinese dictionaries to facilitate modern readers' access to the explanations and usage of Tong Pai characters.<br />
<br />
===The Role of phonetic loan characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of pass-words has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of pass-words nowadays. As to the role, or significance, of the existence of tongyong characters, some previous scholars have argued that tongyong characters were a counter-current in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of pass-words ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous pass-words after their use was standardised, so it is clear that pass-words should have their own unique role in the history of Chinese character development, and an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987), the role of tongyong is, firstly, a major morphological shift in the use of character harmonies; secondly, tongyong reflects the richness and dynamism of the Chinese vocabulary; thirdly, tongyong contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardisation of Chinese characters is a regular requirement in the development of tongyong. The existence of passwords is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of characters was social rather than personal, and the correspondence of the characters in ancient texts was largely fixed (Wei Ying, 2013: 27).<br />
<br />
===Influence of phonetic loan characters (Tongjiazi) on translation===<br />
To translate ancient texts, it is a crucial step to identify the common characters in them. It is only by successfully identifying the pass-words that the meaning of the sentence can be correctly understood and the translation can be ensured to be smooth and fluent, so the English translation of pass-words is of research value. With the development of the times, the majority of ancient texts now have annotated versions, that is, in-language translations, from literary texts into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, etc., all of which have contributed to the translation of pass-words. At this point, the choice of the translation base will also affect the effectiveness of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some pass-words, if the translation feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translation should be promptly checked, and methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries can be adopted. In addition, in today's fast-changing world of modern science and technology, translators should be good at using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of common and false characters in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of pass-words, as well as authoritative translations of some canonical texts, of which the translations of pass-words are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. In addition, by typing in the keywords "通假字" and "英译" on the Chinese Internet, I found that there are only two papers on the English translation of Tong Pao characters, one of which is "An Analysis of Tong Pao Characters in the English Translation of Chinese Medical Terms --The other one is "An Analysis of the Treatment of Tong Fei Characters in the English Translation of the Jin Kui Yao (Essentials of Jin Kui): An Example of Luo Xiwen's Translation", and the other one is "An Analysis of the Treatment of Tong Fei Characters in the English Translation of the The study is focused on the use of the Chinese characters in Chinese medical texts. This shows that the depth of research in the field of English translations of passwords is still far from adequate.<br />
<br />
===English translation methods of phonetic loan characters (Tongjiazi) in the Analects of Confucius ===<br />
The number of passwords in the Analects is relatively small, and the content is relatively easy to understand. Compared to the English versions by foreign translators, Xu Yuanchong has stronger Chinese language skills and is more accurate in his understanding of the original text. In Xu Yuanchong's translation of the Analects, the main methods of translating the passages into English are the direct translation of the original characters, the<br />
(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
In this sentence, "便" means "argue". The original meaning of "convenient" is to be comfortable, while the original meaning of "argue" is to conduct a case, which requires good speech. Therefore, in the sense of "good at speech", "便" is used as "辯". In Xu Yuanchong's translation, "便便言" is translated as "he spoke readily", which according to the Oxford Dictionary means "According to the Oxford Dictionary, the word 'readily' means 'quickly and without difficulty', which indeed has a meaning of being eloquent. As for the translation method, "readily" is not a direct translation of the original word "辯", but rather a synonymic paraphrase combining the generic word and the original word.<br />
(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
In this sentence, "加" is used as "假", meaning "give", and the translation is "give" .<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
TT: He wears a black robe over lamp’ s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
In this sentence, the word '麑' means '幼鹿'. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The colour of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the word 'fawn'.<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) 。<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.In this sentence, the word "have" is translated as "again", meaning "again, plus". The word "ten and five" means "ten plus five years", or "fifteen years", and is translated as "fifteen". The translation is "fifteen". The translation method adopted is a direct translation of the generic word, because the meaning of "there" as "again, plus" has already been agreed upon, and the actual meaning is known even without the perspective of the generic word and the original word.<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
In this sentence, "獻" means "ritual", and the original meaning of "獻" is the dog used in the temple sacrifice. The word "document" refers to a book or a sage. The word "documents" has been used in modern Chinese to refer to records and records, so it is directly translated as "documents".<br />
<br />
===Conclusion===<br />
This article introduces the definition of a generic character in ancient Chinese, i.e. a co-temporal substitution of a character that originally existed and was homophonically different from the original character. One was due to the need for simplicity; one was due to the need to avoid taboo, and the common characters appeared in large numbers during the Spring and Autumn and Warring States periods, and were completely discontinued with the advent of vernacular Chinese. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when translating such texts. When translating such texts, then, translators need to acquire certain literacy and skills. In addition to a certain level of literacy and literacy and a basic grasp of the style and sentence structure of literary texts, they also need to have the ability to identify and verify passwords. In addition, modern translators should master certain computer-assisted translation techniques, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on passages. This paper takes Xu Yuanchong's English translation of Theses as an example, analyses the English translation of the pass-words in it, and comes up with three methods for the English translation of pass-words: direct translation of the original characters, direct translation of the pass-words, and synonymous paraphrasing, in order to make the research on the English translation of pass-words in canonical texts a step forward, and to make more scholars and translators pay attention to the research on the English translation of pass-words, so as to produce higher quality English translations of Chinese canonical texts and better spread Chinese language and culture abroad.<br />
<br />
===References===<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
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[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
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[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
<br />
[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
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[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
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[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
<br />
Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
<br />
(3)Translation Under Fidelity Rule<br />
<br />
The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
<br />
Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
<br />
(3)Mistranslation Against Fidelity Rule<br />
<br />
During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
<br />
Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
<br />
Chinese version: 酒桶<br />
<br />
In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
<br />
Chinese version: 爆破鬼才<br />
<br />
In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
<br />
(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.<br />
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Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
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Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
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Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
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Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
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Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
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Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
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Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
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Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
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Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
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Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.<br />
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Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.<br />
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Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
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Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
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Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
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Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
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Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
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Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
<br />
Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
<br />
Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220630_Culture_2&diff=14614020220630 Culture 22022-06-30T15:06:06Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
<hr />
<div>Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]] <br />
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==This is the final exam paper website no. 2==<br />
Because this website got too large, we have split it into smaller websites. Please look for your name beneath to get to your smaller website. If you look for the old version of this website, please find a copy here: [[20220630_Culture_save]]<br />
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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译 曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572<br />
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582<br />
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592<br />
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602<br />
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612<br />
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622<br />
*[[20220630_Culture_7]] papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632<br />
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301<br />
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<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<center>'''On Gender Discrimination in Chinese'''</center><br />
===Abstract===<br />
Language is an integral component of culture. Without language, it is impossible to have a culture, because only via language is culture transmitted from one generation to the next. For the necessities of life, language exists in a certain environment; therefore, the specific environment will be reflected in the language of a specific brand. Language is the means by which people communicate their thoughts. Therefore, it is inevitable that it will have an effect on politics, the economy and society, science and technology, and even culture. For a long time in China, Europe, and the United States, sexism in language has been a very serious problem. This study will describe the phenomenon of sexism in Chinese from three perspectives: word formation, proverbs, and metaphors, and then examine its causes.<br />
<br />
===Key words===<br />
'''Language; Cultural Factors; Gender Discrimination; Chinese'''<br />
===Introduction===<br />
Gender Discrimination, often known as sexual discrimination, is the unfair consideration of a person's sex when determining who receives a job, promotion, or other employment advantages. The Cambridge Dictionary defines "gender discrimination" as "a situation in which someone is treated less well because of their sex, usually when a woman is treated less well than a man." Although men can be subjected to gender discrimination, the term primarily refers to discrimination against women. The language reflects a bias towards women and the unequal social standing of men and women. This problem is displayed primarily through the scorn, disregard, denigration, or insulting of women. This paper will describe sexism and explain the causes in Chinese from the perspectives of word formation, proverbs, and metaphors.<br />
<br />
===Literature Review===<br />
The study of gender-specific language in China began belatedly. Although it has been said for a long time that many of the Chinese characters next to the term "女(female)" discriminate against women, it is only a few words and phrases of personal opinion. This is the case even though it has been stated for a long time. It was not until the 1970s, influenced by western gender language studies, that Chinese linguists began to translate and introduce the western research on language gender differences and language sexism, and they wrote many papers on English language sexism, which had a certain influence and inspiration on Chinese linguistics, and then they began to study the phenomenon of language sexism.<br />
Sun Yuan and Xu Ke (2010) contrasted sexism in English and Chinese from three perspectives: morphology, semantics, and syntax, and studied the phenomenon's ceremonial genesis and real-world pressure. <br />
Chen Wei (2013) studied the context and content of English feminist linguistics research, assessed the features of female language at the level of language and discourse style, and presented the standard of non-gender language use and various linguistic perspectives. <br />
Wang Xiuying (2016) used English and Chinese as examples to examine and analysed the historical and cultural roots of common sexism in the two languages from the perspectives of word creation and syntax. <br />
Sun Lanfang (2018) analysed the gender discrimination reflected in Chinese characters from the side, investigated the social causes and cultural roots of such discrimination, and explored the significance of the relationship between gender disparity and writing to social advancement.<br />
===Word Formation===<br />
Word formation is a fundamental aspect of language. There is gender discrimination at the beginning of English and Chinese words. <br />
Chinese characters express the actual meaning of a word through their shape, and some Chinese characters at the beginning of their composition embody the cultural phenomenon of male superiority and female inferiority. Written by Xu Shen during the Eastern Han Dynasty, Shuowen Jiezi (Interpretation of Chinese characters) is the earliest dictionary in the history of linguistics in China, integrating the analysis of glyph, explanation of meaning, and discrimination of pronunciation. Female characters constitute one of the largest categories in this book, with 238 characters and 13 Variant Chinese characters. These female characters clearly reflect the ancient women's life picture and their social status. These female characters clearly reflect the lifestyle and social standing of ancient women. In a patriarchal society, women are men's accessories and have no personality of their own; they are parasites at the bottom of society. "女，婦人也。象形。王育說。凡女之屬皆从女." which signifies female, woman and the shape of a woman. This is the view of Wang Yu. All the words related to women are using the "女(female)" as the side. The Female’s oracle bone script is [[File:Chinesecharacterjpg]] , which resembles a woman on her knees with her arms crossed in front of her chest. Thus, the original meaning of the word "女(female)" is a woman with low status who focuses on domestic trifles. In addition, the ancient pronunciation of the word "女(female)" is "奴(slave)." Thus, both the word formation and pronunciation of “女(female)” reflect the ancient people's contempt for women.<br />
There are five type of Chinese characters with a “女”.<br />
A.Viewing women as instruments for reproduction or toys for men: “姓” “妊” “娠” “妃” 嫖” “妾”.<br />
B.Reflecting the status of married women as occupants and slaves: “娶” “嫁” “婚”.<br />
C.Indicating female sexuality as evil, greedy and immoral: “嫌” “妖” “妒” “耍” “妨” “奸” “婊” “妄”.<br />
D.meaning obedience, ignorance and lowliness:“妇” “奴” “如” “安” “娓” “姻”.<br />
E.In a society dominated by men, the value of women appears to be determined solely by their: “好” “姝” “妙” “娜” “妍” “娟” “婧” “娴”. (This will be further explained in the “Metaphor” session.)<br />
<br />
Let’s focus on “B.Reflecting the status of married women as occupants and slaves”.<br />
In fact, not only these forms of marriage but also the terms "嫁" and "娶" contain severe sexual discrimination. Take “嫁” as an example, the left part indicates “女” and the right part “家” denotes the pronunciation. 《白虎通·婚娶》:“嫁者，家也。妇人外成以出适人为家。” This sentence means that once a woman married, her husband’s home is her home while her parents’ house is no longer her home. Generally, married women wish to leave their hometown and join her husband's family, thereby becoming a member of her husband's family. Mencius once said, 丈夫生而愿为之有势室，女子生而原为之有家。男以女为室，女以男为家 (When a boy is born, his parents hope to find him a wife. When a girl is born, her parents hope to find her a husband's family.) This reflects the ancient women's dependence on her family and the ancient society's perception of women. Women have no personality of their own and depend solely on their husbands for survival. Whether in the family of the husband or the family of her own, the woman has no rights; therefore, she must perform "three obedience and four virtues." In antiquity, when the pre-Qin word "嫁" was pronounced with a rhyming sound of “卖”, which means "sell." "Han Fei Zi": "天饥岁寒，嫁妻卖子者，必是家也(when the weather is cold and suffering hunger, marry your wife to another and sell your child can earn you a house).” "嫁(marry)" and "卖(sell)" are juxtapositional structures, so "marry" can be naturally interpreted as "sell". Let’s take a look at “娶”. the word formation of this word combines association and pictography. “取” means "take and capture prisoners." In ancient times, when a prisoner is captured, his left ear is cut off as a sign of victory; therefore, the ancient Chinese characters for "取" have the word "耳" on the left and "又" on the right. Consequently, "娶" can also mean "rob wife." <br />
For men, women are as much their property as anything else, and it is this desire that is exploited by modern web games to attract male players' attention with slogans about “grabbing grain and women, and occupying cities”.<br />
<br />
===Proverbs===<br />
===Metaphors===<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
<center>'''Chinese Lantern Culture'''</center><br />
<br />
<center>Li Siyuan</center><br />
<br />
===Introduction===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation. They symbolize the splendor of Chinese civilization and the prosperity of the country. Lanterns in ancient China's main role is lighting. Chinese lanterns are the world's first invention of portable lighting tools.Later, there appeared many lanterns of various shapes and functions. In addition to the well-known red lanterns hung on such festive days and wedding celebrations, they are divided into figures, mountains and rivers, flowers and birds, dragons and phoenixes, fish and insect lanterns. From the shape of points, there are simple lamp and circular lamp.<br />
<br />
===The origin of Chinese Lantern civilization and typical kinds===<br />
Lantern is the product of our agricultural age, originated from the Western Han Dynasty. In the Tang Dynasty, officials and people attached great importance to the Lantern Festival. In the folk, people decorate lanterns and travel to enjoy them. In the Song Dynasty, shadow lanterns, water lanterns and other lanterns emerged. In the early Ming Dynasty, people set up a lantern market for the Lantern Festival, which later developed into a department store trading market. In the Qing Dynasty, both residences and temples had unique lighting scenes, and palace lighting also had a profound influence on the later folk lantern production.There are many kinds of claims on the origin of the lantern, one widely circulated statement is: the custom of the Lantern Festival began in the eastern Han dynasty,when the emperor liu Zhuang promoted Buddhism, he heard that there was the fifteenth day of the Buddhist monks worshiped Buddha Relics, light. Then he ordered this one night in the palace and the temple worship Buddha light, made the cremation of the subaltern hanging lamp. Later, this kind of Buddhist ritual festival gradually formed a grand folk festival. The section has experienced from the palace to the folk, from the central Plains to the national development process. During the Kaiyuan period of the Tang Dynasty, in order to celebrate the prosperity of the country and the security of the people, people tied lanterns, with flickering lights, symbolizing "colorful dragon, auspicious, rich country strong", lantern custom has been widely popular since then.Lanterns show people's wishes for a better life and are the symbol of auspiciousness and harmony. <br />
As an important traditional handicraft, lanterns play a high decorative role. The traditional patterns on the lanterns contain beautiful meanings, while traditional paintings express different themes through depictions of everyday situations or traditional stories. <br />
If painting is more of the image of the Lantern, calligraphy is the carrier of the spirit of the lantern. People's wishes for the New Year are written directly on the lanterns. The carrier that comes thousands of years, people's thought and life, the glamour of the character seeks again the space that gets relieved, full-bodied culture accumulates at the moment get delectation release. People that occupy the home are reading these good wishes daily, happiness and the ground that pursues somewhat is alive. Like lantern painting, there are two kinds of calligraphy: direct writing and indirect pasting. But different from painting, because of the ball-shaped or special-shaped lanterns made after writing is very difficult, generally applicable to the existing calligraphy is more, and square and cylindrical lanterns writing is much easier, on the above can be arbitrarily write down their own beautiful vision for the New Year. There's no need to care if you're a brilliant calligrapher, all you need to do is relax and "clone" the most natural fonts onto your lantern. The lantern content is more traditional "blessing", "auspicious", "peace and prosperity", "good harvest" and so on, and because it is the year of the Sheep, so "three Sheep kaitai" (three sheep bring happiness) and other good wishes are also reflected on the paper. Of course, the lanterns of the gate can also write their own heart couplets, the lanterns of the bedroom do not forget to write their own mottoes, or affectionately write their beloved nickname and so on, or to a name of their own and their beloved "hidden" poems also do not have a feeling. In fact, there is another aspect to the calligraphy on the lanterns. Generally speaking, official script and script lanterns are more suitable for hanging in the hall, running script and cursive script are suitable for use on the bedroom lanterns, and one cheering calligraphy is the most appropriate for use in the children's room.<br />
Paper-cutting is one of the most popular folk arts in China, especially in northeast China, where every household sticks paper-cutting during the Spring Festival. Today, paper-cuts are more used for decoration, so Cantonese people may as well borrow them. Paper cutting can be used to decorate walls, doors and Windows, pillars, mirrors, etc., and can also be used to decorate lanterns. There are two ways to cut lanterns: scissors and knife. Scissors cut is with the help of scissors, cut a few pieces (generally not more than 8 pieces) paper cut paste up, and finally use sharp scissors to process the pattern. Knife cutting involves folding paper into stacks, placing it on a soft mixture of ash and animal fat, and then slowly carving it with a knife. Paper-cutting artists usually hold the knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife cutting is that it can be processed into multiple paper-cut patterns at one time. Lantern Festival paper-cut lanterns are common in three categories: one is based on patterns.<br />
<br />
===Some common cultural implications of Chinese lantern===<br />
<br />
Lanterns symbolize family reunion, prosperity and prosperity, as well as happiness, brightness, vitality, completeness and wealth. They can create an atmosphere of happiness and joy. Every New Year to prepare a red lantern hanging in the door or house. Red lanterns are lit on New Year's Eve and hung in doors or houses to illuminate the night and the peace and happiness of the whole family.In the year of the Sheep, lanterns also presented goats, sheep and other types, different colors of the sheep, these are indicative of the beginning of the New Year luck, financial resources into the vast majority of good intentions, in the festive period looking at the New Year new atmosphere, heart joy from this. In addition, different ages and different rooms in the selection of lantern paintings also differ. Sitting room and porch are hanged aptly compare traditional design "in the norm" lantern, old person room chooses aptly the lantern that its interest and life background are relevant, children room is about to show the lantern of the most lively picture with the simplest means of course. In fact, the lantern picture of children's room can let children start their own hands completely, draw a lovely small animal, favorite "cartoon messenger", or have quite beautiful to be painted into "abstract painting school", can make the room grace many.<br />
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===The symbolic significance of lanterns in film and television works===<br />
The so-called lantern culture means that as a kind of cultural and artistic works, lanterns have rich cultural concepts. Besides being related to Chinese people's life, they also often appear in literature, film and television, opera, painting and other works, conveying some symbolic significance. Different lanterns have different functions and express different meanings. For example, horse-walking lanterns are used for people's enjoyment, Kong Ming lanterns and palace lanterns are used for praying, and bamboo lanterns are used to announce that this is a funeral occasion. In addition, there are all kinds of lanterns symbolizing good love. Today, most of what we know about the function and symbolic meaning of lanterns comes from movies and movies, where symbols are created to attract the interest of the audience. In many film and television works, we can often see the appearance of "lantern" as a folk element symbol with unique symbolic significance and special historical status, carrying a certain cultural significance. Starting from the symbolic meaning of symbols, this paper analyzes the expression form and symbolic meaning of lanterns in film and television works, and reflects on the "cultural consciousness" of lanterns as folk elements in film and television works in cross-cultural communication.<br />
Film and television, as the carrier of integrated art and popular culture, has abundant elements and profound social influence. Lanterns in the film and television not only play a rich audio-visual, deepening the theme and other functions, but also have far-reaching significance of cultural communication, in the film and television creation and communication plays an important role. The earliest symbolic significance of lanterns is related to "god". In ancient times, in order to drive away darkness and fear, people regarded lanterns as objects to exorcise evil spirits and pray for light. For example, lotus lanterns are used to express their gratitude to Buddha and pray for his protection. In film and television works, these symbolic meanings of lanterns have been intentionally or unintentionally expressed. And lanterns is in the film and television play a lot of, in addition to its own unique symbol significance, also associated with the artistic technique of expression of director who used to use, with symbolic elements to promote the development of film and television play narrative plot, so as to enrich the connotation of film and television creation, leaving the audience more thinking and imagination.<br />
In ancient times, men and women often use lanterns to express their wishes and wishes for a better love. Water lamps, Kong Ming lanterns, and small lanterns painted with figures, landscapes, flowers and birds, dragons and phoenixes, fish and insects, these lanterns convey the love of men and women. In Thailand every year in November held "Lantern Festival", is a full reflection of the Thai young men and women love festival. In the Thai drama Journey of Life, the heroine, makes a lamp boat by folding banana leaves, filling it with flowers, lighting incense and floating it in water to pray for eternal companionship with her beloved. In ancient China, there was a tradition for women to release water lanterns and Kong Ming lanterns to pray for love. In the ''Legend of Zhen Huan'', the concubines in the palace set a water lamp in a river to pray for an early sunrise and find a suitable husband. The water lamp serves as a bridge for the concubines imprisoned in the palace to communicate with the outside world "Cage" expresses their desire for free love when they are trapped in a deep palace.<br />
In China, the Lantern Festival is celebrated on the 15th day of the first lunar month. The Lantern Festival is called the Lantern Festival and the Lantern Festival is a traditional folk festival. The 15th Lantern Festival, also known as Chinese Valentine's Day, is a romantic and poetic festival. Directors also have a special liking to the Lantern Festival in the fifteenth Month circle, the Lantern Festival scene often appears in some films and television works, many films and television works even reduced the grand occasion of the Lantern Festival at that time. The directors like to arrange the first meeting of the hero and heroine on the Lantern Festival. The Lantern Festival is a festival that can instantly promote love, and the lantern is the matchmaker for the hero and heroine to promise love and love. Director Li Shao Hong's "Words of Daming Palace", the young Princess Taiping out of the palace for the first time, into the Lantern Festival crowd, in the street lit by lanterns, she met her first man - Xue Shao, and love it. "Zhaojun Out of the Frontier" in the director fictional Wang Zhaojun and Huhanxie Shanyu meet the scene, the Lantern Festival, Wang Zhaojun because of witnessing Huhanxie Shanyu shooting small lanterns heroic spirit, they fell in love at first sight, the achievement of a paragraph of Zhaojun out of the jam story. The aesthetic scenes constructed by the director with the help of "lantern" props undoubtedly render romantic images for the love of the male and female protagonists, and the pictures are full of poetic painting, which improves the aesthetic feeling of film and television works and endows them with stronger artistic colors. In some films and television works, there are also scenes of guessing lantern riddles, exchanging lanterns and matching lanterns. Lanterns have become a symbol of love between men and women. When getting married, people like to hang red lanterns on the eaves, symbolizing joy and excitement and conveying good wishes. This custom continues to this day.<br />
===References===<br />
[1]李维康.“汴京灯笼张”:灯笼文化传承百年[J].决策探索(上),2020(05):46-48.<br />
[2]肖雅静.影视作品中灯笼文化传播研究[J].东南传播,2015.<br />
[3]费孝通.论文化与文化自觉[M].北京：群言出版社，2005.<br />
===Terms and expressions===<br />
Calligraphy lanterns书法灯笼<br />
Paper-cut lanterns 剪纸灯笼<br />
Lantern Festival 元宵节<br />
Spring Festival 春节<br />
carrier 载体<br />
auspiciousness 吉祥<br />
reunion 团圆<br />
bumper harvest 五谷丰登<br />
Zhao Jun Out of the Frontier 昭君出塞<br />
the fifteenth day of the first month of lunar year 正月十五<br />
The Legend of Zhen Huan 甄嬛传<br />
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===Questions===<br />
Generally speaking, when did lanterns originate? Two typical kinds of lanterns? Implications of lanterns?<br />
===Answers===<br />
Lanterns originated in the Western Han Dynasty more than 1800 years ago. They are traditional Chinese folk handicrafts and play an important role in the long history of the Chinese nation; Calligraphy Lantern and Paper- cut Lantern; Reunion, auspiciousness, happiness, best wishes.<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
<center>'''Language Culture in Chinese Cuisine Names'''</center><br />
<br />
<center>Li Ting</center><br />
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===Introduction===<br />
Dish vocabulary is the direct or indirect reflection of national diet culture in language vocabulary. Cuisine names are the most representative expression of dish vocabulary. The name of a dish is the first step for people to know it. Only by knowing the basic information of the dish through the name can customers become interested in the dish and imagine what it could be. Therefore, since ancient times, Chinese people have made great efforts in the names of dishes, creating many naming ways. On one hand, the names of Chinese cuisine have witnessed the long history of China and inherited the ancient culture of the Chinese nation, which also reveals the flesh-and-blood relationship between Chinese cuisine names and Chinese language and culture. This paper will discuss the names of Chinese dishes from language, culture and psychology, elaborate on the naming methods of Chinese dishes, and also analyze the Chinese culture behind the names of Chinese dishes.<br />
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===Looking at Chinese Cuisine Names through Linguistics===<br />
'''1. Meanings of Cuisine Names'''<br />
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In terms of the meanings of cuisine names, they can be briefly divided into the following three types:<br />
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The first is the referential meaning, which is the relationship between linguistic symbols and the entities and events of the subjective or objective world described or narrated by them. It is the objective world reflected by words, sentences and texts (Nida 1998). The cuisine names are no exceptions, and they have a certain connection with the dishes themselves. This meaning is most evident when guests go to a restaurant to order. When a guest orders a dish of “Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts”(宫保鸡丁), the waiter will never bring out “the Braised Turtle in Brown Sauce”(红烧甲鱼). A dish name, like a sign, represents a dish. Although the names of the same dish may be different in different languages, they all reflect the same thing. (c.f: Zhang Xu 2011, 181-182) <br />
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The second is the naming meaning, which means that we can get some basic information about the dish through the name of the dish, and understand the reason and source of the name of the dish. Unlike western dishes that focus on realistic naming, Chinese dishes have various naming ways. It has both realistic naming that reflects the ingredients and cooking methods of dishes, and freehand naming that reflects the color, flavor and shape of dishes, or naming after the founder, the place of origin, and allusions, etc. For example, a dish called “Cold Noodles with Chicken Shreds” (鸡丝凉面) conveys to us information about the raw materials, ingredients and cooking methods of the dish through its name, thus we also know the reason for its naming. Similarly, the famous Sichuan dish “Mapo Tofu” (it is named after its inventor: a pock-marked woman in Sichuan province ground pork with bean curd in chili sauce) (麻婆豆腐) is known by its name as the founder of Mapo. (c.f: Zhang Xu 2011, 181-182)<br />
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The third is the additional meaning, which mainly refers to the aesthetic meaning of the dish name. Chinese dish names are not only the embodiment of the connotation of dishes, but also the concentrated reflection of the aesthetic taste of the creators of delicious dishes. Chinese cuisine names are elegant, meaningful and full of poetic meaning. In a few numbers they can reflect the beauty of poetry. Such as “Shrimp with green Vegetable”(翡翠虾仁), “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce”(四喜丸子), “Fotiaoqiang—the Buddha jumped the wall for luring by its smell” (assorted meat and vegetables cooked in embers (佛跳墙), these dishes really give people a kind of beautiful enjoyment. (c.f: Zhang Xu 2011, 181-182)<br />
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[[File:Mapo Tofu1.jpg]] [[File:Fotiaoqiang (1).jpg]]<br />
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'''2. The Naming Methods of Dish Names'''<br />
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The naming of Chinese dishes is not arbitrary, but has formed a relatively regular word system. According to the basis of naming, it can be roughly divided into the following categories:<br />
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'''2.1 Named after Ingredients and Cooking Methods'''<br />
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This is a way of naming dishes according to the ingredients and cooking methods, belonging to the realistic naming way. This is similar to the naming of western dishes, simple and direct (c.f: Liu Yun 2018, 118). The main ingredients are nothing more than meat, fish and shrimp, poultry, eggs, grains, vegetables or fruits; ways of cutting include cut, chop, split, scrape, etc.; Chicken, duck, fish and vegetables and fruits can be processed into different shapes, including block, strip, segment, slice, dice, shred, powder, paste; cooking methods are also rich, such as frying, deep-frying, cooking, stir-frying, braising, roasting, stewing, simmering, steaming, boiling, sauce, mix, smoking, pickling, and so on. <br />
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Dishes named after these four aspects can be divided into the following categories: (a). named after the main ingredients of the dish, without involving cutting techniques and cooking methods, but sometimes include the taste of the dish, such as “Corn Meatballs” (玉米肉丸), “Sweet and Sour Fish”(糖醋鱼), and so on; (b). named after the main ingredients and side ingredients of the dish, such as “Fried Shrimps with Tomato Sauce” (茄汁虾仁), “Diced Chicken with Cashew Nuts” (腰果鸡丁); (c). named after ingredients, side ingredients and cutting techniques, such as “Diced Chicken with Green Pepper” (辣子鸡丁), “Pork Shreds with Fish Seasoning” (鱼香肉丝), and so on; (d). named after the main ingredients and cooking methods, such as “Steamed Perch” (清蒸鲈鱼), “Braising Carp with Soy Sauce” (红烧鲤鱼), etc.; (e). named after the main ingredients, side ingredients, cutting techniques and cooking methods of the dish, such as “Quick-frying Shredded Mutton with Scallion” (葱爆羊肉丝), “Braised Chicken Fillet with Tender Ginger” (仔姜烧鸡条) and so on. Using these methods allow people to quickly get the basics of the dish and know what they are likely to what it is next. For example, “Pork Cooked with Green Chili” (辣椒炒肉) is known by its name as its raw materials are green chili and pork, and its cooking method is stir-fried. “Scrambled Egg with Tomato” (番茄炒蛋), “Hairy Crabs” (大闸蟹) and other dishes also belong to realistic names. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.2 Freehand Naming''' <br />
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Unlike realistic dishes, dishes named after freehand do not particularly emphasize the cooking methods and raw materials, but regard dishes as a kind of emotion or ideal, which is the essence of the wisdom of the Chinese people. It is often used to convey the gorgeous Chinese culture and people’s yearning for a better life. The dishes named freehand pay attention to the “beauty of sound, shape and meaning”, which is decided by consideration and research. They are beautiful and lifelike; they express feelings and convey wishes; they reflect both language and culture. It can also be subdivided into the following categories: the first is to highlight the color of the dishes, such as “Golden Coin-shaped Scallops” (金钱干贝), “Shrimp with green Vegetable” and so on; the second is to emphasize the taste of dishes, such as “Sour and Hot Diced Chicken” (酸辣鸡丁), “Sweet and Sour Ribs”(糖醋排骨), “Cola Chicken Wings” (可乐鸡翅) and so on, which people can know the taste of the dish whether it is salty, sweet or spicy directly from the name of the dish; the third is to emphasize the plastic arts of dishes, such as “Braised Meat Balls in Brown Sauce” (红烧狮子头), “Tai Chi Shaped Taro” (太极芋头); the fourth is to express good wishes, such as “Stewed Assorted Delicacies” (全家福), “Wishful Bamboo Shoots” (如意笋). All these cuisine names are China’s precious cultural heritage, playing a important role in Chinese history. (Liu Yun 2018, 118)<br />
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[[File:Braised Meat Balls in Brown Sauce.jpg]] [[File:Tai Chi Shaped Taro.jpg]]<br />
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'''2.3 Named after a Person or a Place''' <br />
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There are many Chinese dishes named after their inventors. “Wen Si Tofu” (文思豆腐) is a good example. It began in the Qing Dynasty and has a history of more than 300 years. Legend has it that during the Reign of Emperor Qianlong of the Qing Dynasty, there was a monk named Wen Si at Tianning Temple near Meiling, Yangzhou, who was good at making tofu dishes. He was particularly good at making tofu soup with tender tofu, day lily, agaric and other raw materials. It was so delicious that lay Buddhists who went to burn incense and worship Buddha all like to taste this soup. As the dish was created by the monk Wen Si, people called it “Wen Si Tofu”. “Dongpo Meat” (东坡肉) and “Mapo Tofu” are also named after their founders. (Lu Jing, Tang Yueting 2016, 152-154) <br />
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In addition, Chinese cuisine also includes dishes named after place names, which mainly reflect local specialties, cooking skills and flavors. Food is also a part of the beauty. In addition to appreciating the local natural and cultural scenery, for those people who travel to a place, tasting food is also a must. Then dishes named after place names naturally become images representing local characteristics. The most famous dish named after a place is “Peking Duck” (北京烤鸭), which has almost become a culinary name card of Beijing and even China. In addition, dishes named after place names such as “West Lake Fish in Vinegar Sauce” (西湖醋鱼) and “Zhijiang Fried Duck with Varied Ingredients” (芷江鸭) both have become city name cards. (c.f: Liu Yun 2018, 118)<br />
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[[File:Wen Si Tofu.jpg]] [[File:Peking Duck.jpg]]<br />
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'''2.4 Named after Historical Allusions'''<br />
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Some Chinese dishes have historical allusions to their names. For example, “Meat in Tomato Sauce” (乾隆樱桃肉) is a famous dish that emperor Qianlong tasted when he visited the South of the Yangtze River. “Murrel with Fresh Vegetables”(将军过桥) is a dish borrowed from Zhang Fei's attack on Cao Bing on Changban Slope (长坂坡) during The Three Kingdoms Period. It has been handed down to this day. In addition, “Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce” refers to four balls that are fried, steamed and boiled. Trace back to its root, the word “Four-Joy” comes from an allusion: Zhang Jiuling came to Beijing to take the imperial examination. In many students who came to Beijing to take the examination, only the shabby Zhang Jiuling won the top list. Because the emperor appreciated Zhang Jiuling's calligraphy and wisdom, he was immediately arranged as the bridegroom to marry with the princess. At that time, however, his hometown was hit by a flood and there was no news of his parents. On the day of marriage, Zhang Jiuling finally inquired about the whereabouts of his parents, so he fetched his parents to Beijing. Therefore, Zhang Jiuling ordered the chef to prepare an auspicious dish to celebrate these happy events. When the dishes arrived, they were four large balls that had been fried, steamed and drenched in soup. Chef explained that it was “Four-Joy Meatballs” : succeed in the imperial examination was the first happiness; getting married was the second; being the emperor’s son-in-law was the third one; family reunion is the last joy. From then on, the “Four-Joy Meatballs” has become a necessary dish at great celebrations. (Zhang Yanyan 2015, 55-57)<br />
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[[File:Meat in Tomato Sauce.jpg]] [[File:Murrel with Fresh Vegetables.jpg]]<br />
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'''2.5 Named after Numeral Abbreviations'''<br />
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Numeral abbreviations are commonly used in Chinese dish names, which are concise, generalizing and easy to understand and remember. For example, “Two Winter” (二冬) refers to dried mushroom (冬菇) and winter bamboo shoot (冬笋), because they both have the Chinese character for “dong, winter”. “Three Delicacies” (三鲜) refers to a combination of any three things like fresh pork, fish, ham, fresh chicken, eggs, shrimp, mushrooms and winter bamboo shoots. In addition, “Three Shreds” (三丝) refers to a combination of any three things like shredded pork, shredded ham, shredded chicken, shredded eel, shredded potato, shredded leek, shredded green pepper, shredded bamboo shoots and shredded mushroom. The same is true of the “Four-Joy Meatballs”, which is a condensed version of the four happiness of life. (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.6 Named after Animals and Plants Names'''<br />
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People often use some good animal names for cuisine names, such as the Cantonese famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken” (龙虎斗), it is composed of snake meat and leopard cat. The dragon is a mythical animal imagined from the shape of a snake, and the leopard cat is similar to the tiger, both belong to the cat family. When the heavenly dragon, which symbolizes kingship, fights the tiger, which claims to be the king of all beasts, the scene is naturally thrilling and definitely arouses people’s imagination. “Braised Lion's Head” (红烧狮子头) actually means “Braised Meat Balls in Brown Sauce”. (Zhou Guiying 2008, 112-113 )<br />
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[[File:Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken.jpg]]<br />
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Some plants, such as the lotus, have special cultural meanings. In ancient poems, “hibiscus” stands for lotus, which sounds more sweet and poetic. When naming dishes, “hibiscus” stands for egg white, which is associated with lotus and gives people a feeling of white and elegant, such as “Shrimp with Hibiscus , Shrimp with egg white” (芙蓉虾仁) and “Hibiscus Sea Cucumber, Sea Cucumber with egg white” (芙蓉海参), and so on. “Magnolia" is a common ornamental plant, and the white and pure magnolia reminds people of the same white and pure bamboo shoots, such as “Fried Magnolia Slices” (炒玉兰片) is actually “Fried Bamboo Shoots Slices” (炒笋片). (c.f: Zhou Guiying 2008, 112-113 )<br />
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'''2.7 Named after Precious Metals and Jade'''<br />
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Precious metals such as gold and silver and articles such as jewelry and jade are expensive, bright-colored and have decorative effect and ornamental value. Using them as a nomenclature for Chinese food will give a sense of beauty and enhance the taste of the dish. Such as “golden shreds” refers to carrot shreds; “jade” refers to green vegetables, green beans or green peppers; “white jade” refers to shrimp or tofu; “pearl” refers to quail eggs or corn kernels. Such kind of names seem noble and elegant, value multiplied. Similar dishes include “Salted Pork in Jelly” (水晶肴肉), “Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables” (翡翠蹄筋) and “Jade and White Jade, Shrimp with Green Vegetable” (翡翠白玉) etc. These dishes can not only reflect the color of the dishes, but also evoke certain associations and add a bit of charm. (c.f: Zhou Guiying 2008, 112-113 )<br />
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[[File:Salted Pork in Jelly.jpg]] [[File:Shrimp with green Vegetable.jpg]]<br />
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'''2.8 Named after Auspicious Words'''<br />
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In traditional Chinese culture, dishes named after auspicious things are generally used to express blessing. These dishes are often served at banquets celebrating major festivals, wedding banquets and birthday parties. For example, “Stewed Assorted Delicacies” is a famous dish in Shandong province. Its ingredients are relatively diverse, including abalone, sea cucumber, chicken, duck meat, fish maw, mushroom and cabbage heart. It is often used to celebrate the birthday of the elderly, wedding banquet, family reunion, and even a baby’s completion of its first month of life banquet, which is named to express auspicious meaning. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3 Rhetorical Devices in Cuisine Names'''<br />
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When people name dishes, they often use rhetorical devices to add moving colors to dishes. The rhetorical devices commonly used in the name of Chinese cuisine include figure of speech, hyperbole, allusion and personification.<br />
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'''3.1 Figure of Speech'''<br />
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The figure of speech in Chinese dishes are numerous and multifaceted. Some from the “shape” to use the simile: “Mirror Box Tofu” (镜箱豆腐) (named because it looks like a dressing box), “Tai Chi Shaped Taro” (in the shape of Tai Chi), “Squirrel-shaped Mandarin Fish” (松鼠鳜鱼). Some of the “color” metaphor: “Shrimp Ring with Green Vegetable” (翡翠虾环) (made with green cucumber slices and shrimp), “Golden Eggs” (金钱蛋). Some of the “meaning” metaphor: “Taking the Son to the Imperial Court—Duck and Pigeon ” (带子上朝) (duck and pigeon each one), “Farewell My Concubine” (霸王别姬) (turtle and hen were respectively compared to Xiang Yu, the Overlord in the West Chu Period, and his concubine Yu Ji, then the two are back-to-back, which refers to farewell), etc. If a certain metaphor is used many times in dish names, the relationship between its tenor and vehicle will be fixed. For example, “hibiscus” is usually used as a metaphor for “egg white”, so hibiscus has become a pronoun of egg white in dish names. The hibiscus in these cuisine names “Chicken Slices with Hibiscus” (芙蓉鸡片), “Scallops with Hibiscus” (芙蓉干贝) , “Shrimp Hibiscus” , “Clams with Hibiscus” (芙蓉青蛤)" all refer to egg white. In addition, “white jade” is generally used to refer to tofu, “dragon beard” refers to bean sprouts and “phoenix claw” refers to chicken feet. (Zhang Xu 2011, 181-182)<br />
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[[File:Squirrel-shaped Mandarin Fish.jpg]] [[File:Farewell My Concubine.jpg]] <br />
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These metaphorical dishes give play to people’s great imagination, making cuisine more attractive by comparing to animals and plants in nature, utensils and figures in life.<br />
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'''3.2 Hyperbole'''<br />
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Hyperbole is the exaggerating or understatement of things, but its basis is true, that is to say, the purpose of hyperbole is not to deceive but to emphasize the degree of something. Hyperbole is often used in Chinese dish names. For example, “The Thousand-layer Oil Cake, Multiple Layer Oil Cake” (千层油糕), a classic dessert in Huaiyang cuisine, uses the word “Thousand-layer” to describe the thickness of the cake, although slightly exaggerated, but vividly depicts the image of the cake.<br />
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'''3.3 Allusion''' <br />
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The names of some Chinese dishes are closely related to historical allusions. For instance, “the Beggar Chicken, Roast Whole Chicken Wrapped in Mud” (叫花鸡) is a special roasted chicken wrapped in mud and lotus leaves. This dish has a long history. According to legend, during Qianlong emperor's private visit in disguise, when he was wandering in the wilderness around the South of the Yangtze River, he felt hungry and sleepy. A beggar kindly gave him a roasted chicken to eat. Feeling tired and hungry, emperor Qianlong thought it was a delicacy and asked the beggar its name. The beggar did not know what the name was, so he casually said it was “rich chicken”. After emperor Qianlong returned to the court, he praised “rich chicken”. And “Jiao Hua” in Chinese means “the beggar”, so this dish also called “Jiao Hua Chicken”. This dish spread from then on because of the emperor's praise, and became a famous dish that can ascend the hall of elegance. The “Four-Joy Meatballs” mentioned above is also an allusion. (c.f: Zhang Yanyan 2015, 55-57)<br />
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'''3.4 Personification''' <br />
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Personification in Chinese dish names refers to comparing the raw materials of dishes to people, so that they have human appearance, personality or emotion. The names of the dishes, which use this device, is very imaginative. For example, in “Soft-shelled Turtle with Pigeon Eggs” (老蚌怀珠), it compares soft-shelled turtle to a pregnant woman, which is more dynamic, and vividly shows the image of this dish. At the same time, “Double Dragon Playing with a Pearl (Two fish and a coconut)” (二龙戏珠) gives fish humanized movements.<br />
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===The Cultural Connotation of Chinese Cuisine Names===<br />
Chinese cuisine names contain rich cultural connotations, from cultural cities to historical allusions, from raw materials to good wishes, reflecting the long river of Chinese culture that has been flowing for thousands of years.<br />
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'''1. The Good Meanings and Visions in Cuisine Names''' <br />
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Chinese people generally have a tendency to good luck. They like to listen to auspicious words, no matter what they do, they hope to have a good omen, which shows their desire for happiness, health, safety and other good factors. This feature is also reflected in the names of Chinese dishes to a large extent. For example, on the New Year's Eve dinner, almost every family will have a dish made of fish, representing “abundance”, because in Chinese the words for “fish” (鱼, yu) and “abundance” (余, yu) are the same pronunciation. This expresses people's expectation that they will have harvest and surplus in all aspects in the coming years. At the wedding banquet, people will also prepare some dishes with special meanings. For example, “Crusade against daddy” (早生贵子) is actually a soup cooked with red dates, peanuts and longan to express good wishes for the newlyweds and so on.<br />
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'''2. Chinese Culture of Confucianism, Buddhism and Taoism in Cuisine Names''' <br />
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Chinese cuisine not only reflects the general mentality of the masses of people, but also contains the cultural connotation of Confucianism, Buddhism and Taoism. The culture of the three religions are the traditional culture of China, namely Confucianism, Taoism and Buddhism. In the 5,000-year history of Chinese civilization, the mutual tolerance of the three religions has formed the idea of “unity of the three religions”. The naming of the dishes also perfectly reflects China's three religions culture. For example, “Kongfu Yiping Pot, the First Pot in Kongfu Style” (孔府一品锅) was named by the emperor. The Qing Dynasty inherited the Ming dynasty grade system, in which the official ranks from one to nine. The first is the highest, and the ninth is the lowest. The Qing Dynasty listed the Sacred Family of the Confucian Mansion (孔府衍圣公) as the first grade. Therefore, the emperor named the dish “the First Pot”, which was made of chicken, pig feet, duck, sea cucumber, fish maw and other precious raw materials cooked into the soup. It also handed down through the ages. (c.f: Zhong Anni 2006, 79-80)<br />
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In addition, buddhist vegetarianism is becoming more and more popular due to people's increased awareness of health care. There are many dishes with a strong Buddhist color, such as “Siraitia Grosvenorii” (罗汉果), “Prajna Dishes” (般若菜) are the representatives of the vegetarian restaurant. Their cooking method are unique. Finally, Taoism, which originated in China, has a great influence on the cuisine names. Taoism attaches great importance to health maintenance, emphasizing the health concept of “Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter” (春夏养阳，秋冬养阴). It adjusts recipes according to different seasons to achieve harmony between food and season. Dishes such as “Yin and Yang Fish” (阴阳鱼) and “Heaven and Earth Eggs” (乾坤蛋) are named after Taoist culture.<br />
<br />
'''3. Regional Features in Cuisine Names''' <br />
<br />
There are many schools of Chinese cuisine. Among them, the most influential and representative cuisines are Lu, Chuan, Yue, Min, Su, Zhe, Xiang and Hui cuisines, which are the so-called “eight major cuisines” of China.<br />
<br />
The formation of a cuisine is inseparable from its long history and unique cooking characteristics, and is also influenced by factors such as the region’s natural geography, climate conditions, resource specialties, and dietary habits. It is the local characteristic that raw material takes above all. Different physical geographical and climatic conditions form the unique ingredients of dishes in different regions. For example, the Mongolian grassland herding sheep for the industry, there is a “Mutton eaten with hands” (手抓羊肉) characteristic dishes. The regions south of the Yangtze River emphasize farming industry. And snake and frog could often be found in paddy field river, so there is the famous dish “Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken”. Sichuan is located in the plateau where its climate is cold. And because of the basin terrain, its humidity is very heavy. Therefore, people who live in Sichuan can drive out the cold by eating more pepper. And “Mapo Tofu”, “Kung Pao Chicken”and other spicy dishes are popular here. Therefore, food raw materials restricted by natural conditions are the objective factors for the formation and inheritance of traditional Chinese cuisine. (Zhong Anni 2006, 79-80)<br />
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The second is the production and life needs and tastes of all nationalities and local people. For example, we usually say “south is sweeter", “north is saltier”, “east is spicier”, “west is sourer”, which indicates the preference of people in different places in the taste of dishes. “Sweet and Sour Ribs” and “Sweet and Sour Pork” (咕咾肉) are traditional Cantonese dishes. Their names reflect the hot and humid climate in subtropical Guangzhou, and people need sweet and sour tastes to increase their appetite. (Zhong Anni 2006, 79-80)<br />
<br />
Although the dietary customs are actually quite complex, the communication and dissemination of food culture in various regions make them increasingly integrate with each other. The food addiction of a certain region or a certain nation, however, is undoubtedly the subjective factor for the formation and inheritance of traditional Chinese cuisine, namely, the group’s identification of dietary taste. Thus, the food customs of different places can be learned from the names of major cuisines. Finally, it is the different requirements of different nationalities and local people’s cooking methods, including ingredients, cutting techniques, heat control, seasoning and cooking techniques. We can realize the importance of the method of preparation from the color, aroma, taste and shape of each cuisine. For example, Cantonese food stresses freshness and tenderness, and its ingredients are flexible. Shandong cuisine pays attention to crisp, usually blanking with sweet and sour sauce. From the naming methods of the above dishes, we can know that the dishes can reflect the cooking characteristics of these dishes. (Zhong Anni 2006, 79-80)<br />
<br />
===The Psychological Functions of Chinese Dish Names===<br />
Nowadays, the restaurant industry is so competitive that in order to attract customers, merchants need to think about the naming of dishes as well as elaborate delicacies. The names of dishes should be beautiful and refined, rich in meaning, or plain and simple. Different naming ways of dishes attract different customers, which reflects the psychological function of dishes.<br />
The most important psychological function of dish names is that they can arouse people’s association. Even if people do not see the shape or enjoy this dish, just taste its name will have unlimited imagination and expectations.<br />
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It is not a single process for dishes to arouse people’s association. In the association at the same time can mobilize people’s sense of smell, taste, hearing, vision, and make these senses in an active state, so as to build up a strong synaesthesia enjoyment. By the name of the dishes color, aroma, taste, type of association is such. “Pearl Bean Curd” (珍珠豆腐) and “Golden Prawn” (金钱明虾) are dishes of pearly color and golden brilliance, which give people a good appetite. “Crispy Duck” (脆皮八宝鸭) and “Spiced Beef” (五香牛肉) are all savoury before they are served. Why not taste them yourself ? (c.f: Zhang Xu 2011, 181-182)<br />
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The association of dish names can also affect people’s mood. For example, through the dishes such as “Eight Immortals Gathering at Yaochi—Fried Eight Delicacies” (八仙瑶池聚会), “Full of Prosperity” (满园春色), people can think of the beautiful images of harvest, festival and reunion, and naturally their moods become better. Relaxed and cheerful mood, often add a beautiful subjective color to food. People may even regard savoring food, consciously or unconsciously, as part of a pleasurable mood. (c.f: Zhang Xu 2011, 181-182)<br />
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In addition, the association of dish names can arouse people's curiosity, thus increasing the attraction of dishes. For example, “Ribs in the Shape of Buddha hand” (佛手排骨), among which the Buddha hand often appear in ancient Chinese legends and ancient myths. There is a mystery for no one has really seen them. Therefore, they can often arouse people's curiosity. People in order to satisfy their curiosity, they would order this dish and see its truth. (c.f: Zhang Xu 2011, 181-182)<br />
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===Conclusion===<br />
The traditional Chinese food culture is extensive and profound, with diverse cuisines and cooking styles, as well as distinctive national characteristics. When people enjoy delicious food, they can learn about the history, cultural customs, legends and traditional culture of Chinese nation. All in all, the names of various Chinese dishes are not only simple words and names, but also carry rich cultural connotation, which is the epitome and reflection of Chinese culture. To study the cultural implications contained in the names of Chinese dishes is to interpret the colorful Chinese culture.<br />
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===References===<br />
* Nida, E. . (1998). Language, culture, and translation. Journal of Foreign Languages.<br />
<br />
* Lu Jing & Tang Yueting卢静 & 汤月婷.(2016).苏菜命名特点及其对翻译的影响[Naming characteristics of Jiangsu cuisine and its influence on translation]. ''牡丹江大学学报''Journal of Mudanjiang University (01),152-154. doi:10.15907/j.cnki.23-1450.2016.01.048.<br />
<br />
* Liu Yun刘芸.(2018).中国菜名中的语言文化[Language Culture in Chinese Cuisine Names]. ''才智''Ability and Wisdom (09),188. <br />
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* Yan Chengyu闫城宇.(2016).富含汉语言修辞特色与文化内涵的中国菜名[Names of Chinese Dishes with Chinese Rhetoric Feature and Culture Connotation]. ''河北经贸大学学报(综合版)''Journal of Hebei University of Economics and Business (Comprehensive Edition) (02),34-37. doi:10.14178/j.cnki.issn1673-1573.2016.02.008.<br />
<br />
* Zhong Anni钟安妮.(2006).论中国菜名中的文化内涵[On the Cultural Connotation of Chinese Dish Names]. ''探求''Academic Search for Truth and Reality (01),79-80.<br />
<br />
* Zhou Guiying周桂英.(2008).中国菜的命名理据及翻译策略[Naming and Translation Strategies of Chinese Dishes]. ''郑州航空工业管理学院学报(社会科学版)''Journal of Zhengzhou Institute of Aeronautical Industry Management (Social Science Edition) (01),112-113. doi:10.19327/j.cnki.zuaxb.1009-1750.2008.01.039.<br />
<br />
* Zhang Xu张旭.(2011).意味深长的中国菜名[Meaningful Chinese Dish Names]. ''太原城市职业技术学院学报''Journal of Taiyuan Urban Vocational College (08),181-182. doi:10.16227/j.cnki.tycs.2011.08.004.<br />
<br />
* Zhang Yanyan张艳艳.(2015).中国饮食文化负载词翻译研究[A Study on the Translation of Chinese Food Culture-loaded Words]. ''湖北科技学院学报''Journal of Hubei University of Science and Technology (08),55-57. doi:10.16751/j.cnki.hbkj.2015.08.021.<br />
<br />
===Terms and expressions===<br />
Kung Pao Chicken, Quick-fried Chicken Dices with Peanuts：宫保鸡丁<br />
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The Braised Turtle in Brown Sauce：红烧甲鱼<br />
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Cold Noodles with Chicken Shreds：鸡丝凉面 <br />
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Mapo Tofu：麻婆豆腐<br />
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Shrimp with green Vegetable：翡翠虾仁<br />
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Four-Joy Meatballs, Braised Pork Balls in Gravy Sauce：四喜丸子<br />
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Fotiaoqiang (assorted meat and vegetables cooked in embers：佛跳墙<br />
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Cut: 切 chop：剁 split：劈 scrape：剔<br />
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Block：块 strip：条 segment：段 slice：片 dice：丁 shred：丝 powder：末 paste：泥<br />
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Frying：煎 deep-frying：炸 cooking：烹 stir-frying,：炒 braising：烧 roasting：烤 <br />
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stewing：炖 simmering：煨 steaming：蒸boiling：煮 sauce：酱 mix：拌 smoking：熏 pickling：腌<br />
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Corn Meatballs：玉米肉丸<br />
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Sweet and Sour Fish：糖醋鱼<br />
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Fried Shrimps with Tomato Sauce：茄汁虾仁 <br />
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Diced Chicken with Cashew Nuts：腰果鸡丁<br />
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Diced Chicken with Green Pepper：辣子鸡丁<br />
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Pork Shreds with Fish Seasoning：鱼香肉丝<br />
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Steamed Perch：清蒸鲈鱼<br />
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Braising Carp with Soy Sauce：红烧鲤鱼<br />
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Quick-frying shredded Mutton with Scallion：葱爆羊肉丝<br />
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Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条<br />
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Pork Cooked with Green Chili：辣椒炒肉<br />
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Scrambled Egg with Tomato：番茄炒蛋<br />
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Hairy Crabs：大闸蟹<br />
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Golden Coin-shaped Scallops：金钱干贝<br />
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Sour and Hot Diced Chicken：酸辣鸡丁<br />
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Sweet and Sour Ribs：糖醋排骨<br />
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Cola Chicken Wings：可乐鸡翅<br />
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Braised Meat Balls in Brown Sauce：红烧狮子头<br />
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Tai Chi Shaped Taro：太极芋头<br />
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Stewed Assorted Delicacies：全家福<br />
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Wishful Bamboo Shoots：如意笋<br />
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Wen Si Tofu：文思豆腐<br />
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Dongpo Meat：东坡肉<br />
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Peking Duck：北京烤鸭<br />
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West Lake Fish in Vinegar Sauce：西湖醋鱼<br />
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Zhijiang Fried Duck with Varied Ingredients：芷江鸭<br />
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Meat in Tomato Sauce：乾隆樱桃肉<br />
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Murrel with Fresh Vegetables：将军过桥<br />
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Changban Slope：长坂坡<br />
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Two Winter：二冬<br />
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Three Delicacies：三鲜<br />
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Three Shreds：三丝<br />
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Dragon and Tiger Locked in battle, Thick Soup of Snake, Cat and Chicken：龙虎斗<br />
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Shrimp with Hibiscus , Shrimp with egg white：芙蓉虾仁<br />
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Hibiscus Sea Cucumber, Sea Cucumber with egg white：芙蓉海参<br />
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Fried Magnolia Slices：炒玉兰片<br />
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Fried Bamboo Shoots Slices：炒笋片<br />
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Salted Pork in Jelly：水晶肴肉<br />
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Braised Pig Tendon with Jade, Braised Pig Tendon with Vegetables：翡翠蹄筋<br />
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Jade and White Jade, Shrimp with green Vegetable：翡翠白玉<br />
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Mirror Box Tofu：镜箱豆腐<br />
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Squirrel-shaped Mandarin Fish：松鼠鳜鱼<br />
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Shrimp Ring with Green Vegetable：翡翠虾环<br />
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Golden Eggs：金钱蛋<br />
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Taking the Son to the Imperial Court—Duck and Pigeon ：带子上朝<br />
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Farewell My Concubine：霸王别姬<br />
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Chicken Slices with Hibiscus：芙蓉鸡片<br />
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Scallops with Hibiscus：芙蓉干贝<br />
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Clams with Hibiscus：芙蓉青蛤<br />
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The Thousand-layer Oil Cake, Multiple Layer Oil Cake：千层油糕<br />
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The Beggar Chicken, Roast Whole Chicken Wrapped in Mud：叫花鸡<br />
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Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠<br />
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Double Dragon Playing with a Pearl (Two fish and a coconut)：二龙戏珠<br />
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Crusade against daddy：早生贵子<br />
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Kongfu Yiping Pot, the First Pot in Kongfu Style：孔府一品锅<br />
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The Sacred Family of the Confucian Mansion：孔府衍圣公<br />
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Siraitia Grosvenorii：罗汉果<br />
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Prajna Dishes：般若菜<br />
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Yang shall be maintained during Spring and Summer, while its counterpart Yin should be preserved during Autumn and Winter：春夏养阳，秋冬养阴<br />
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Yin and Yang Fish：阴阳鱼<br />
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Heaven and Earth Eggs：乾坤蛋<br />
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Mutton eaten with hands：手抓羊肉<br />
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Sweet and Sour Pork：咕咾肉<br />
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Pearl Bean Curd：珍珠豆腐<br />
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Golden Prawn：金钱明虾<br />
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Crispy Duck：脆皮八宝鸭<br />
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Spiced Beef：五香牛肉<br />
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Eight Immortals Gathering at Yaochi—Fried Eight Delicacies：八仙瑶池聚会<br />
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Full of Prosperity：满园春色<br />
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===Questions===<br />
1.How many naming methods are mentioned?<br />
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2.Who is the Four-Joy Meatballs associated with?<br />
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3.In the Chinese cuisine names, what is hibiscus often used to refer to?<br />
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===Answers===<br />
1.Eight.<br />
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2.Zhang Jiuling<br />
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3.Egg white.<br />
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==英语笔译 李欣 Li Xin 202170081577==<br />
<center>'''The contradiction between language and mind'''</center><br />
<br />
<center>李欣</center><br />
<br />
===Abstract===<br />
<br />
===Key words===<br />
<br />
===Introduction===<br />
<br />
===Literature Review===<br />
<br />
===Subtitle 1===<br />
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)<br />
===Subtitle 2===<br />
<br />
===Subtitle 3===<br />
<br />
===Subtitle 4===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578==<br />
<center>'''Overview on Miaoyu'''</center><br />
<br />
<center>Li Ying</center><br />
<br />
===Abstract===<br />
Miao language is the carrier of Hmong culture which is an important part of the brilliant Chinese culture. Therefore, Miao language and Hmong culture is the largest responsibility for all of us. Through the understanding of the motivation of studying Miao, the origin of the name "Miao," the formation and development of Miao, the distribution of Miao and the characteristics of Miao language, we can arouse people's attention to Miao language and Miao nationality, so as to take effective measures to inherit and protect Miao language in a timely manner.<br />
<br />
===Keywords===<br />
Miaoyu,Hmong,the formation and development of Miao, the distribution of Miao,the characteristics of Miao language<br />
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===Literature Review=== <br />
In our country, before the founding of New China, there have been people who have investigated and studied the Miao language and characters, and published investigation reports or research papers.For example, in January 1917, Zhuang Qi's Outline of Miao Wen was published in Volume 14, No.1, Oriental Magazine.In 1933, Shi Qigui, a Miao scholar, assisted Ling Chunsheng and Rui Yifu, famous ethnologists in China, to investigate and study the Miao nationality in western Hunan. Since then, he continued to investigate and study the Miao nationality area in western Hunan. In 1940, he wrote the Investigation Report of Xiangxi Indigenous Nationalities. In 1951, he wrote Introduction to Xiangxi Brothers.<br />
<br />
After the founding of new China ，there were some investigation and study of miao language, some linguists began to attach importance to the investigation and study of miao language.For example, Wang Fushi in "Chinese Journal" in 1952, 6, published the "Miao Language Reform Problem"; After the birth of Miao language in 1956, in order to meet the needs of the promotion of Miao language, in 1958, the Concise Dictionary of Miao and Han in the central dialect and the Concise Dictionary of Miao and Han in the western dialect were published.In the short period after the birth of the Miao language, experts and scholars published many research papers, but the good times did not last long. After three years of natural disasters and the influence of extreme "left" ideological trends, coupled with the civil strife of the "Cultural Revolution," the promotion of the Miao language was forced to suspend, and the Miao language and characters were temporarily left untouched.Until 1978, after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China was held, the Party's ethnic policy and ethnic language policy were implemented again, and Miao Wencai resumed🧪 implementation and won a second life.<br />
<br />
During the reform and opening-up period, a large number of works on the study of Miao language and characters emerged.The first is to compile and publish the Miao Han Dictionary and other reference books of various dialects;the second is to publish many research works on Miao language, and the third is to publish many research papers. During the 30 years of reform and opening-up, great achievements have been made in language, vocabulary and grammar.In addition, there are many achievements in the study of Miao language in the aspects of bilingual teaching of Miao and Han, the unity of Miao language and culture, and the unity of Miao characters.<br />
<br />
At the same time, the language of Miao nationality has also aroused great interest of some foreign scholars.As early as the beginning of the 20th century in 1902, the Japanese Torii Longzang travel southwest provinces in China,made a field survey about miao life. The following year he returned to Japan and compose a book named the Miao Survey Report, the fourth chapter discusses the Miao Language.In 1947, Zhang Kun, a Chinese American, published a paper entitled "Tone Problems in Miao and Yao Dialects," which laid the foundation for tone comparison in Miao dialects.Since the reform and opening up, especially after the 90s, more and more foreign scholars came to China to study the Miao language. In the early 90s, Joak in Enwall of Stockholm University, Sweden (Han name:Yan Youqing) studied the Miao language at the Central University for Nationalities. After returning to Guizhou, he wrote a book entitled Myth Becomes Reality-History and Development of Miao Language (Part 1 and Part 2). Guizhou is the base camp of the Miao people in China and even the world. More foreign scholars have come to Guizhou to study the Miao language.<br />
<br />
===Methods and Theories===<br />
This research mainly adopts the literature method, the Miao nationality has a long history of development.If we want to understand the basic situation of Miao language, we must deeply understand the development history of the nation.Only in this way can we have a deeper understanding of the different vitality of language.<br />
<br />
===Subtitle 1：The Motivation of the Miaoyu===<br />
<br />
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.<br />
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===Subtitle 2:Miao Nationality===<br />
1.The Source of the Name “Miao” <br />
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There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.<br />
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2.The Distribution of Miao Nationality<br />
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(1)Domestic Distribution<br />
<br />
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.<br />
<br />
(2)Overseas Distribution<br />
<br />
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.<br />
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.<br />
<br />
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.<br />
<br />
===Subtitle 3:The origin of the Hmong and the historical formation of the Hmong===<br />
1.Origin of the Miao<br />
<br />
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.<br />
<br />
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.<br />
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The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."<br />
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2.Historical formation of the Hmong<br />
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This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".<br />
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The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.<br />
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Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.<br />
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During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.<br />
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===Subtitle 4: Miao Folk Beliefs===<br />
The Miao folk in western Hunan worship the sky, and they mainly rely on natural phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.<br />
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Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.<br />
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The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.<br />
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Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.<br />
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Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.<br />
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In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".<br />
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===Subtitle 5:Overview of the Hmong Language===<br />
Language is one of the most important cultural elements of a people, and is the most important communication tool within the ethnic community for the exchange of ideas and contacts. From a linguistic point of view, the Miao language belongs to the Miao-Yao branch of the Sino-Tibetan language family. Although the Miao people have their own language, there was no script representing the Miao language until the 1950s. The Miao language used by the Miao people is only a form of speech passed down orally, without a specific script. Although it is mentioned in some Hmong historical songs and folklore that the Hmong had writing in history, it was later lost due to various reasons. In some documents of the Qing Dynasty and the Republic of China, there are records indicating that the Hmong in some areas do seem to have written. These scripts are mainly of two types: one is created by advanced Miao intellectuals influenced by Chinese characters or other language scripts. For example, Shibantang, a Miao poet in western Hunan, used the "six books" of Chinese characters to create a square-shaped Miao script, borrowing from Chinese characters. Second, foreign missionaries and Miao advanced intellectuals together using part of the Latin alphabet and notation symbols to create, although the creation of this kind of writing is beneficial to the development of the Miao people, but it is mainly the missionaries in order to facilitate the missionary and the Miao advanced intellectual characters created in collaboration. For example, the old Miao script of Weining Shimenkan, also known as "Po La alphabet Miao script". However, these Miao scripts were not widely disseminated and were only used regionally and could not be popularized.<br />
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After the founding of New China, the Party and the government were very concerned about the writing of the Miao people and sent many working groups and task forces to investigate and study the Miao language. The Miao language is an extremely complex language, mainly reflected in the great differences in dialects and subdialects and the large number of vernaculars. Regarding the division of Miao language, the most representative one is the division method in the report "Division of Miao dialects and writing problems" made by the Second Task Force of the Minority Language Survey of the Chinese Academy of Sciences in 1956 at the scientific discussion of Miao language and writing problems. In the report, the Miao language was divided into four dialects: Eastern, Central, Western and Northeastern Yunnan, and on July 8, 1957, the Central Committee of the People's Republic of China held a symposium on ethnic language work and changed the Eastern dialect to Xiangxi dialect, the Central dialect to Qiandong dialect, the Western dialect to Chuanqian-Tian dialect, and the Northeastern Yunnan dialect was still called Northeastern Yunnan dialect. The second is the division of the Miao language into three major dialects, seven subdialects, and 18 vernaculars in the division of the French language by Mr. Wang Fushi in "The Problem of Dividing the Miao Dialects" (1983). Some other scholars also put forward their different views on the division of Miao languages, such as Xian Songkui, Chen Qiguang, Wu Zhengbiao and Yang Zaibiao. However, their division is for the subdialects or vernaculars within the three major dialects of Miao.<br />
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Regarding the division of Miao dialects, this paper mainly borrows the division method from Mr. Wang Fushi. The Miao language is mainly divided into dialects according to phonetic differences. It can be divided into three major dialects, namely Xiangxi dialect, Qiandong dialect, and Chuanqian Dian dialect. Among the three major dialects, the Xiangxi dialect and Qiandong dialect have small differences within each north, and only the differences between native languages. The Sichuan-Guizhou-Yunnan dialect, on the other hand, has more internal differences and can be divided into seven major subdialects.<br />
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1.Characteristics of Xiangxi dialect<br />
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The Xiangxi dialect is divided into western and eastern vernaculars. The western dialect is mainly spoken in Huayuan, Phoenix, Baojing, Jishou, Guzhang, Longshan and Xinfeng Dong autonomous counties in Hunan Province; Songtao Miao autonomous county and Tongren in Guizhou Province; Xiushan in Sichuan Province; Xuanen, Laifeng and Xianfeng in Hubei Province; and Hechi and Nandan in Guangxi Province Zhuang Autonomous Region. Eastern dialects are mainly spoken in Luxi County and parts of Guzhang, Jishou, Longshan and other counties in Hunan Province.<br />
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2.Qiandong dialect<br />
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The Qiandong dialect is divided into three dialects: northern, eastern and southern. The northern dialect is mainly spoken in Kaili, Majiang, Dantai, Leshan, Taijiang, Huangping, Jianhe, Zhenyuan, Sansui, Shibing, Sandu Shui Autonomous County, Fuchuan, Pingba, Zhenning Buyi Miao Autonomous County, Xingren, Zhengfeng, Anlong, Wangmu and other counties in Guizhou Province. The eastern native languages are mainly spoken in Rongjiang, Congjiang, Danzhai and Sandu Shui autonomous counties in Guizhou Province, and in Rongshui Miao autonomous county and Sanjiang Dong autonomous county in Guangxi Zhuang Autonomous Region.<br />
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3.Chuanqian Dian dialect<br />
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The internal dialect of Chuanqian Dian is relatively complex and can be divided into seven subdialects, including Chuanqian Dian, Northeast Dian, Guiyang, Huishui, Mashan, Luopohe, and Chonganjiang.<br />
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The Chuanqian Dian dialect is divided into two vernaculars, the first and the second. The first dialect is mainly spoken in Changning, Muli, Yanbian, etc. in Sichuan Province, Jinsha and Chishui in Guizhou Province, Zhenxiong and Weixin in Yunnan Province, and Longlin Autonomous County, Xilin and Napo in Guangxi Zhuang Autonomous Region. The second dialect is spoken in Nayong and Hezhang counties of Guizhou Province and Shuicheng Special Zone of Liupanshui City, and the range is very small.<br />
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The northeastern Yunnan subdialect is not divided into four dialects, which are spoken in Yunnan and Guizhou provinces; the Huishui subdialect is divided into four dialects: northern, southwestern, central and eastern. The northern dialect is spoken in Guiyang Gaopo and Yanchang, Huishui County; the southwestern dialect is spoken in Yashui and Sandu, Huishui County; the central dialect is spoken in parts of Chengguan and Pendleton counties, Huishui County. The eastern dialect is mainly spoken in Xiguan and other places in Pingba County.<br />
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The Mashan subdialect is divided into four dialects: central, northern, western and southern. The central dialect is mainly spoken in Zongdi and Baihua of Ziyun County; the northern dialect is spoken in Daihua and Huishui of Changshun County; the western dialect is spoken in Waiting Field and Dazhai of Ziyun County, Guizhou Province; the southern dialect is spoken in Mashan and Lekuan of Wangmo County.<br />
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The Luopo River subdialect is not divided into native languages and is spoken in the adjacent areas of Fuchuan, Guiding, Longli and Kaiyang counties and in Laojunzhai and large and small bubblewood places in Kaili County.<br />
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The Chonganjiang subdialect, which does not have a native language, is spoken in Maple Sugar, Chongren and Chongren in Huangping County, Guizhou, and in Longchang, Gouchang and Longshan in Kaili County.<br />
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(1)The sound-rhyme system of the three major dialects of Hmong is shown in the table<br />
The table shows the similarities and differences in the phonological systems of the three major dialects of Hmong. In terms of vowels, the three major dialects of Miao have more vowels than rhymes. Relatively speaking, the western Xiang dialect has the most abundant vowels. The three major dialects have fewer rhymes, while the Sichuan-Guizhou-Yunnan dialect has more rhymes.<br />
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(2)Hmong Vocabulary Characteristics - An Example from the Western Hunan Dialect<br />
The Miao language is rich in vocabulary and has a variety of word formation devices. The vocabulary of the western Hunan dialect also contains a large number of words that reflect the unique geographical and human environment and socio-economic life of the local Miao people. For example, there are many words related to mountains and water, such as "mountain range [qo zei]" and "rice [nw]", and many words reflecting local mountain flora and fauna and special economic crops, such as "rabbit [ta la]". rabbit [ta la]".<br />
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In terms of word formation, the Xiangxi dialect can be divided phonetically into monophthongs and polysyllabic words. Monosyllabic words consist of one syllable, such as "我[we]" and "你[mw]", while polysyllabic words consist of two or more syllables.<br />
Compared with Chinese, the Xiangxi dialect has fewer synonyms and more polysyllabic words, and one word is usually used to represent several synonyms in Chinese. For example, ei can mean "look, see, look at, see" in Chinese.<br />
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The vocabulary of Miao dialect contains a large number of Chinese loanwords, which are both early and modern. Most of the early loanwords are monosyllabic words, such as "silver, thousand, wine, etc."; most of the modern loanwords are later borrowed words related to politics, military, economy, science, culture, etc., such as "Communist Party, class, RMB, machine, radio, etc."<br />
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The borrowing of a large number of Chinese words has had a profound impact on the phonological, lexical and grammatical systems of the Xiangxi dialect. In terms of vocabulary, the influence is mainly manifested in the substitution of modern loanwords for early loanwords and the use of modern loanwords with early loanwords. In terms of grammar, the massive borrowing of Chinese words had a great impact on the diction of the Xiangxi dialect, and formed a very distinctive linguistic phenomenon in the Xiangxi dialect - the Miao-Chinese hybrid words. In the Xiangxi dialect, some things are expressed in generic terms plus proper terms, so after borrowing Chinese words, the proper terms inherent in the Miao language are often added in front of the Chinese words, thus forming Miao-Chinese mixed words.<br />
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(2)Hmong grammatical characteristics - taking the western Xiangxi dialect as an example<br />
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In the Xiangxi dialect of Miao language, words can be divided into nouns, verbs, adjectives, adverbs, loanwords, conjunctions, pronouns, numerals, quantifiers, coronals, auxiliaries, etc.; sentence components include subject, predicate, epithet, object, complement, determiner and gerund; sentence types include single and compound sentences: declarative, imperative, interrogative and exclamatory sentences according to the tone. Word formation and order are the main grammatical tools of the Xiangxi dialect, and the order of words is basically the same as that of Chinese.<br />
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The Miao script was created by Shi Qigui, a famous Miao scholar, around 1956. In 1956, after a comprehensive census of the Miao language, the Second Task Force on Minority Language Survey of the Chinese Academy of Sciences formally created the Miao texts of the three major dialects. The Miao script of the Xiangxi dialect is based on the Miao language of Jiwei Township, Huayuan County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province, and has 48 vowels, 35 rhymes and 6 tone letters.<br />
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The Miao language is the crystallization of the wisdom accumulated by the Miao people for thousands of years, bearing the spiritual home of this nation, the soul and blood of this nation. At present, although the Miao language is still an important communication tool for the Miao people in the Miao community, especially in those Miao villages that live in high mountains and have limited transportation. However, with the development of social economy and convenient transportation, more and more Miao people are coming out of the mountains to participate in the economic construction and social mobility of the whole country, so we need to do a good job of inheritance and protection of Miao.<br />
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===Conclusion===<br />
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.<br />
<br />
===References===<br />
*Yang Xue.Study on the Adjectives of Miao Dialect in Sichuan, Guizhou and Yunnan Subdialects. Hubei: Three Gorges University.<br />
*Ma Yongbin.Classification of witchcraft of Miao nationality in eastern dialect.Guiyang: Journal of Guizhou University for Nationalities (Philosophy and Social Sciences Edition) 2016 (1): 1-22pp.<br />
*Wang Yanhong.A Study on the Structural Properties of CI Initials in Gaopo Miao Language of Guiyang.Language studies (28): China Academic Journal Electronic Publishing House: 258-272pp.<br />
*Qu Jianhui (2022).Ancient voiced initial consonants in xiaozhang miao language of hunan province are now pronounced with yin tone. China (2):186-193pp.<br />
*Chen Hui (2006). Phonological Study of Xiang Dialect. Changsha: Hunan Normal University Press.<br />
*Wang Dan (2016).A Study of the Adjectives of Miao Dialect in Central China.Guiyang: Guizhou University for Nationalities.<br />
*Ma Xiuzhi (2022).A Review of Foreign Grammar Studies of Miao Language.Journal of Qiannan Normal University for Nationalities,2022 (2): 28-34pp.<br />
*Qu Jiyong (2014).A study on that attitude of minority language in Xiangxi area. Xi'an: Shaanxi Normal University<br />
*Li Jinping (2010). Summary of the Research on Miao Language and Writing in the Past 60 Years. Journal of Guizhou University for Nationalities (Philosophy and Social science), 2010 (3): 24-27pp<br />
*Shi Qigui (2008). Xiangxi Miao field investigation report. Changsha: hunan people's publishing house<br />
*Wang Fu-shi (1985). Miao JianZhi. Beijing: national publishing house<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
<center>'''On Phonetic Loan Character (Tongjiazi) in Chinese and its English Translation in The Analects of Confucius'''</center><br />
<br />
<center>LiYuan</center><br />
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===Abstract===<br />
The use of phonetic loan characters is a unique language phenomenon in ancient Chinese, and it is also a key and difficult point in understanding ancient Chinese and translating ancient Chinese texts. This paper draws on methods of literary research, comparative research and historical research to introduce phonetic loan characters and their differences from ancient and modern characters, variant characters and characters acquiring meanings by phonetic association, and then to sort out the historical origin and development of phonetic loan characters and their role in the history of Chinese character development. When working on translation tasks with phonetic loan characters, translators should possess some skills and quality, such as the ability to use computer-assisted translation technology to identify and verify phonetic loan characters in the original text in an effort to accurately understand the meaning of the original text. Taking some phonetic loan characters in The Analects of Confucius as an example, this paper summarizes the English translation methods of these characters, such as literal translation of the original character, literal translation of the phonetic loan character and paraphrasing, in the hope of providing some suggestions and inspiration for the English translation of phonetic loan characters, assisting translators to do better translating work of ancient Chinese classics, allowing Chinese culture to go global better and improving the effect of cultural communication.<br />
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===Key words===<br />
phonetic loan characters(tongjiazi); English translation methods; The Analects of Confucius<br />
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===Introduction===<br />
The existence of a large number of phonetic loan characters(tongjiazi) in ancient books is one of the main reasons why ancient Chinese books are so difficult to read. They are an important part in the development of the Chinese character, and there are specific subjective and objective factors that led to their coming into being and fading out. They were created in a specific historical context, and then stopped because of the requirements of the evolution of Chinese character. The so-called ancient phonetic tongue interchangeability was used in the written language of ancient Chinese for the common use of homophonic or similar-sounding characters (Wang Li, 1999:546). In order to grasp the definition of Tongjiazi accurately, it is necessary to clarify its difference from ancient and modern characters (Gujinzi), variant characters (Yitizi) and characters acquiring meanings by phonetic association (Jiajiezi), which can be compared and analyzed in terms of pronunciation, form and meaning, and must not be confused. These four types of character use are all about the relationship between two Chinese characters, so it is possible to analyze whether these two characters are related in terms of pronunciation, form and meaning. There are two opinions in the history on the role played by Tongjiazi in the development of Chinese characters: one is on the negative side, believing that they undermine the purity of ancient Chinese characters and create obstacles to their standardized use; the other is on the positive side, holding that they play a very important transitional role in the development of Chinese characters, and that their appearance is in accordance with the laws of Chinese character evolution, and that they should be evaluated in a reasonable and objective manner. When translating ancient Chinese works such as literature and medicine classics into English, the identification, verification, comprehension and translation of Tongjiazi can be of paramount importance, which places higher demands on the translator, who must not only have basic translator skills, but also master basic skills such as verification and analysis. There are only two papers on the subject of English translations of passwords on the Internet, and the original texts are all medical texts, which means that the field of English translations of passwords still needs more exploration. In this paper, the English translation of Xu Yuanchong's text of the Analects of Confucius is taken as an example, and the translation methods used in translating the passages are analysed. hopes that the study of the English translation of passages in canonical texts will take a step forward, and that more scholars and translators will pay attention to the study of the English translation of passages.<br />
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===Definition of phonetic loan characters (Tongjiazi)===<br />
The use of a character with the same or similar pronunciation is one of the phenomena of Chinese character use, where a character with the same or similar pronunciation is used instead of the original character. For various reasons, instead of using the original character, the writer temporarily borrows a character with the same or a similar sound. In modern times, when the official standard characters are used, sometimes the original character is not adopted, and a specific character is used as the standard character. As can be seen, a generic character is a borrowing of an existing character. The character that is replaced by a generic character is called the 'original character'. They may or may not have the same or similar pronunciation, different forms, or related meanings as the original character.<br />
To clearly define a generic word, one needs to be aware of its distinction and connection with archaic and modern words, variant words and pseudonyms. Ancient and modern characters are different words used in the same word in ancient and modern times, and this group of words is called ancient and modern characters. As can be seen, the ancient and modern characters both have the same pronunciation, related word forms and the same meaning, and are a phenomenon of substitution through time. In contrast, a generic character appears at a particular time in place of the original character, and is a kind of co-temporal substitution. A variant character is two characters that have the same pronunciation and meaning, but are written in different ways. In contrast, a generic character has the same pronunciation as the original character, but is not written in the same sense or in the same way. A pseudoword is a substitution for a word that was not there, where the ancients were writing to express the meaning of a word, but did not have such a word for their use, so they substituted a word with the same or similar pronunciation, in which case the original character appears to be missing. By contrast a pass-word is a substitution for a word that is already there.<br />
It can be seen that there are several characteristics of the Tongjiao character: firstly, it is a pseudonym; secondly, there is an original character; thirdly, it is a co-temporal substitution; and fourthly, it is homophonic, non-homonymous and non-homomomorphic. Therefore, it can be defined as a co-temporal substitution of the original character, which is homophonic, heteromorphic and heteronymous with the original character.<br />
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===Origin and Development of phonetic loan characters (Tongjiazi)===<br />
This article summarises the following theories about the origins of tongyongzi, or the causes of tongyongzi.<br />
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One is due to the limited number of ancient Chinese characters. The emergence and development of Chinese characters was a long process, with character forms emerging from nothing, numbers increasing from few to many, and usage going from arbitrary to standardised. During this process, then, there was bound to be an imbalance between the number of Chinese characters and the need for ideograms, and there were not enough Chinese characters to meet the needs of the ancients for oral expression and written records. In this case, the phenomenon of pseudo-borrowing came into being. In his Shuowen Jiezi, Xu Shen writes: "A pseudo-borrower is one who originally has no character, but relies on the sound to support the matter, so that the long is also." This is the situation he is referring to, where for an object, for which there was no Chinese character at the time to represent the object, existing Chinese characters were borrowed to assign a character form and sound to the object. In this way, as a pseudonym for an existing character, the appearance of a generic character would have followed the appearance of the pseudonym.<br />
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One reason is that ancient Chinese characters did not develop a fixed normative usage. In addition, the ancients created a character to express a meaning, but which character should be used to express which meaning was still in the process of being formed, and there was no certain rule that one could use this character to express a certain meaning, and another character with the same or similar sound to express that meaning.<br />
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One is due to the influence of dialects. Due to the lack of technology, when recording history, articles, literary works, etc. in ancient times, they were dictated by some readers and recorded by others in writing. These readers also recited the content from their own memory, and their pronunciation may have been influenced by the dialect and they could not say the sound of some words, and then the writers often heard one word as another and recorded the same word in different forms.<br />
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One is the ancient emphasis on the sound of words rather than their form. The ancients believed that language existed by virtue of sound, and emphasized that the sound was the meaning of the word, and that the hearer knew the meaning when he heard the sound, so the ancients often recorded the words according to sound. In this way, the creation of tongyong characters was a natural consequence of the contradictory movement between the ideographic nature of Chinese characters and the phonetic nature of Chinese (Tan Lin, 1987).<br />
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One is to forget the original word and substitute it with the same sound. The ancient people, when making records, could not think of the original word and used a different word instead, as pointed out by Zhao Yi of the Qing Dynasty: "The word with the same sound and different meaning is unknown to common scholars, and is often written by mistake, as the world calls it." The first person to write this way was of course writing a white character, as mentioned earlier, but when later people followed suit, it became a "generic" character.<br />
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One is out of the need to keep things simple. When the ancients kept records, if the character was too complex and time-consuming to write, they would use a character with the same or similar pronunciation to replace the character and save writing time.<br />
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One is for the sake of avoidance. It was most taboo for the ancients to call their parents by the word in their names, or to write the word in their parents' names directly, borrowing other words instead. All but the emperor himself could not write the name of the emperor of the dynasty.<br />
<br />
The creation and development of the Tongjiao character is inseparable from history. During the Spring and Autumn and Warring States Periods, when a hundred schools of thought were contending for supremacy, society at the time was full of new ideas and changes, and the unprecedented demand and usefulness of written records had a major impact on the evolution and development of Chinese characters. During this period, colloquial characters were popular in the Eastern states, with a variety of traditional and simplified characters and different scripts in all countries, which became a major source for the creation of variant, homograph and passwords in later times (Chen Zheng, 2015). It was only after the Qin state unified the six states and implemented the "same script", using the small seal script as the unified script for the whole country, that the use of characters became more standardized and the use of common pseudonyms gradually decreased. During the Eastern Han Dynasty, Xu Shen's "Shuowen Jiezi" was published and the use of characters became more standardised, with emphasis on the form of characters rather than their sound. During the Wei, Jin and North-South dynasties, some literati still used pass-words, but during the Tang and Song dynasties, apart from the occasional use of previous pass-words in folk literature, new pass-words were generally not written, and any use of previous pass-words or new pass-words was seen as a misspelling of characters. From this time onwards, the use of tongyong characters was gradually discontinued, but the tongyong characters in the works of the literati and canonical writings of the period before then remained unchanged. After the advent of the vernacular, the use of the Tongjiao characters ceased completely. Many experts and scholars have systematized and standardized the customary usage of the ancient Tong Pai characters by sorting out and examining them, and have published some ancient Chinese dictionaries to facilitate modern readers' access to the explanations and usage of Tong Pai characters.<br />
<br />
===The Role of phonetic loan characters (Tongjiazi) in the Development of Chinese Characters===<br />
The existence of pass-words has become a huge reading obstacle, making it very difficult for modern people to read and understand ancient writings, which is the intuitive feeling of pass-words nowadays. As to the role, or significance, of the existence of tongyong characters, some previous scholars have argued that tongyong characters were a counter-current in the history of Chinese character development, destroying the purity of Chinese characters. However, although the use of pass-words ceased in the Tang and Song dynasties, they can still be found in ancient books, and the ancients did not revise all previous pass-words after their use was standardised, so it is clear that pass-words should have their own unique role in the history of Chinese character development, and an objective perspective should be adopted to evaluate their existence. According to Tan Lin (1987), the role of tongyong is, firstly, a major morphological shift in the use of character harmonies; secondly, tongyong reflects the richness and dynamism of the Chinese vocabulary; thirdly, tongyong contributes to increasing the effect of Chinese characters in conveying word meanings; and fourthly, the standardisation of Chinese characters is a regular requirement in the development of tongyong. The existence of passwords is a product of the process of Chinese character development, and provides a basis for future generations to examine the history of Chinese character development. As a historical phenomenon, the use of characters was social rather than personal, and the correspondence of the characters in ancient texts was largely fixed (Wei Ying, 2013: 27).<br />
<br />
===Influence of phonetic loan characters (Tongjiazi) on translation===<br />
To translate ancient texts, it is a crucial step to identify the common characters in them. It is only by successfully identifying the pass-words that the meaning of the sentence can be correctly understood and the translation can be ensured to be smooth and fluent, so the English translation of pass-words is of research value. With the development of the times, the majority of ancient texts now have annotated versions, that is, in-language translations, from literary texts into modern Chinese with annotations on some words in the original text, and there are also some ancient Chinese dictionaries compiled by experts and scholars, etc., all of which have contributed to the translation of pass-words. At this point, the choice of the translation base will also affect the effectiveness of the translation. The translator should have the ability to identify authoritative base texts, as well as the ability to discern, and should not follow the base texts in translating. For some pass-words, if the translation feels that there is a problem with the annotation, resulting in the meaning not being smooth, the translation should be promptly checked, and methods such as asking ancient Chinese researchers and consulting the relevant ancient Chinese dictionaries can be adopted. In addition, in today's fast-changing world of modern science and technology, translators should be good at using technology to assist translation. In recent years, computer-aided translation technologies such as corpora, terminology databases and memory banks have developed rapidly, which have also facilitated the translation of common and false characters in ancient Chinese. Translators can make a corpus and a memory bank of the ancient Chinese canonical texts they have translated before, and a terminology bank of the translations of pass-words, as well as authoritative translations of some canonical texts, of which the translations of pass-words are made into a terminology bank. In this way, subsequent translation tasks have a parallel corpus to refer to, saving a lot of time in checking. In addition, by typing in the keywords "通假字" and "英译" on the Chinese Internet, I found that there are only two papers on the English translation of Tong Pao characters, one of which is "An Analysis of Tong Pao Characters in the English Translation of Chinese Medical Terms --The other one is "An Analysis of the Treatment of Tong Fei Characters in the English Translation of the Jin Kui Yao (Essentials of Jin Kui): An Example of Luo Xiwen's Translation", and the other one is "An Analysis of the Treatment of Tong Fei Characters in the English Translation of the The study is focused on the use of the Chinese characters in Chinese medical texts. This shows that the depth of research in the field of English translations of passwords is still far from adequate.<br />
<br />
===English translation methods of phonetic loan characters (Tongjiazi) in the Analects of Confucius ===<br />
The number of passwords in the Analects is relatively small, and the content is relatively easy to understand. Compared to the English versions by foreign translators, Xu Yuanchong has stronger Chinese language skills and is more accurate in his understanding of the original text. In Xu Yuanchong's translation of the Analects, the main methods of translating the passages into English are the direct translation of the original characters, the<br />
(1)ST:其在宗庙朝廷, 便便言, 唯谨尔。 (《乡党》)<br />
TT: At court or in the ducal ancestral temple he spoke readily and chose his words with care.<br />
In this sentence, "便" means "argue". The original meaning of "convenient" is to be comfortable, while the original meaning of "argue" is to conduct a case, which requires good speech. Therefore, in the sense of "good at speech", "便" is used as "辯". In Xu Yuanchong's translation, "便便言" is translated as "he spoke readily", which according to the Oxford Dictionary means "According to the Oxford Dictionary, the word 'readily' means 'quickly and without difficulty', which indeed has a meaning of being eloquent. As for the translation method, "readily" is not a direct translation of the original word "辯", but rather a synonymic paraphrase combining the generic word and the original word.<br />
(2)ST:子曰：“加我数年，五十以学易，可以无大过矣。” (《述而》)<br />
TT: Give me a few more years, said the Master, to study the Book of Change after fifty, I may be free from error.<br />
In this sentence, "加" is used as "假", meaning "give", and the translation is "give" .<br />
(3)ST:子曰：“道不行，乘桴浮于海。从我者，其由舆？” (《公治长》)<br />
TT: The Master said, “If the truth I peach were not followed, I would float on the sea by a raft, who would then follow me but Zi Lu?”<br />
(4)ST:缁衣, 羔裘;素衣, 麑裘;黄衣, 狐裘。 (《乡党》) <br />
TT: He wears a black robe over lamp’ s skin, a white robe of undyed silk over fawn’s fur, or a yellow robe over fox’s fur.<br />
In this sentence, the word '麑' means '幼鹿'. In ancient times, people wore leather clothes with the fur facing outwards, so they had to have an overcoat on the outside. The colour of the fur coat and the covering coat should match. The hair of a young deer is white, so the deerskin coat should be matched with a white outer covering. This phrase is also a direct translation of the word 'fawn'.<br />
(5)ST:子曰:“吾十有五而志于学, 三十而立, 四十而不惑, 五十而知天命, 六十而耳顺, 七十而从心所欲, 不踰矩。” (《为政》) 。<br />
TT: At fifteen, said the Master, I was fond of learning. At thirty, I was established. At forty, I did not waver. At fifty, I knew sacred mission. At sixty, I had a discerning ear. At seventy, I could do what I would without going beyond what is right.In this sentence, the word "have" is translated as "again", meaning "again, plus". The word "ten and five" means "ten plus five years", or "fifteen years", and is translated as "fifteen". The translation is "fifteen". The translation method adopted is a direct translation of the generic word, because the meaning of "there" as "again, plus" has already been agreed upon, and the actual meaning is known even without the perspective of the generic word and the original word.<br />
(6) ST:子曰:“夏礼, 吾能言之, 杞不足徵也;殷礼, 吾能言之, 宋不足徵也。文献不足故也。足, 则吾能徵之矣。” (《八佾》) <br />
TT: The rites of the Xia Dynasty, said the Master, can be described, but I do not rely on the evidence supplied by its descendants of Qi. The rites of the Yin Dynasty can be described, but I do not rely on the evidence supplied by its descendants of Song. For there are no sufficient documents. Otherwise, the rites of Qi and Song can be described.<br />
In this sentence, "獻" means "ritual", and the original meaning of "獻" is the dog used in the temple sacrifice. The word "document" refers to a book or a sage. The word "documents" has been used in modern Chinese to refer to records and records, so it is directly translated as "documents".<br />
<br />
===Conclusion===<br />
This article introduces the definition of a generic character in ancient Chinese, i.e. a co-temporal substitution of a character that originally existed and was homophonically different from the original character. One was due to the need for simplicity; one was due to the need to avoid taboo, and the common characters appeared in large numbers during the Spring and Autumn and Warring States periods, and were completely discontinued with the advent of vernacular Chinese. It is one of the reasons why ancient Chinese texts are difficult to understand, and is the key to understanding them, as well as a major difficulty for translators when translating such texts. When translating such texts, then, translators need to acquire certain literacy and skills. In addition to a certain level of literacy and literacy and a basic grasp of the style and sentence structure of literary texts, they also need to have the ability to identify and verify passwords. In addition, modern translators should master certain computer-assisted translation techniques, learn to make and use terminology databases, corpora and memory banks, and accumulate a large number of parallel texts to facilitate and support translation practice and translation research on passages. This paper takes Xu Yuanchong's English translation of Theses as an example, analyses the English translation of the pass-words in it, and comes up with three methods for the English translation of pass-words: direct translation of the original characters, direct translation of the pass-words, and synonymous paraphrasing, in order to make the research on the English translation of pass-words in canonical texts a step forward, and to make more scholars and translators pay attention to the research on the English translation of pass-words, so as to produce higher quality English translations of Chinese canonical texts and better spread Chinese language and culture abroad.<br />
<br />
===References===<br />
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
<center>'''Confucius Institutes'''</center><br />
<br />
<center>Li Zijie</center><br />
<br />
===Introduction===<br />
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese. <br />
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.<br />
<br />
===Overview of Confucius Institutes===<br />
<br />
===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===<br />
<br />
===Analysis of the Current Situation of Confucius Institutes (Case Study)===<br />
<br />
===Conclusion===<br />
<br />
===References===<br />
<br />
===Terms and expressions===<br />
<br />
===Questions===<br />
<br />
===Answer===<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
<center>'''Study on The translation Strategies of Chinese Idioms'''</center><br />
<br />
<center>Liao Shiyun</center><br />
<br />
<br />
===Abstract===<br />
An idiom is created and accumulated by a nation in its development. It has a rich national feature and reflects the historical tradition of the nation. Idioms are the most vivid and vital part of a language. English and Chinese idioms are influenced by their respective language and culture and have rich cultural heritage and connotation, which can clearly reflect the differences between the two cultures. Therefore, it is not easy to deliver the meanings of the Chinese idioms with quite national cultural characteristics in English. Before translating idioms, one needs to understand the differences between the two language cultures. When translating, the translator not only should fully consider the strong national style of the idioms and accurately convey the meaning of the original text, but also need to take into account the acceptance of the target-language readers. In this paper, the author will analyze the differences between Chinese and English idioms from the perspective of cultural differences between the two languages. And the author will take the English version of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms, in order to provide some insights for idiom translation and promote the dissemination of Chinese culture.<br />
<br />
===Key words===<br />
Idioms; Fortress Besieged; Foreignization; Domestication<br />
<br />
===Introduction===<br />
<br />
With the gradual promotion of China's cultural "going out" strategy and "Belt and Road Initiative", the international community has become more interested in Chinese culture. And the country attaches more importance to cultural communication and exchange with the outside world. The dissemination of literary works has undoubtedly become one of the important bridges for the "going out" of culture. Language and culture are inseparable, and the cultural factors has always been a difficult task in translation due to the great differences between Chinese and Western cultures. As the cream of Chinese language, Chinese idioms have strong cultural characteristics. Authors of Chinese novels often like to quote scriptures and use idioms to convey their feelings and meanings. Therefore, when translating Chinese novels, the translation of idioms becomes a major difficulty. And foreignization and domestication are the fundamental strategies adopted for cultural conversion in translation. Therefore, this thesis analyzes the cultural differences between Chinese and English idioms, and takes the English translation of Fortress Besieged as an example to analyze the application of foreignization and domestication in the translation of idioms.<br />
<br />
===Literature review===<br />
<br />
Mo Lihong and Ge Lingling (2012) studied the translation of Chinese idioms based on the relevance theory. They believed the theory plays a great role in guiding the translation of idioms. They first explored the theory's revelation to Chinese-English idiom translation, and then analyzed the translation strategies of Chinese idioms according to the theory. There are methods including literal translation, liberal translation method, combination of literal translation and liberal translation, and CorrespondingTranslation.<br />
Sun, Haibo (2013) discussed the translation of English and Chinese idioms from the perspective of cultural differences, and explored how translators use translation strategies in order to better translate idioms from four aspects: cultural traditions, religious differences, myths and legends, and ways of thinking. He argued that the literal translation is possible when there are commonalities between the two languages, while when there are differences between the two languages, translators need to adopt flexible means, and use paraphrasing and liberal translation to get rid of various limitations. Zhang Jingjing (2014) studied the translation strategies of idioms from the perspective of functional equivalence theory, and she believed that the differences in the expressions of English and Chinese idioms are attribute to historical and customary factors. Therefore, the translation strategies of functional equivalence translation theory should be reasonably applied. Wang Qin (2014) also takes Naida's functional equivalence theory as the basis to study the four-character idioms containing color words in the Chinese-English Dictionary. He analyzed the difficulties encountered by translators when translating and exploring the cultural differences between Chinese and English on color, and pointed out the strategies for translating idioms. He argues that translators can only achieve successful translations if they master the cultural differences between Chinese and English. He Yongbin (2016) analyzes the translation of Chinese idioms from the perspective of cross-cultural communication, and the analysis results show that translators use the literal translation and literal translation with annotation more often when translating idioms into English, which are considered to be able to maintain the original ethnical feature and culture of idioms. Because the structure of Chinese idioms is rather special and the sentence length is different from that of English, it is considered that Chinese idioms deserve further research and exploration. Shi Xiaoping (2018) studied the English translation of Chinese idioms from the translator's contextual vision and analyzed five translation techniques used by translators: literal translation, literal translation with notes, liberal translation, amplification and the omission. He argues that certain difficulties arise when translating Chinese idioms into English, and that translators often ignore the historical context of the idioms, resulting in a translation that is not comprehensive enough and easily misleading to readers, so he suggests that translators should enrich their cultural knowledge, improve their communication skills, and master the translation techniques involved when translating at the same time.<br />
<br />
===the Translation Strategy of Idioms===<br />
Generally speaking, it is difficult to translate the linguistic structure of Chinese idioms, but only the meaning. And it is especially difficult to translate both the linguistic structure and the meaning. Even when translating the meaning, it is sometimes difficult to balance the original meaning with the meaning that people usually use nowadays, because there is a process of change from the original meaning to the meaning that people usually use nowadays. In translation, the handling of cultural factors has always been a difficult issue, and foreinization and domestication are the fundamental strategies adopted for cultural transformation in translation.<br />
<br />
(1)Foreinization and Domestication<br />
<br />
Schleiermacher, the German philosopher, stated two methods of translation in one of his speeches in 1813. One is author-to-reader method and the other is reader-to-author method. As the former, the translators try their best to leave the readers in peace, and move the author to them. While the latter means that the translators do their utmost to leave the author in peace and move the readers to him. In his The Translator's Invisibility, Lawrence Venuti, a famous American translation theorist, firstly used the terms of foreinization and domestication. Foreinization could convey the meaning of the source text more accurately and effectively to readers, with representing a kind of link of the linguistic features of the original language (Venuti, 1995:36); or the type of translation in which a TT (target text) is produced which deliberately breaks target conventions by retainning something foreignness of the original (Shuttleworth, 1997:23). Domestication refers to a translation strategy that adheres to the current dominant values of the target language culture and adopts a conservative assimilation of the original text to make it cater to the local canon, publishing trends and political needs (Venuti, 2006:4); or it refers to a translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for TL (target language) readers (Shuttleworth, 1997:63). In summary, the foreignization translation strategy requires translators to preserve the linguistic and cultural characteristics of the original text and promote cultural communication for target readers; when adopting domestication strategy, the translator takes the target language culture as his center, and tries to use the expressions of the target language so that target readers should be able to appreciate and understand the translated text in the same way as the original readers do. In translating, absolute domestication and absolute foreignization do not exist. Both of them have their respective advantages and disadvantages, and they are opposites and complementary to each other.<br />
<br />
Advantages and disadvantages of Domestication<br />
<br />
The biggest advantages of domesticating translation is to enable a good and fluent translation. By a fluent domesticating strategy, the translators can make versions easy to understand for the target language readers. And it is an effective method of intensifying the influence of target language and culture. <br />
<br />
However, dominated by this translating strategy, the uniqueness of original language and culture will be missed. For example, Yan Fu (严复) and Lin Shu (林纾) are representatives of the school of domesticating translation. They tended to domesticate foreign works in classical Chinese language. However, with the development of globalization, that kind of over domestication is doing harm to cultural communication between different countries for its distortion of the source language and culture.<br />
<br />
Advantagaes and disadvantages of Foreignization<br />
<br />
As for its advantages, there are three main points. Firstly, foreignization translation can help readers develop a cross-cultural awareness and acquire different reading experience in other languages and cultures. Secondly, foreignization also can widen readers horizon and promote mutural understanding among different countries. Thirdly, it can also help to combat the cultural hegemonies and enrich the target culture system.<br />
<br />
Foreignization has its own limitations. When it comes to some complicated cultural factors, customary, linguistic differences and so on, foreignization translation may produce hard-understood text for taget language readers, which will diminish their interest in the certain text and hinder translation activities.<br />
<br />
===The Introduction of Chinese Idioms===<br />
(1)Definition<br />
<br />
Chinese idioms are a kind of long-used fixed phrases unique to the ancient Chinese vocabulary. They come from ancient classics or writings, historical stories, people's oral stories, folklore, etc., containing a wealth of cultural information. The meaning of a Chinese idiom is incisive and often implied in the literal meaning. It is generally not a simple addition of the literal meanings of its components. A Chinese idiom’s structure is so tight that it is generally impossible to change the word order arbitrarily, or to swap out, add or subtract components from it. Its form is mostly four-word, but there are also some three-word and multi-word ones.<br />
<br />
(2) Basic features<br />
<br />
(2.1) Fixed structure<br />
The composition and structure of a Chinese idiom are fixed and cannot be changed, added or subtracted at will. For example, “雪中送炭”(send charcoal in the snow--meaning provide timely help), it cannot be changed into “雪中送煤” (send coal in the snow). Besides, the order of words in an idiom is also fixed and cannot be changed at will. For example, “七手八脚” (seven hands and eight feet—meaning too many cooks spoil the broth). It can't be changed into ”八脚七手“ (eight feet and seven hands). “背井离乡”(leaving hometown) cannot be used as “背乡离井”.<br />
<br />
(2.2)Number-fixed words<br />
In a broad sense, Chinese idioms can be composed of three, four, five, six, seven or even more words, such as “闭门羹” (given a cold shoulder), “坐山观虎斗”(watch in safety while others fight,then reap the spoils when both sides are exhausted), “树欲静而风不止”(The tree wants to remain quiet, but the wind won't stop/ Things don’t go their ways), “塞翁失马焉知非福"(a blessing in disguise) and so on. However, the major form of Chinese idioms is a four-character structure.<br />
<br />
(2.3) The intergrity of meaning<br />
The meaning of an idiom is holistic in nature. In other words, the meaning of an idiom is not simply the sum of the literal meanings of its components. For example, "胸有成竹" literally means "to have a bamboo in one's chest", but its actual meaning is "to be prepared, to make up one's mind"; “废寝忘食” literally means "forget to eat and sleep", but its actual meaning is "to be extremely dedicated to work".<br />
<br />
===The Cultural Difference between Chinese and English idioms===<br />
English and Chinese are both extremely rich in idioms. These idioms greatly enhance the diversity and vividness of the expressive power of English and Chinese, becoming the bright pearls in these two languages. In our observation of English and Chinese idioms, we can easily find that there are many differences between these two idioms, which mainly come from the cultural differences in living environment, social customs, religious beliefs and history and culture between China and Britain.<br />
<br />
(1) Differences in Living Environment <br />
<br />
Culture cannot be produced without a specific natural geographic environment, and the same is true for idiom culture. China is a continental country with a large area and various terrains, which provide a enabling geographical environment for the development of agricultural civilization. Therefore, there are many Chinese idioms related to "agriculture" and "land", such as “挥金如土”(spend money like water). Britain is located in the British Isles, surrounded by seas, which gave birth to the maritime civilization. Many English idioms are related to "water" and "boat", for example, “挥金如土”(spend money like soil) can be translated as "spend money like water”. Such a translation is in line with the characteristics of maritime civilization.<br />
<br />
(2) Differences in social customs<br />
<br />
Social customs refer to the way of life of the inhabitants in a region. And they are related to all aspects of social life. For example, the image of animals is different in each nationality. People give different emotions to animals. For example, Chinese people keep dogs, traditionally for the purpose of watching over and protect their homes. British and American people, on the other hand, have dogs for companionship. In English, there is "lucky dog"(幸运儿) to refer to people in a positive sense, while in Chinese, most idioms related to "dog" have a negative meaning, such as “狐朋狗友”(fox friend and dog friend—meaning bad friends) etc..<br />
<br />
(3) Differences in Religious Beliefs<br />
<br />
Idioms related to religious beliefs also appear in large numbers in English and Chinese languages. Christianity is the dominant religion in British, and Westerners believe in the existence of God. There are many idioms about God in English. For example, "Man proposes, God disposes”. In China, there are many idioms about Buddhism. For example: “不二法门”(the only way to), “借花献佛”(present Buddha with borrowed flowers -- to borrow sthto make a gift of it), etc.<br />
<br />
(4) Differences in History and Culture<br />
<br />
Historical culture refers to the culture formed in a specific historical development process. One important element of it is historical tales. Historical stories are the treasures of a nation’s history and culture, containing rich historical and cultural information. Chinese idioms are mostly from the Four Books, the Five Classics, myths and legends, such as “东施效颦”(blind imitation with ludicrous effection)、“名落孙山”(fail in a competitive examination/be nowhere) and so on. English idioms are mostly from the Bible, Greek or Roman mythology or Aesop's Fables. For instance, "Achilles' hell”, “a Pandora's box”, etc..<br />
<br />
===Case study===<br />
<br />
This paper selects the English translation of Fortress Besieged by Jeanne Kelly as the text for analysis. The author is Qian Zhongshu. Through humorous language and pungent satire, the book depicts the decadent, rotten and sickly life of the so-called upper middle class intellectuals in old China during the Opium War. The book's language is humorous, witty, lively, and charming. Qian Zhongshu used idioms flexibly in the book, and sometimes took idioms’ literal meaning as a way of irony.<br />
<br />
(1) Foreinization<br />
<br />
When adopting the strategy of foreinization, translators need to try to preserve the linguistic characteristics and cultural features of the source language to achieve the purpose of cultural dissemination and communication. When translating, translators strive to convey the Chinese unique culture to the maximum extent while ensuring the accurate communication of information in the source language.<br />
<br />
Example 1：艳如桃李，冷若冰霜<br />
<br />
Translation：as delectable as peach and plum and as cold as frost and ice<br />
<br />
Analysis: “艳如桃李”is a metaphor for a face as delicate as a ripe peach plum; “冷若冰霜” is a metaphor for woman/man as cold as frost and treating people and things without emotion. “冷若冰霜” also refers to a stern and unapproachable attitude. Here the translator kept the four vehicles of "peach and plum" and "frost and ice" under the assurance that target-language readers could understand them.<br />
<br />
Example 2：便痛骂《沪报》一顿，把干仗人和假博士的来由用春秋笔法叙述一下，买假文凭是自己的滑稽玩世，认干亲戚是自己的和同随俗。<br />
<br />
Translation：Roundly cursing the paper, he briefly recounted, in the manner of the Spring and Autumn Chronicles, the full story behind his having an adoptive father-in-law and a fake doctorate. By purchasing a fake degree he was thumbing his nose at the world, he said; by accepting an adoptive relative, he was confroming to tradition, he argued.<br />
<br />
Analysis: “春秋” refered to the ancient chronological history book "Spring and Autumn Annals", which is said to have been compiled by Confucius from the history book "Spring and Autumn" of his home state of Lu. It recorded a total of 242 years of history from the year of 722 BC to the year of 481 BC. “笔法” refered to the method and technique of writing. In the Spring and Autumn Annals, Confucius implied praise and criticism in the text, in which the addition or subtraction of a word had a "subtle meaning", so it was called the "春秋笔法". Later, it refers to the writing technique of short and concise text, which implies positive and negative meanings. The translator has translated “春秋笔法” literally, preserving the characteristics of the Chinese culture.<br />
<br />
Example 3: 自信这一席话委婉得体，最后那一段尤其接得天衣无缝，曲尽文书科王主任所谓“顺水推舟”之妙，王主任起的信稿子怕也不过如此。<br />
<br />
Translation：He was confident his little speech was tactful and proper, especially the last part, which had been sewn together as flawlessly as “a divine suit of clothes”; it would achieve his objective in every way, what Chief-secretary Wang called as naturally and effortlessly as “pushing a boat downstream.”<br />
<br />
Analysis: “天衣无缝” is an idiom that evolved from a fable. The original meaning of “天衣无缝” is that the clothes worn by the gods in the heaven have no seams, but later it is used to describe natural and perfect poetries and writings, or things are well thought out and perfect, with no artificial traces of fabrication; “顺水推舟” means to push the boat according to the direction of the flowing water. It is a metaphor for talking and acting in a certain trend or in a certain way. It is from a famous story "The Injustice to Dou E". The translator has kept both vehicles, preserving the cultural characteristics of the original text to the greatest extent.<br />
<br />
(2) Domestication<br />
The translation strategy of domestication focuses on the culture of the target language. It attaches great importance to the authenticity, naturalness and fluency of the translated text so as to enhance the readability of the translation. When translating idioms with complicated cultural background, the translator has to make the target language audience understand the translation with the least possible effort in a short period of time.<br />
<br />
Example 4：塞翁失马，安知非福，使三年前结婚，则此番吾家破费不赀矣。<br />
<br />
Translation：This may be a blessing in disguise. If you had married three years earlier, this would have cost us a large sum of money.<br />
<br />
Analysis: “塞翁失马，安知非福” is a metaphor for a momentary loss, but instead it can be beneficial. It also means that a bad thing can become a good thing under certain conditions, and vice versa. This idiom is derived from the ancient story of "Seung-woong loses his horse". Here, the translator does not explain the story, but adopts a domesticating approach to translate the idiom into the English authentic expression "This may be a blessing in disguise", which makes the translation natural and easily understood.<br />
<br />
Example 5：假如苏小姐也不跟他讲话，鸿渐真要觉得自己子虚乌有，向五更鸡啼时的鬼影，或道家“视而不见，抟之不得”的真理了。<br />
<br />
Translation：If Miss Su hadn’t bothered to speak to him, Hung-chien would really have felt that he had thinned into nothingness, like a phantom of early dawn upon the cock’s crowing or the Taoist truth, which can be “looked at but not seen, expounded but not grasped.”<br />
<br />
Analysis: “子虚乌有” is an idiom derived from a historical story, and it was first taken from "The Composition Of Zixu" by Sima Xiangru in the Han Dynasty. 子虚(Zi Xu) and 乌有(Wu You) are both fictional characters in The Composition Of Zixu of Sima Xiangru in the Han Dynasty, so “子虚乌有” is used to indicate something that is hypothetical rather than real. It refers to something hypothetical, non-existent, or untrue. The translator takes the target language readers as the center, and adopts the translation method of paraphrasing, translating it as "thin into nothingness", which accurately conveys the meaning of the original text.<br />
<br />
Example 6：这时候他知道鸿渐跟自己河水不犯井水，态度轻松了许多，嗓子已恢复平日的响朗。<br />
<br />
Translation：Now that he realized he and Hung-chien were not in each other’s way, his attitude toward Hung-chien changed considerably, and his voice recovered its usual resonance.<br />
<br />
Analysis: “河水不犯井水” is a metaphor for both sides not to interfere or infringe on each other. The metaphorical meaning of the idiom is very vivid, but here the translator gives up the metaphorical meaning of the original text and chooses the authentic English expression <br />
“were not in each other’s way”, so that the target language readers can quickly understand the original text.<br />
<br />
===Conclusion===<br />
<br />
Chinese idioms are rich in connotation and diverse in form. And they have a deep cultural heritage. When translating such words, translators need to carefully analyze the original text and determine their deeper meanings according to the context, in an effort to meet the expectations of the readers of the translated text. This paper introduces the definition and features of Chinese idioms, explores the cultural differences between English and Chinese idioms, and analyzes the English translation of Fortress Besieged; from the perspectives of foreignization and domestication. Through the above analysis, it can be seen that the translator does not limit himself to one translation strategy, but flexibly adopts both foreignization and domestication strategies. When translating Chinese idioms with more complex cultural connotations, the translators prefer to adopt the domesticating translation strategy to translate the implied meaning of the idioms according to the context or to find authentic expressions in the target language to replace them, out of the pursuit of fluency and the acceptability of the target language readers. When translating idioms with less complex cultural connotations, translators prefer to adopt the strategy of foreignizing translation, which preserves the original metaphors and also helps to spread Chinese culture. No matter which strategy is used, translators should pay attention to avoid using words with strong national cultural connotation, which will make it difficult for readers of other different nationalities to read and understand the meaning and emotion that the author of the text wants to express.<br />
<br />
<br />
===References===<br />
[1]何勇斌.从文化传播视角探析汉语成语翻译[J].语文建设,2016(18):73-74.<br />
<br />
[2]莫丽红,戈玲玲.关联翻译理论视角下的汉语成语翻译[J].湖南社会科<br />
学,2012(02):189-191.<br />
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[3]史小平.译者语境视野下的汉语成语英译研究[J].湖北函授大学学报,2018,31(19):173-175.<br />
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[4]孙海波.文化差异下的英汉成语翻译[J].学术探索,2013(08):105-107.<br />
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[5] Shuttleworth, Mark. Dictionary of Translation Studies[Z]. Manchester: St. Jerome,1997.<br />
<br />
[6] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M]. London and New York: Routledge, 1995.<br />
<br />
[7] Venuti, Lawrence. The Translator’s Invisibility: A History of Translation[M].Shanghai: Foreign Language Education Press, 2006.<br />
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[8]王勤.四字格成语中颜色词的英译策略[J].湖南社会科学,2014(04):225-227.<br />
<br />
[9]张晶晶.功能对等视域下的英文汉语翻译策略[J].吕梁学院学报,2014(06):26-28<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory<br />
--Taking League of legends as an Example'''</center><br />
<br />
<center>Liu Chang</center><br />
<br />
===Abstract===<br />
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game. <br />
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.<br />
<br />
===Key words===<br />
Skopos Theory; Game Translation; League of Legends<br />
<br />
===Introduction===<br />
(1)Research Background<br />
<br />
With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material. <br />
<br />
(2)Brief Introduction to League of Legends<br />
<br />
League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!<br />
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.<br />
<br />
(3)Purpose and Significance of Game Translation<br />
<br />
As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.<br />
<br />
===Literature Review===<br />
(1) Review on Research of Skopos Theory of Translation<br />
<br />
Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”<br />
There are four stages of the development of the Skopos Theory of Translation:<br />
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).<br />
<br />
(2)Review on the Research of Game Translation<br />
<br />
With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).<br />
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011). <br />
<br />
(3)Summary<br />
<br />
The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.<br />
<br />
===Methods and Theories===<br />
(1)An Introduction to Skopos Theory<br />
<br />
Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text. <br />
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).<br />
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.<br />
<br />
(2)Basic Rules of Skopos Theory<br />
<br />
(2.1)The Skopos Rule<br />
<br />
In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15). <br />
<br />
(2.2)The Coherence Rule <br />
<br />
Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator. <br />
<br />
(2.3)The Fidelity Rule<br />
<br />
The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose. <br />
<br />
(3)Summary<br />
<br />
After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.<br />
<br />
===Translation Under Skopos Theory===<br />
(1)Translation Under Skopos Rule<br />
<br />
LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals. <br />
<br />
Example 1:<br />
<br />
Original version: Xayah, Rakan<br />
<br />
Chinese version：霞、洛<br />
<br />
In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.<br />
<br />
Example 2<br />
<br />
Original version: Here’s a tip and a spear behind.<br />
<br />
Chinese version: 一点寒芒先到，随后枪出如龙。<br />
<br />
In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player. <br />
<br />
(2)Translation Under Coherence Rule <br />
<br />
The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: the outlaw<br />
<br />
Chinese version: 法外狂徒<br />
<br />
Nick name: 男枪<br />
<br />
The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player. <br />
Example 2:<br />
<br />
Original version: The Deceiver<br />
<br />
Chinese version: 诡术妖姬<br />
<br />
In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.<br />
<br />
(3)Translation Under Fidelity Rule<br />
<br />
The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.<br />
<br />
Example 1:<br />
<br />
Original version: Monkey King<br />
<br />
Chinese version: 齐天大圣<br />
<br />
In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.<br />
<br />
Example 2:<br />
<br />
Original version: The fist of Shadow<br />
<br />
Chinese version: 暗影之拳<br />
<br />
In this case, the translator just uses the literal translation to translate the title, also there is <br />
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.<br />
<br />
===Mistranslation in League of Legends===<br />
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.<br />
<br />
(1)Mistranslation Against Skopos Rule<br />
<br />
In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.<br />
<br />
Example 1:<br />
<br />
Original version: Minotaur<br />
<br />
Chinese version：牛头酋长<br />
<br />
In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.<br />
<br />
Example 2:<br />
<br />
Original version：The Lady of Clockwork<br />
<br />
Chinese version: 发条魔灵<br />
<br />
In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.<br />
<br />
(2)Mistranslation Against Coherence Rule<br />
<br />
During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.<br />
<br />
Example 1:<br />
<br />
Original version: The might of Demacia<br />
<br />
Chinese version: 德玛西亚之力<br />
<br />
In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.<br />
<br />
Example 2: <br />
<br />
Original version: The Defender of Tomorrow<br />
<br />
Chinese version: 未来守护者<br />
<br />
In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.<br />
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(3)Mistranslation Against Fidelity Rule<br />
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During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.<br />
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Example 1:<br />
<br />
Original version: The Rabble Rouser<br />
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Chinese version: 酒桶<br />
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In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.<br />
<br />
Example 2: <br />
<br />
Original version: The Hexplosive Expert<br />
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Chinese version: 爆破鬼才<br />
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In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.<br />
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(3)Summary<br />
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.<br />
<br />
===Conclusion===<br />
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style. <br />
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline. <br />
<br />
===References===<br />
Chesterman, A. Readings in Translation Theory[M]. Helsinki: Oy Finn Lectura Ab. 1989.<br />
<br />
Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.<br />
<br />
Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.<br />
<br />
Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.<br />
<br />
Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.<br />
<br />
Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.<br />
<br />
Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.<br />
<br />
Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.<br />
<br />
Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.<br />
<br />
Vermeer, H. Skopos Theory of Translation[M]. 1996.<br />
<br />
Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.<br />
<br />
Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.<br />
<br />
Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.<br />
<br />
Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.<br />
<br />
Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.<br />
<br />
Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.<br />
<br />
Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.<br />
<br />
Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.<br />
<br />
Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009. <br />
<br />
Zhang Yiyang张逸洋. 功能学派目的论视角下的电子游戏翻译[D]. 福建师范大学，2016.<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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'''The Transmission of Chinese Folk Art'''<br />
===Abstract===<br />
===Key words===<br />
===Introduction===<br />
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.<br />
===Subtitle1===<br />
===Subtitle2===<br />
===Subtitle2===<br />
===Conclusion===<br />
===References===</div>Li Yuanhttps://bou.de/u/index.php?title=20220602_homework&diff=14385620220602 homework2022-05-31T15:59:37Z<p>Li Yuan: /* 英语笔译 李颖 Li Ying 202170081578 */</p>
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IN PREPARATION<br />
<br />
=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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虽是玩话，细想来倒也有些意思。我想宝琴虽有了人家，我虽无人可给，难道一句话也不说？我想你宝兄弟，老太太那样疼他，他又生得那样，若要外头说去，老太太断不中意，不如把你林妹妹定与他，岂不四角俱全？”黛玉先还怔怔的，后来见说到自己身上，便啐了宝钗一口，红了脸，拉着宝钗笑道：“我只打你！为什么招出姨妈这些老没正经的话来？”宝钗笑道：“这可奇了！妈妈说你，为什么打我？”紫鹃忙跑来笑道：“姨太太既有这主意，为什么不和太太说去？”<br />
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A joke as it was, the old lady should have this intention, I suppose. Although I can select no one except Precious Strings, who has been engaged, how can’t I help with Precious Jade’s marriage? As for this issue, our old lady is so doting on her grandson, such a handsome man, so it’s expected that she will definitely not be satisfied with a girl from an unfamiliar family as her granddaughter-in-law. Your Sister Forest seems to be a better choice than any others. Isn’t it a perfect match, is it? ” At first, Mascara Jade was absent-minded at the topic, and then realized the topic had come to her, so the blushed girl pretended to spit at Precious Hairpin and pushed her, “I’ll knock your head off! You just entice your mother to make such ridiculous remarks!” “It indeed amazes me! Mom gossiped about you! And why you beat me!”Precious Hairpin joked. Nightingale also came to join them, “Now that Lady Marshgrass has this idea, you shall talk it to Grandma Merchant.”<br />
<br />
Thank you for your correction work this semester! (*￣︶￣)<br />
<br />
（reply: My enjoyment, sweet girl~）<br />
<br />
<br />
A joke as it was, the old lady should have this intention, I suppose. Although I can select no one except Precious Strings, who has been engaged, how can I pass over Precious Jade’s marriage? As for this issue, our old lady has been so doting on her grandson, such a handsome man, so it’s expected that she will definitely not be satisfied with a girl from an unfamiliar family as her granddaughter-in-law. Your Sister Forest seems to be a better choice than any others. Isn’t it a perfect match, is it? ” At first, Mascara Jade was absent-minded at the topic, and then realized the topic had come to her, so the blushed girl pretended to spit at Precious Hairpin and pulled her arm, “I’ll knock your head off! You just entice your mother to make such ridiculous remarks!” “It indeed amazes me! It's Mom that gossiped about you! And why you beat me!”Precious Hairpin joked. Nightingale also came to join them, “Now that Lady Marshgrass has this idea, you shall talk it to Grandma Merchant.”--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:44, 29 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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薛姨妈笑道：“你这孩子急什么！想必催着姑娘出了阁，你也要早些寻一个小女婿去了。”紫鹃也红了脸，笑道：“姨太太真个倚老卖老的！”说着便转身去了。黛玉先骂：“又与你这蹄子什么相干！”后来见了这样，也笑道：“阿弥陀佛！该，该，该！也臊了一鼻子灰去了！”薛姨妈母女及婆子丫鬟都笑起来。一语未了，忽见湘云走来，手里拿着一张当票，口内笑道：“这是什么账篇子？”黛玉瞧了，不认得。地下婆子们都笑道：“这可是一件好东西！这个乖不是<br />
白教的。”<br />
<br />
"What are you hurry for, child?" teased Aunt Marshgrass. "I reckon the sooner your mistress is married off, the sooner you can find yourself a young husband." Nightingale flushed to turn back, "You’re taking advantage of one's seniority, your Ladyship!" Then she went away. "What business does it have with you?" scolded Mascara Forest, and then laughed too at her discomfiture. "Amitabha! She deserves it!" Aunt Marshgrass, Precious Hairpin and all the present joined the laughter. At that moment, Fragrant Cloud came in, with a pawn ticket in her hand. "What’s this bill for?" she asked smilingly. Mascara Forest took a look but did not know what it was. "It’s something marvelous," the married servants laughed. "But we won’t teach you for nothing."<br />
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<br />
<br />
"What are you hurry for, child?" teased Aunt Marshgrass. "I reckon the sooner your mistress is married off, the sooner you can find yourself a young husband." Nightingale flushed to turn back, "You’re taking advantage of one's seniority, your Ladyship!" Then she went away. "What business does it have with you?" scolded Mascara Forest, and then laughed too at her discomfiture. "Amitabha! She deserves it!" Aunt Marshgrass, Precious Hairpin and all the present joined the laughter. At that moment, Fragrant Cloud came in, with a pawn ticket in her hand. "What’s this bill for?" she asked smilingly. Mascara Forest took a look but did not know what it was. "It’s something marvelous," the married servants laughed. "But we won’t teach you for nothing."--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 11:16, 30 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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宝钗忙一把接了看时，正是岫烟才说的当票子，忙折了起来。薛姨妈忙说：“那必定是那个妈妈的当票子失落了，回来急的他们找。那里得的？”湘云道：“什么‘当票子’？”众人笑道：“真真是个呆子，连个票子也不知道！”薛姨妈叹道：“怨不得他，真真是侯门千金，而且又小，那里知道这个？那里去有这个？便是家下人有这个，他如何得见？别笑他是呆子，若给你们家的姑娘看了，也都成了呆子。”众婆子笑道：“林姑娘方才也不认得。别说姑娘们。就如宝玉，倒是外头常走出去的，只怕也还没见过呢。”<br />
<br />
Precious Hairpin took it from Fragrant-cloud and found that it was the pawn Tadpole had mentioned. She hastily folded it up.‘It must be a pawn ticket some old nurse has lost,’ said Aunt Marshgrass. ‘She’ll be frantic when she can’t find it.’‘A pawn ticket? What’s that?’ asked Fragrant-cloud.Everybody laughed.‘You idiot! You doesn’t even know what a pawn ticket is.’‘That’s quite natural,’ remarked Aunt Marshgrass. ‘As the daughter of a noble house, and still young, how could she know of such things? Where would she have seen one? Even if some one in their household had one, she wouldn’t set eyes on it. So don’t you go calling her an idiot. If you showed your young mistresses this, that would make them all idiots,too.’‘Just now Sister Fores didn’t know it either,’ agreed the women. ‘And not only the young ladies. We’d be surprised if Precious Jade doesn't know what it is, though he often goes outside.’<br />
Precious Hairpin took it from Fragrant-cloud and found that it was the pawn Tadpole had mentioned. She hastily folded it up.‘It must be a pawn ticket some old nurse has lost,’ said Aunt Marshgrass. ‘She’ll be frantic when she can’t find it.’‘A pawn ticket? What’s that?’ asked Fragrant-cloud.Everybody laughed.‘You idiot! You doesn’t even know what a pawn ticket is.’‘That’s quite natural,’ remarked Aunt Marshgrass. ‘As the daughter of a noble house, and still young, how could she know of such things? Where would she have seen one? Even if some one in their household had one, she wouldn’t set eyes on it. So don’t you go calling her an idiot. If you showed your young mistresses this, that would make them all idiots,too.’‘Just now Sister Fores didn’t know it either,’ agreed the women. ‘And not only the young ladies. We’d be surprised if Precious Jade doesn't know what it is, though he often goes outside.’--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 12:58, 30 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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薛姨妈忙将原故讲明。湘云黛玉二人听了，方笑道：“这人也太会想钱了！姨妈家当铺也有这个不成？”众人笑道：“这更呆了！‘天下老鸹一般黑’，岂有两样的。”薛姨妈因又问：“是那里拾的？”湘云方欲说时，宝钗忙说：“是一张死了没用的，不知是那年勾了账的。香菱拿着哄他们玩的。”薛姨妈听了此话是真，也就不问了。一时人来回：“那府里大奶奶过来请姨太太说话呢。”薛姨妈起身去了。这里屋内无人时，宝钗方问湘云：“何处拾的？”湘云笑道：“我见你令弟媳的丫头篆儿悄悄的递与莺儿。<br />
<br />
Aunt Marshgrass quickly explained the reason. When the two of them heard this, Fang laughed and said, "This man is so good at thinking about money! My aunt's pawnshop has that too?" The crowd laughed: "This is more foolish! There is nothing different about the pot calling the kettle black. Aunt Marshgrass asked again, "Where did you pick it up?" When Fragrant-cloud History was about to say something, Precious Hairpin Marshgrass replied, "It's a dead one. I don't know if it was written that year. Wiselotus Potterymaker is holding it to coax them." Aunt Marshgrass heard this to be true and asked no more questions. At that time a person back and forth: "that mansion big grandma come to ask a concubine to talk." Aunt Marshgrass got up and went. When there was no one in the room, Precious Hairpin Marshgrass asked Fragrant-cloud History, "Where did you pick it up?" Fragrant-cloud History said with a smile, "I saw you make your sister-in-law's wench whisper to Maid Oriole.<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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莺儿便随手夹在书里，只当我没看见。我等他们出去了，我偷着看，竟不认得。知道你们都在这里，所以拿来大家认认。”黛玉忙问：“怎么他也当衣裳不成？既当了，怎么又给你去？”宝钗见问，不好隐瞒他两个，便将方才之事，都告诉了他二人。黛玉便说：“兔死狐悲，物伤其类”，不免也要感叹起来了。史湘云听了，便动了气，说：“等我问着二姐姐去！我骂那起老婆子丫头一顿，给你们出气，何如？”说着，便要走出去，宝钗忙一把拉住，笑道：“你又发疯了，还不给我坐着呢！”<br />
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"Warbler then clipped it in the book, and thought I did not notice. After they went out, I took a peep at it but did not know what it is. I knew you were all here, so I brought it for everyone to recognize." Mascara Jade asked , "Did she pawn her clothes too? And if so, why should she give the ticket to you?" Knowing it is not good to hide the truth, then Precious Hairpin told them what had happened. Mascara Jade then said, "It's like the fox is sad at the death of a hare and all beings grieve for their fellow beings." And she can not help but also sigh up. However,Fragrant-cloud became angry and said, "Wait till I go to ask the second sister! What if I scolded the old woman to vent your anger on them?" Precious Hairpin quickly stopped her and said with a smile, "You are crazy again. Hurry to sit down here!"<br />
<br />
"Warbler then clipped it in the book, and thought I did not notice. After they went out, I took a peep at it but did not know what it is. I knew you were all here, so I brought it for everyone to recognize." Mascara Jade asked , "Did she pawn her clothes too? And if so, why should she give it to you?" Knowing it is not good to hide the truth, then Precious Hairpin told them what had happened. Mascara Jade then said, "It's like the fox is sad at the death of a hare and all beings grieve for their fellow beings." And she can not help but also sigh up. However,Fragrant-cloud became angry and said, "Wait till I go to ask the second sister! What if I scolded the old woman to vent your anger on them?" Precious Hairpin quickly stopped her and said with a smile, "You are crazy again. Hurry to sit down here!"--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 05:26, 31 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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黛玉笑道：“你要是个男人，出去打一个抱不平儿。你又充什么荆轲、聂政？真真好笑。”湘云道：“既不叫我问他去，明日也把他接到咱们院里一处住去，岂不是好？”宝钗笑道：“明日再商量。”说着，人报：“三姑娘四姑娘来了。”三人听说，忙掩了口，不提此事。要知端的，且听下回分解。<br />
◎第五十八回 杏子阴假凤泣虚凰 茜纱窗真情揆痴理<br />
话说他三人因见探春等进来，忙将此话掩住不提。探春等问候过，大家说笑了一会方散。谁知上回所表的那位老太妃已薨，凡诰命等皆入朝随班，按爵守制；<br />
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Mascara Jade said with a smile, "If you were a man, go out and fight for justice. What are you calling Jing Ke and Nie Zheng for? It's really funny." Fragrant-cloud said, "If you don't ask me to ask him, I'll pick him up tomorrow. Wouldn’t it be good for us to live in one place in the courtyard?” Precious Hairpin smiled and said, “We’ll discuss it tomorrow.” Then the people reported, “The third girl and fourth girl come here.” Knowing this, they shut their mouth and said nothing. To know the truth, and listen to the next decomposition. <br />
◎The fifty-eighth chapter Xingzi Yin fake phoenix weeping illusory phoenix Qian screen window is true and idiotic. It was said that the three of them were waiting to come in because of seeing Seeking-Spring so they hurriedly covered up this remark. After Seeking-Spring and other greetings, everyone joked and laughed for a while before dispersing. Who would have known that the old concubine who was listed last time had passed away, and all the appointments, etc., would enter the court and follow the class, and be held by the rank;<br />
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Mascara Jade said with a quizzical smile, "If you were a real man, go out and fight for justice. What are you calling Jing Ke and Nie Zheng for? It's really funny." Fragrant-cloud said, "If you don't ask me to ask him, I'll pick him up tomorrow. Wouldn’t it be good for us to give him a room to live in in the courtyard?” Precious Hairpin smiled and said, “We’ll discuss it tomorrow.” Then the people reported, “The third girl and fourth girl are coming.” Knowing this, they ended their conversation. To know the truth, listen to the next decomposition. <br />
◎The fifty-eighth chapter Xingzi Yin fake phoenix weeping illusory phoenix Qian screen window is true and idiotic. It was said that the three of them were waiting to come in because of seeing Seeking-Spring so they hurriedly covered up this remark. After Seeking-Spring and her greetings, everyone joked and laughed for a while before dispersing. Who would have known that the old concubine who was listed last time had passed away, and all the appointments, etc., would enter the court and follow the class, and be held by the rank;--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 13:34, 31 May 2022 (UTC)<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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敕谕天下，凡有爵之家，一年内不得筵宴音乐，庶民皆三月不得婚姻。贾母婆媳祖孙等俱每日入朝随祭，至未正以后方回。在大偏宫二十一日后，方请灵入先陵，地名孝慈县。这陵离都来往得十来日之功，如今请灵至此，还要停放数日，方入地宫，故得一月光景。宁府贾珍夫妻二人，也少不得是要去的。两府无人，因此大家计议，家中无主，便报了“尤氏产育”，将他腾挪出来，协理荣宁两处事件。因托了薛姨妈在园内照管他姊妹丫鬟。薛姨妈只得也挪进园来。<br />
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It announced that Nobles throughout the empire were forbidden feasting and music for a year, while common people were prohibited from marrying for three months.<br />
Grandma Merchant with her daughter-in-law as well as grandchildren of the family had to go to court every morning and offered the sacrifice, not returning until around two p.m. After twenty-one days of lying in state in the Great Inner Court of the Side Palace, the coffin would be conveyed to the Imperial Mausoleum in the county called Filial Kindness; and as this was some ten days journey from the capital, the coffin would have to wait there for several days before it could be interred in the underground palace, the whole proceedings would occupy nearly one month. Treasure Merchant and his wife should both have assisted at these obsequies; but as that would have left no one at home, after much discussion they decided to beg leave from the court for Madam Outstanding on the plea that she was with the child so that she could take over the supervision of the two mansions. Aunt Marshgrass, having been prevailed upon to take care of the girls and maids in the Garden, now had to move in there too.<br />
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It announced that Nobles throughout the empire were forbidden feasting and music for a year, while common people were prohibited from marrying for three months. Grandma Merchant with her daughter-in-law as well as grandchildren of the family had to go to court every morning and offered the sacrifice, not returning until around two in the afternoon. After twenty-one days of lying in state in the Great Inner Court of the Side Palace, the coffin would be conveyed to the Imperial Mausoleum in the county called Filial Kindness; and as this was some ten days journey from the capital, the coffin would have to wait there for several days before it could be interred in the underground palace, the whole proceedings would occupy nearly one month. Treasure Merchant and his wife of the Ning Mansion should both have assisted at these obsequies; but as that would have left no one at home, after much discussion they decided to beg leave from the court for Madam Outstanding on the plea that she was with child, so that she could take over the supervision of the two mansions. Aunt Marshgrass, having been prevailed upon to take care of the girls and maids in the Garden, now had to move in there too.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 15:11, 29 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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因宝钗处有湘云香菱，李纨处目今李婶母虽去，然有时来住，三五日不定，贾母又将宝琴送与他去照管；迎春处有岫烟；探春因家务冗杂，且不时有赵姨娘与贾环来嘈聒，甚不方便，惜春处房屋狭小，况贾母又千叮咛万嘱咐托他照管林黛玉，薛姨妈素习也最怜爱他的，今既巧遇这事，便挪至潇湘馆来和黛玉同房，一应药饵饮食，十分经心。黛玉感戴不尽，以后便亦如宝钗之称呼，连宝钗前亦直以“姐姐”呼之，宝琴前直以“妹妹”呼之，俨似同胞共出，较诸人更似亲切。贾母见如此，也十分喜悦放心。<br />
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Precious Hairpin already had Fragrant-cloud and Wiselotus Potterymaker living with her; Silk Plum, although her aunt and her aunt's two daughters were not staying with her, received visits from them every few days, and she had been entrusted with Precious Strings as well by the Grandma Merchant; Spring Pleasure was sharing with Cloud Marshgrass; Seeking-Spring's apartments were not convenient either, as she was fully occupied with household affairs and the trouble caused by Concubine Walk and Ring Merchant; and Cherishing Spring's place was limited. Besides, as the old lady had asked Aunt Marshgrass to take special care of Mascara Jade Forest, for whom she herself felt the deepest sympathy. Under the circumstances she naturally moved into Bamboo Lodge where she shared Mascara Jade's room and kept a strict eye on the girl's medicines. Mascara Jade was more grateful for this than words can tell, She began to treat Aunt Marshgrass as her own mother and Precious Hairpin and Precious Strings as her sisters, feeling closer to them than to all the other girls. Grandma Merchant was very relieved and happy to observe this condition.<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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薛姨妈只不过照管他姊妹，禁约得丫鬟辈；一应家中大小事务也不肯多口。尤氏虽天天过来，也不过应名点卯，亦不肯乱作威福，且他家内上下，也只剩他一个料理；再者，每日还要照管贾母王夫人的下处一应所需饮馔铺设之物：所以也甚操劳。当下荣宁两处主人既如此不暇，并两处执事人等，或有跟随着入朝的，或有朝外照理下处事务的，又有先踩踏下处的，也都各各忙乱。因此两处下人无了正经头绪，也都偷安，或乘隙结党，与权暂执事者窃弄威福。荣府只留得赖大并几个管家照管外务。<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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这赖大手下常用几个人已去，虽另委人，都是些生的，只觉不顺手。且他们无知，或赚骗无节，或呈告无据，或举荐无因，种种不善，在在生事，也难备述。又见各官宦家，凡养优伶男女者，一概蠲免遣发，尤氏等便议定，待王夫人回家回明，也欲遣发十二个女孩子。又说：“这些人原是买的，如今虽不学唱，尽可留着使唤，只令其教习们自去也罢了。”王夫人因说：“这学戏的倒比不得使唤的，他们也是好人家的女儿，因无能，卖了做这事，装丑弄鬼的几年，如今有这机会，不如给他们几两银子盘费，各自去罢。<br />
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Big Rely's trusted servants had gone somewhere else, although he had appointed others, he was not familiar with them so he felt that it was not going well. Moreover, they were ignorant, dishonest, reported without evidence, or recommended for no reason. All in all, they have so many inadequacies, too much to account. As all the official families had dismissed all the actors and actresses raised in their house, Madam Outstanding and others agreed that they also wanted to lay off twelve maids when Lady King came back home. She added, "These people were bought from traffickers at first, but now, although they don't learn to sing, we can keep them and let serving women teach them to do household work ."Lady King said, "there is no comparison between these servants and actors who are also the daughters of good families, they were sold to learn performing for their families' deficit financial condition. Having been acting in opera for several years, they have this opportunity to do something else now, it's better to give them a few taels of silver and let them go somewhere else."--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 12:53, 28 May 2022 (UTC)<br />
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Big Rely's trusted servants had gone somewhere else, although he had appointed others, he was not familiar with them so he felt that it was not going well. Moreover, they were ignorant, dishonest, reported without evidence, or recommended for no reason. Generally speaking, they have so many inadequacies, too much to account. As all the official families had dismissed all the actors and actresses raised in their house, Madam Outstanding and others agreed that they also wanted to lay off twelve maids when Lady King came back home. She added, "These people were bought from traffickers at first, but now, although they don't learn to sing, we can keep them and let serving women teach them to do household work ."Lady King said, "there is no comparison between these servants and actors who are also the daughters of good families, they were sold to learn performing for their families' deficit financial condition. Having been acting in opera for several years, they have this opportunity to do something else now, it's better to give them a few taels of silver and let them go somewhere else."--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 01:34, 31 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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当日祖宗手里都是有这例的。咱们如今损阴坏德，而且还小器。如今虽有几个老的还在，那是他们各有原故，不肯回去的，所以才留下使唤的，大了配了我们家里小厮们了。”尤氏道：“如今我们也去问他十二个，有愿意回去的，就带了信儿，叫他父母来亲自来领回去，给他们几两银子盘缠，方妥；倘若不叫上他的亲人来，只怕有混帐人冒名领出去，又转卖了，岂不辜负了这恩典？若有不愿意回去的，就留下。”王夫人笑道：“这话妥当。”尤氏等遣人告诉了凤姐儿，一面说与总理房中，每教习给银八两，令其自便。<br />
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There is a precedent for this in the time of our ancestors. Now we have become immoral and mean. Now there are still a few old servants left, have their own difficulties. Let the older pair with the younger." "Now let's ask the servants what they think of it," said Outstanding. "If any of them want to go home, let them write to their parents and ask them to take them home. And gave them a few taels of silver for their journey home. If there are no relatives to take them, it is likely that a fraudster will take their place, lead them out and then sell them again. Then all the good work we've done has gone down the drain. Those who don't want to go home, let them stay." Lady King smiled and said, "It's good to do that." Outstanding called servant notice Splendid Phoenix King, and then told the accountant about it. Each servant was given eight ounces of silver to decide for themselves.<br />
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There is a precedent for this in the time of our ancestors. Now we have become immoral and mean. Now there are still a few old servants left, because they have their own difficulties. Let the older pair with the younger." "Now let's ask these twelve girls about their thoughts," said Madam Outstanding. "If any of them want to go home, then let them write to their parents and ask them to take them home, with giving them a few taels of silver for their journey home. If there are no relatives to take them, it is likely that a fraudster will take their place, and sell them out again. Then all the good work we've done has gone down the drain. Those who don't want to go home can be kept." Lady King smiled and said, "It's good to do that." Madam Outstanding ordered a servant to inform Sister Phoenix, and then told the accountant about it. Each instructor was given an eight-tael gratuity with free permission to leave.--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 13:08, 28 May 2022 (UTC)<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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凡梨香院一应物件，查清记册收明，派人上夜。将十二个女孩子叫来，当面细问，倒有一多半不愿意回家的：也有说父母虽有，他只以卖我们姊妹为事，这一去还被他卖了；也有父母已亡，或被叔伯兄弟所卖的；也有说无人可投的；也有说恋恩不舍的。所愿去者止四五人。王夫人听了，只得留下。将去者四五人皆令其干娘领回家去，单等他亲父母来领；将不愿去者，分散在园中使唤。贾母便留下文官自使，将正旦芳官指与宝玉，将小旦蕊官送了宝钗，将小生藕官指与了黛玉，将大花面葵官送了湘云，将小花面豆官送了宝琴，将老外艾官指与了探春，尤氏便讨了老旦茄官去。<br />
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Everything in Pear Fragrance Court was inventoried and put away, and some servants were appointed to guard the place at night. Twelve girls were called for and questioned, and more than half of them did not want to go home. Others said that their parents only sold their daughters for money, and if they went back they would be sold again. Some said their parents were dead and they were sold by their brothers or uncles. But others said there was no one to depend; there were also those who said they didn’t want to leave this kind family which had been so good to them. There were only four or five people who wished to go. When Lady King heard this she had to keep them. The few who chose to leave were instructed to stay with their foster-mothers until their own parents should come for them; and she allocated those people who stayed there to work in the Garden. Grandma Merchant then left Literal Official, and allocated Fragrant Official who played the part of young ladies to Precious Jade, Actress Pistil who played pert maids to Precious Hairpin, Actress Lotus-root who played young gentlemen to Mascara Jade, Sunflower who played the chief warriors to Fragrant-cloud, Bean who played lesser warriors to Precious Strings, Chinese Mugwort who played old men to Seeking-Spring. Madam Outstanding then took Entertainer whose role was old women.<br />
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Everything in Pear Fragrance Court was inventoried and put away, and some servants were appointed to guard the place at night. Twelve girls were called for and questioned carefully by the way of facing each other, and more than half of them did not want to go home. Others said that even though their parents weren't poor ,they still sold their daughters for money, and if they went back they would be sold again. Some said their parents were dead and they were sold by their brothers or uncles. But others said there was no one to depend; there were also those who said they didn’t want to leave this kind family which had been so good to them. There were only four or five people who wished to leave. When Lady King heard this she had to keep them. The few who chose to leave were instructed to stay with their foster-mothers until their own parents should come for them; and she allocated those people who stayed there to work in the Garden. Grandma Merchant then left Literal Official, and allocated Fragrant Official who played the part of young ladies to Precious Jade, Actress Pistil who played pert maids to Precious Hairpin, Actress Lotus-root who played young gentlemen to Mascara Jade, Sunflower who played the chief warriors to Fragrant-cloud, Bean who played lesser warriors to Precious Strings, Chinese Mugwort who played old men to Seeking-Spring. Madam Outstanding then took Entertainer whose role was old women.--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 03:14, 29 May 2022 (UTC)Li Ying<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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当下各得其所，就如那倦鸟出笼，每日园中游戏。众人皆知他们不能针黹，不惯使用，皆不大责备。其中或有一二个知事的，愁将来无应时之技，亦将本技丢开，便学起针黹纺绩女工诸务。一日正是朝中大祭，贾母等五更便去了，下处用些点心小食，然后入朝。早膳已毕，方退至下处歇息，用过早饭，略歇片刻，复入朝待中晚二祭，方出至下处歇息。用过晚饭方回家。可巧这下处乃是一个大官的家庙，乃比丘尼焚修，房舍极多极净，东西二院，荣府便赁了东院；北静王府便赁了西院。<br />
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Once places had been found of them, they were like the uncaged bird enjoying the fresh air, did nothing all day but wander about happily in the garden.Everyone knows they aren't able to cook and sew, so they don't blame them." It is true that one or two of them had the good sense to see that the future would be bleak for them without a craft, now that their theatrical training had been discontinued, and who applied themselves to learning domestic skills like sewing and spinning; but they were the exception. It is time for the great sacrifice at the court.The Granny Merchant prepared to went to the court, she ate some deserts at about 4 a.m in the morning and then proceed to the court.After breakfast, she returned home to rest for a while. Then she had participated in the second sacrifice held at moon or night. As the ceremony finished ,she had time to rest. By chance，the hostel，the family temple of a high official，had nuns in residence and scores of cells all of which were scrupulous clean.There are two mansions respectively located in the west and east. The Ring Mansions party had the use of the east courtyard, the Prince of Beijing's household that of the west.<br />
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Once places had been found for them, they were like the uncaged bird enjoying the fresh air, ad did nothing all day but wander about happily in the Garden. Everyone knew they weren't able to and used to cooking and sewing, so they did't blame them. It was true that one or two of them had the good sense to see that the future would be bleak for them without a craft. Now that their theatrical training had been discontinued, they applied themselves to learning domestic skills like sewing and spinning. One day, it was the time for the great sacrifice at the court. The Grandma Merchant prepared to the court at about 4 o'clock in the morning, ate some deserts in the place for rest, and then proceeded to the court. After breakfast, she returned the former place to have a rest for a while and have breakfast. Then she participated in the second sacrifice held at moon and night. As the ceremony finished ,she had time to rest, and she could went home after dinner. By chance，the hostel，the family temple of a high official，had nuns in residence and scores of cells all of which were scrupulously clean. There were two mansions respectively located in the west and east. The Ring Mansions party had the use of the east courtyard, while the Prince of Beijing's household was that of the west.--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 15:59, 31 May 2022 (UTC)<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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太妃少妃每日宴息，见贾母等在东院，彼此同出同入，都有照应。外面细事不消细述。且说大观园内，因贾母王夫人天天不在家内，又送灵去一月方回，各丫鬟婆子，皆有闲空，多在园中游玩，更又将梨香院内伏侍的众婆子一概撤回，并散在园内听使，更觉园内人多了几十个。因文官等一干人，或心性高傲，或倚势凌下，或拣衣挑食，或口角锋芒，大概不安分守己者多，因此众婆子含怨，只是口中不敢与他们分争；如今散了学，大家趁了愿；也有丢开手的；也有心地狭窄犹怀旧怨的，因将众人皆分在各房名下，不敢来厮侵。<br />
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The two ladies would see Grandma Merchant in the banquet held in the east of the Garden each day, and they were together all the time to be there for each other. There was no need to talk about the outside thins. In the Garden, when Grandma Merchant and Lady King were away from home for the funeral affairs and would come back a month later, all the maids and women servants were free from work and had fun in the Garden. What’s more, all the women servants of the Peer Fragrance Court were called back and then sent to serve around the Garden. Then, there were more dozens of people in the Garden. Literal Official and other girls were arrogant, likely to throw weight on others, fastidious about food and clothing, and likely to speak harsh words. That is to say, they were not inclined to be obedient. Hence, other women servants complained about their behaviors, but they dared not to argue with them. Now, they would be relieved after the closing of the opera club. Some of them were open to it, while others were too mean to let the former thing go. Therefore, they were arranged to serve different places, so they dared not to fight with each other.<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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可巧这日乃是清明之日，贾琏已备下年例祭祀，带领贾环、贾琮、贾兰三人去往铁槛寺祭柩烧纸；宁府贾蓉也同族中人各办祭祀前往。因宝玉病未大愈，故不曾去得。饭后发倦，袭人因说：“天气甚好，你且出去逛逛，省的丢下粥碗就睡，存在心里。”宝玉听说，只得拄了一支杖，靸着鞋，步出院来。因近日将园中分与众婆子料理，各司各业，皆在忙时：也有修竹的，也有??树的，也有栽花的，也有种豆的，池中间又有驾娘们行着船夹泥的，种藕的。湘云、香菱、宝琴与些丫鬟等都坐在山石上瞧他们取乐。宝玉也慢慢行来。<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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湘云见了他来，忙笑说：“快把这船打出去！他们是接林妹妹的。”众人都笑起来。宝玉红了脸，也笑道：“人家的病，谁是好意的，你也形容着取笑儿。”湘云笑道：“病也比人家另一样，原招笑儿，反说起人来。”说着，宝玉便也坐下，看着众人忙乱了一回。湘云因说：“这里有风，石头上又冷，坐坐去罢。”宝玉也正要去瞧黛玉，起身拄拐，辞了他们，从沁芳桥一带堤上走来。只见柳垂金线，桃吐丹霞，山石之后，一株大杏树，花已全落，叶稠阴翠，上面已结了豆子大小的许多小杏。<br />
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Fragrant-cloud saw him coming, and said with a smile, "Quickly launch this ship! They were to pick up Sister Forest. The crowd laughed. Precious Jade blushed and laughed: "her illness, who is well-intentioned, you also describe it as making fun of it." Fragrant-cloud laughed: "The illness, the same as people, is interesting. Don’t blame me." With that, Precious Jade also sat down and watched the busy crowd. Fragrant-cloud said, "It is windy and cold on the stone, don’t stay here too long." Precious Jade was also about to go to see Mascara Jade, so he got up on crutches, resigned from them, and walked from the embankment around Qinfang Bridge. On the road, he saw the willow weeping, peach blossoms. After the mountain stone, he saw a large apricot tree, whose flowers have all fallen and leaves are thick and shady. Many bean-sized apricots have been formed on it.<br />
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Fragrant-cloud saw him coming, and said with a smile, "Quickly launch this ship! They were to pick up Sister Forest. The crowd laughed. Precious Jade blushed and laughed: "her illness, who is well-intentioned, you also describe it as making fun of it." Fragrant-cloud laughed: "The illness, the same as people, is interesting. Don’t blame me." With that, Precious Jade also sat down and watched the busy crowd. Fragrant-cloud said, "It is windy and cold on the stone, don’t stay here too long." Precious Jade was also about to go to see Mascara Jade, so he got up on crutches, resigned from them, and walked from the embankment around Qinfang Bridge. On the road, he saw the willow weeping, peach blossoms. After the mountain stone, he saw a large apricot tree, whose flowers have all fallen and leaves are thick and shady. Many bean-sized apricots have been formed on it.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:03, 30 May 2022 (UTC)<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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宝玉因想道：“能病了几天，竟把杏花辜负了！不觉到‘绿叶成荫子满枝’了！”因此仰望杏子不舍。又想起邢岫烟已择了夫婿一事：虽说男女大事，不可不行，但未免又少了一个好女儿，不过二年，便也要“绿叶成荫子满枝”了；再过几日，这杏树子落枝空，再几年，岫烟也不免乌发如银，红颜似缟了。因此，不免伤心，只管对杏叹息。正悲叹时，忽有一个雀儿飞来，落于枝上乱啼。宝玉又发了呆性了，心下想道：“这雀儿必定是杏花正开时他曾来过，今见无花空有叶，故也乱啼。这声韵必是啼哭之声，可恨公冶长不在眼前，不能问他。<br />
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Precious Jade then thought:"The illness got in the way of watching apricot blossom! Now it's full of leaves!" That made him fell disrupting. Then he thought about the marriage of Cave Cloud City: Thought it's necessary for people to marry someone, however, the family of City still has to see off their good girl. No more than two years, she will have kids; A few days later, the apricot tree would wither and a few years later, the hair of Cave Cloud would turn into grey, and she will get old. That's what made Precious Jade sad, and he just heaved sigh in front of the apricot tree. Meanwhile, here flied a sparrow. it landed on the branch, singing around. Precious Jade then dived into deep thought again:"This sparrow must come when the apricot blossomed, now it sees that there are no flowers so it can't stop making noise. That must be crying. it's a pity that GongYechang is not here, or i can ask him about it.<br />
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Precious Jade then thought:"The illness prevented him from watching apricot blossom! Now it's full of leaves!" That made him fell disrupting. Then he thought about the marriage of Cave Cloud City: Though she will get married sooner or later, the world has to see off their good girl. No more than two years, she will have kids; A few days later, the apricot tree would wither and a few years later, the hair of Cave Cloud would turn into grey, and she will get old. That's what made Precious Jade sad, and he just heaved sigh in front of the apricot tree. Meanwhile, here flied a sparrow. it landed on the branch, singing around. Precious Jade then dived into deep thought again:"This sparrow must come when the apricot blossomed, now it sees that there are no flowers so it can't stop making noise. That must be crying. it's a pity that GongYechang is not here, or I can ask him about it.--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:31, 28 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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但不知明年再发时，这个雀儿可还记得飞到这里来与杏花一会不能？”正自胡思间，忽见一股火光，从山石那边发出，将雀儿惊飞。宝玉吃了一惊，又听外边有人喊道：“藕官，你要死！怎么弄些纸钱进来烧？我回奶奶们去，仔细你的肉！”宝玉听了，益发疑惑起来，忙转过山石看时，只见藕官满面泪痕，蹲在那里，手内还拿着火，守着些纸钱灰作悲。宝玉忙问道：“你与谁烧纸钱？快不要在这里烧！你或是为父母兄弟，你告诉我名姓，外头去叫小厮们，打了包袱写上名姓去烧。”藕官见了宝玉，只不做一声，宝玉数问不答。<br />
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He wonder if the bird will remember next year when it blossoms again.His fantasy was interrupted by a sudden burst of flames on the other side of the rockery, and the bird flew away in terror. Precious Jade was as startled as the bird. A brief burst of flames was followed by an angry shout.Lotus-root, you little rascal, how dare you burn paper offerings in the garden! I'll report you right away. You'll be whipped, my girl. Precious Jade wonder what happened in the end, hurried around to the other side of the rockery to investigate. With tears streaming down his face, Lotus-root squatted on the ground, holding a hot pan that had just burst into flames, and looked sadly at a pile of charred and smoking gold paper money.Who? He asked her. You know, you really shouldn't burn it here. I think it must be for one of your parents -- or your brother, perhaps? Tell me this man's name, and I'll tell my men to go out and buy you a decent bun and write your name on it. When seeing it was Precious Jade, she pressed her lips tightly, and no matter how he asked, she just would not speak. --[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:26, 28 May 2022 (UTC)<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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忽见一个婆子恶狠狠的走来拉藕官，口内说道：“我已经回了奶奶们，奶奶们气得了不得！”藕官听了，终是孩气，怕辱没了没脸，便不肯去。婆子道：“我说你们别太兴头过余了，如今还比得你们在外头乱闹呢！这是尺寸地方儿。”指着宝玉道：“连我们的爷还守规矩呢，你是什么阿物儿，跑来胡闹！怕也不中用，跟我快走罢！”宝玉忙道：“他并没烧纸钱，原是林妹妹叫他来烧那烂字纸的，你没看真，反错告了他。”藕官正没了主意，见了宝玉，也正添了畏惧；<br />
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Then up came an irate matron to drag her away.“I’ve reported this to the mistresses.They’re very angry!” she scolded.Nenuphar,being only a child,hung back for fear of being put to shame.“I always said you were riding for a fall,”stormed the woman.“You can’t fool around here the way you did outside.You have to watch your step.”pointing at Preciou Jade she continued,“Even our young master has to observe the rules.Who do you think you are to fool around here? It’s no use being afraid.Come along with me.”“She wasn’t burning paper coins but waste paper for Mascara Jade Forest,”put in Preciou Jade quickly.“You didn’t see clearly and accused her wrongly.”Nenuphar had been at a loss,and Preciou Jade’s appearance had frightened her even more;<br />
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Just then the woman he had heard shouting came hurrying back, an evil expression of triumph on her face, and seized hold of the girl. “Well, I've reported you to the young mistresses,” she said, “and they're very, very angry.” she scolded.Nenuphar,being only a child,hung back for fear of being put to shame.“I always said you were riding for a fall,”stormed the woman.“You can’t fool around here the way you did outside.You have to watch your step.”pointing at Preciou Jade she continued,“Even our young master has to observe the rules.Who do you think you are to fool around here? It’s no use being afraid.Come along with me.”“She wasn’t burning paper coins but waste paper for Mascara Jade Forest,”put in Preciou Jade quickly.“You didn’t see clearly and accused her wrongly.”Nenuphar had been at a loss,and Preciou Jade’s appearance had frightened her even more;--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 11:33, 30 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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忽听他反替遮饰，心内转忧成喜，也便硬着口说道：“你狠看真是纸钱了么？我烧的是林姑娘写坏了的字纸。”那婆子便弯腰向纸灰中拣那不曾化尽的遗纸在手内，说道：“你还嘴硬？有证又有凭。只和你厅上讲去。”说着，拉了袖子，拽着要走。宝玉忙拉藕官，又用拄杖隔开那婆子的手，说道：“你只管拿了回去。实告诉你，我昨夜做了一梦，梦见杏花神和我要一挂白钱，不可叫本房人烧，另叫生人替烧，我的病就好得快了。所以我请了白钱，巴巴的烦他来替我烧了。我今日才能起来，偏你又看见了。<br />
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She could hardly believe her ears when she heard him covering up for her. Her fear gave way to a surprised delight and she plucked up courage to defend herself. “Yes, what makes you so sure it was spirit money?” “Miss Lin spoiled some paper when writing. That's what I've been burning.” But the woman was unimpressed. Stooping down, she picked out one or two of the unconsumed fragments from the ashes. “Don't argue with me! Here's evidence! You'll have to come with me to the jobs room and explain yourself to them there.” She caught hold of the girl's sleeve to drag her off. But Bao-yu held her by the other sleeve and struck at the woman's hand with his walking-stick until she let go. “I'll tell you the truth. Last night I dreamed that the spirit of the apricot tree came to ask me for a string of white paper money, saying that if it was burns for me by a stranger, not by anyone in my apartments, my sickness would be cured faster. And now, after I've been to the trouble of getting the stuff and finding this girl to make the offering for me, it's all wasted, because you saw her doing it.”<br />
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She could hardly believe her ears when she heard him covering up for her. Her fear gave way to a surprised delight and she plucked up courage to defend herself. “Yes, what makes you so sure it was spirit money?” “Miss Lin spoiled some paper when writing. That's what I've been burning.” But the woman was unimpressed. Stooping down, she picked out one or two of the unconsumed fragments from the ashes. “Don't argue with me! Here's evidence! You'll have to come with me to the jobs room and explain yourself to them there.” She caught hold of the girl's sleeve to drag her off. But Precious Jade held her by the other sleeve and struck at the woman's hand with his walking-stick until she let go. “I'll tell you the truth. Last night I dreamed that the spirit of the apricot tree came to ask me for a string of white paper money, saying that if it was burns for me by a stranger, not by anyone in my apartments, my sickness would be cured faster. And now, after I've been to the trouble of getting the stuff and finding this girl to make the offering for me, it's all wasted, because you saw her doing it.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 14:32, 30 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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这会子又不好了，都是你冲了！还要告他去？藕官，你只管见他们去，就照依这话说。”藕官听了，越得主意，反拉着要走。那婆子忙丢下纸钱，陪笑央告宝玉，说道：“我原不知道，若回太太，我这人岂不完了？”宝玉道：“你也不许再回，我便不说。”婆子道：“我已经回了，原叫我带他。只好说他被林姑娘叫去了。”宝玉点头应允。婆子自去。这里宝玉细问藉官：“为谁烧纸？必非父母兄弟，定有私自的情理。”藕官因方才护庇之情，心中感激，知他是自己一流人物，况再难隐瞒，便含泪说道：<br />
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But now, by butting in like this, you’ve gone and spoiled everything. And do you still mean to report her? Go with her, Actress Lotus-root, and tell them what I’ve just said. When the old lady comes back, I’ll report her for deliberately spoiling my sacrifice so as to make me die early.” Emboldened by this, Actress Lotus-root started tugging the woman away. The latter hastily dropped the paper money.“How was I to know?” she asked Precious Jade meekly. “If you tell the old lady, Second Master, it will be the end of me! I’ll go and tell the mistresses that I made a mistake—it was you burning sacrificial paper.” “Don’t say anything about it and I won’t tell her,” he promised. “But I’ve already reported it, and they ordered me to take her there. How can I say nothing? All right, I’ll tell them Miss Lin sent for her.” Precious Jade thought for a while then nodded, and the woman went away. Then he asked again: “Whom was the offering for? I’m sure it can’t have been for your own people, as in that case you’d have asked others to burn it for you. There must be a story behind it.” Actress Lotus-root, grateful for his championship, began to feel that they were kindred spirits. Tears sprang to her eyes.<br />
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But now, by butting in like this, you’ve gone and spoiled everything. And do you still mean to report her? Go with her, Actress Lotus-root, and tell them what I’ve just said. When the old lady comes back, I’ll report her for deliberately spoiling my sacrifice so as to make me die early.” Emboldened by this, Actress Lotus-root started tugging the woman away. The latter hastily dropped the paper money.“How was I to know?” she asked Precious Jade meekly. “If you tell the old lady, Second Master, it will be the end of me! I’ll go and tell the mistresses that I made a mistake—it was you burning sacrificial paper.” “Don’t say anything about it and I won’t tell her,” he promised. “But I’ve already reported it, and they ordered me to take her there. How can I say nothing? All right, I’ll tell them Miss Lin sent for her.” Precious Jade thought for a while then nodded, and the woman went away. Then he asked again: “Whom was the offering for? I’m sure it can’t have been for your own people, as in that case you’d have asked others to burn it for you. There must be a story behind it.” Actress Lotus-root, grateful for his championship, began to feel that they were kindred spirits. Tears sprang to her eyes.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 12:32, 30 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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“我这事，除了你屋里的芳官合宝姑娘的蕊官，并没第三个人知道。今日忽然被你撞见，这意思，少不得也告诉了你，只不许再对一人言讲。”又哭道：“我也不便和你面说，你只回去，背人悄悄问芳官就知道了。”说毕，怏怏而去。宝玉听了，心下纳闷，只得踱到潇湘馆瞧黛玉，越发瘦得可怜，问起来，比往日大好了些。黛玉见他也比先大瘦了，想起往日之事，不免流下泪来，些微谈了一谈，便催宝玉去歇息调养。宝玉只得回来。因惦记着要问芳官原委，偏有湘云香菱来了，正和袭人芳官一处说笑，不好叫他，恐人又盘诘，只得耐着。<br />
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"Besides myself there are only two other people in the world who know about this: Fragrant Official in your room and Etamine in Miss Bao's.After what happened today, I think I shall have to let you be a third; but you must promise never to speak about it to anyone else.”She slipped away then, leaving him full of curiosity. Precious Jade was very puzzled as he went on to Bamboo Lodge.He found Mascara Jade looking more pathetically frail than ever, although she insisted that her health was much better.She saw that he too was much thinner, and could not help shedding tears at the thought of the reason. After a brief chat she urged him to go back and rest,He left reluctantly, not knowing quite where to go.he was anxious to ask Parfumee about Nenuphar's secret, but Fragrant-cloud and Caltrop had just arrived and were engaged in lively conversation with her and Aroma in the adjoining room. Fearing that if he called her to him the others might ask questions, he resolved to be patient.<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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一时芳官又跟了他干娘去洗头，他干娘偏又先叫他亲女儿洗过才叫芳官洗。芳官见了这般，便说他偏心：“把你女儿的剩水给我洗。我一个月的月钱都是你拿着，沾我的光不算，反倒给我剩东剩西的！”他干娘羞愧变成恼，便骂他：“不识抬举的东西！怪不得人人都说戏子没一个好缠的，凭你什么好的，入了这一行，都学坏了。这一点子小崽子，也挑幺挑六，咸嘴淡舌，咬群的骡子似的！”娘儿两个吵起来。袭人忙打发人去说：“少乱嚷！瞅着老太太不在家，一个个连句安静话也都不说了。”<br />
At this time, Fragrant Official followed his godmother to wash his hair, and his adopted mother asked her own daughter to wash before Fragrant Official washed. <br />
When Fragrant Official saw this, he said that she was partial: "You actually let me wash my hair with your daughter's leftover water. You take all my money every month, which takes advantage of me, but give me what's leftover! " His mother turned from shame to annoyance, so she scolded him: "Unappreciative guy！" No wonder everyone says that there is no one actor who is easy to be entangled with. Since you who had been a kind child entered this profession, you became a bad one. You little jerk should be choosy and wag your jaw like a rogue mule." They quarreled. Aroma hurriedly sent someone to say, "Don't shout! Seeing that Grandma Merchant was not at home, you didn't even keep quiet. "<br />
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At that time, Fragrant Official followed his foster mother to wash her hair, but her foster mother asked her own daughter to wash before Fragrant Official. Then she accused her of being partial: " You actually let me wash my hair with your daughter's leftover water. You take all my money every month. You are taking advantage of me, but you always give me what's leftover!" Her mother turned from shame to annoyance, so she scolded her: " Unappreciative guy! No wonder everyone says that there is no one actor who is easy to be entangled with. No matter how good you are, as long as you entered this profession, you will definitely become a bad one. You little jerk should be choosy and wag your jaw like a rogue mule." Then they had a big quarrel. Aroma hurriedly sent someone to say, " Don't shout! Seeing that Grandma Merchant was not at home, you didn't even keep quiet now. "--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 13:54, 28 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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晴雯因说：“这是芳官不省事，不知狂的什么？也不过是会两出戏，倒像杀了贼王、擒过反叛来的！”袭人道：“‘一个巴掌拍不响’，老的也太不公些，小的也太可恶些。”宝玉道：“怨不得芳官！自古说：‘物不平则鸣’。他少亲少眷的在这里，没人照看；赚了他的钱。又作践他，如何怪得！”又向袭人说：“他到底一月多少钱？以后不如你收了过来照管他，岂不省事？”袭人道：“我要照看他，那里不照看了？又要他那几个钱才照看他？没的招人骂去了。”<br />
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Then Sunny Cloud said, “ Fragrant Official is to blame for arousing this trouble. How could she be so arrogant? All that she knows is how to act in a couple of plays, but why did she act like she has ever killed a thief or crushed the rebellion?” But Aroma refuted, “ As the old saying goes, ‘It takes two to make a quarrel’. Her mother was too unfair to her, while she was too detestable.” Then Precious Jade said, “ We should not blame her. Injustice provokes outcry. She is alone here, without any relatives or anyone taking care of her. Now that her foster mother took away her money, but ill-treated her, how can we blame her for acting like this？” He continued to speak to Aroma, “ How much money does she get every month? Why don’t you get her money and take care of her from now on? Won’t it save much trouble?” But Aroma said, “ I’m taking care of her all the time. When did I miss my job? What’s the point of doing this with taking her money away? It will do nothing good to me except for courting others’ curse.”<br />
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Then Sunny Cloud Formation said, “ Fragrant Official is to blame for arousing this trouble. How could she be so arrogant? All that she knows is how to perform in a couple of plays, but why did she act like she has ever killed a thief or crushed the rebellion?” But Aroma refuted, “ As the old saying goes, ‘It takes two to make a quarrel’. Her mother treated her unfairly, while she was too detestable.” Then Precious Jade said, “ We should not blame her. Injustice provokes outcry. She is alone here, without any relatives or anyone taking care of her. Now that her foster mother took away her money, but ill-treated her, how can we blame her for acting like this？” He continued to speak to Aroma, “ How much money does she get every month? Why don’t you get her money and take care of her from now on? Won’t it save much trouble?” But Aroma said, “ I’m taking care of her all the time. When did I miss my job? What’s the point of doing this with taking her money away? It will do nothing good to me except for courting others’ curse.”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 14:51, 28 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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说着，便起身至那屋里，取了一瓶花露油、鸡蛋、香皂、头绳之类，叫了一个婆子来：“送给芳官去，叫他另要水自洗，不要吵闹了。”他干娘越发羞愧，便说芳官“没良心！只说我克扣你的钱！”便向他身上拍了几下，芳官便哭起来。宝玉便走出来，袭人忙劝：“做什么？我去说他。”晴雯忙先过来，指他干娘说道：“你这么大年纪，太不懂事！你不给他好好的洗，我们才给他东西。你自己不臊，还有脸打他！他要是还在学里学艺，你也敢打他不成？”那婆子便说：“‘一日叫娘，终身是母。’他排揎我，我就打得！”<br />
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While speaking, Aroma stood up and headed for that room to fetch back a bottle of essential oil extracted from floral water, some eggs, toilet soap, sheadlines alike. Then she found a granny and ordered, “Just bring those stuff to Fragrant Official, tell him to have a bath with clean water and stop kicking up a row.” Becoming terribly ashamed, his adopted mother just said to Fragrant Official, “You brute! All you can say is I short-charge you!” While speaking, she patted Fragrant Official a few times, inviting his crying out. Therefore, Precious Jade just came out, and Aroma just stopped him, “What are you doing? Let me exhort him.” Hurriedly rushing there at once, Sunny Cloud Formation pointed to Fragrant Official’s adopted mother and said, “Well then, you’ve come to such an old age, and you still don’t know how to behave properly! We’ve just offered something for him and you don’t help with his bathing well. Even you don’t feel bashful to beat him! If he stills learns an artistic skill now, don’t you dare hit him?” That woman just replied, “As a common saying goes, ‘Once you call me mother, then I’ll be your mother for the whole life.’ If he yells at me, then I can beat him.”<br />
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While speaking, Aroma stood up and headed for that room to fetch back a bottle of floral water, some eggs, toilet soaps, hair bands alike. Then she found a granny and ordered, “Just bring those stuff to Fragrant Official, and tell her to get some water to wash her hair and stop kicking up a row.” Becoming terribly ashamed, her adopted mother just said to Fragrant Official, “You brute! All you can do is to tell others that I pocket your wages!” While speaking, she patted Fragrant Official a few times, inviting his crying out. Therefore, Precious Jade just came out, and Aroma stopped him in a rush, “What are you doing? Let me exhort her.” Hurriedly rushing there at once, Sunny Cloud Formation pointed to Fragrant Official’s adopted mother and said, “Well then, you’ve come to such an old age, and you still don’t know how to behave properly! As you don’t wash her hair well, so we just offered something for her. You're not ashamed of yourself but have the nerve to beat her! If she still learns an artistic skill now, don’t you dare hit her?” That woman just replied, “As a common saying goes, ‘Once you call me mother, then I’ll be your mother for the whole life.’ If she yells at me, then I can beat her.”--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 06:44, 30 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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袭人唤麝月道：“我不会和人拌嘴，晴雯性太急，你快过去震吓他两句。”麝月听了，忙过来说道：“你且别嚷。我且问你：别说我们这一处，你看满园子里，谁在主子屋里教导过女儿的？就是你的亲女儿，既经分了房，有了主子，自有主子打骂；再者，大些的姑娘姐姐们也可以打得骂得，谁许你老子娘又半中间管起闲事来了！都这样管，又要叫他们跟着我们学什么？越老越没了规矩！你见前日坠儿的妈来吵，你如今也来跟他学！你们放心，因连日这个病那个病，再老太太又不得闲，所以我也没有去回。<br />
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Listening to that, Aroma asked Musk Deer Month for help: "I'm clumsy in quarreling with others, and Sunny Cloud Formation has an impatient disposition. Now you go there and frighten her with your words." Hearing that, Musk Deer Month came here in a rush and said, "Hold on a second. Let me ask you: In the Grand View Garden, have you ever seen anyone lecturing their daughter in the master's house? Let alone in our house. Even if Fragrant Official is your own daughter, she has been assigned to a master who will naturally beat her if she makes mistakes; besides, the older sisters and girls in this house are also eligible to do so, in this way, who allowed you to meddle in this business? If all people act like you, how can these little girls learn from us? The older you get, the less rules you have! Witnessing Lassock Drop's mother wrangling here few days ago, so you followed her example today! Trust me, I haven't reported this matter since the ladies fell ill in succession and Grandma Merchant was so busy.<br />
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Aroma told Musk, “I’m no good at arguing, and Sunny Cloud Formation’s too hot-tempered. Why don’t you go and give her a good scare?”Hearing that, Musk Deer Month came here in a rush and said, "Hold on a second. Let me ask you: In the Grand View Garden, have you ever seen anyone lecturing their daughter in the master's house? Let alone in our house. Even if Fragrant Official is your own daughter, she has been assigned to a master who will naturally beat her if she makes mistakes; besides, the older sisters and girls in this house are also eligible to do so, in this way, who allowed you to meddle in this business? If all people act like you, how can these little girls learn from us? The older you get, the less rules you have! Witnessing Lassock Drop's mother wrangling here few days ago, so you followed her example today! Trust me, I haven't reported this matter since the ladies fell ill in succession and Grandma Merchant was so busy.--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 11:36, 29 May 2022 (UTC)<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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等两日咱们去痛回一回，大家把这威风煞一煞儿才好呢！况且宝玉才好了些，连我们也不敢说话，你反打得人狼号鬼叫的！上头出了几日门，你们就无法无天的，眼珠子里就没了人了。再两天，你们就该打我们了。他不要你这干娘，怕粪草埋了他不成？”宝玉恨得拿拄杖打着门槛子说道：“这些老婆子都是铁心石肠是的，真是大奇事！不能照看，反倒折挫他们。地久天长，如何是好？”晴雯道：“什么‘如何是好’？都撵了出去，不要这些‘中看不中吃的’！”那婆子羞愧难当，一言不发。<br />
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In a couple of days I shall make a full report,and that will take the wind out of your sails.Precious Jade’s just getting better, and we’ve all been trying to keep our voices down; yet you raise a rumpus fit to wake the dead.If the higher-ups are away just a few days,you lot run completely wild with no respect for anyone at all.In another day or two,I suppose,you’ll be slapping us as well. She doesn’t need a foster-mother like you to muck her up!”Precious Jade,in the doorway,pounded the sill with his cane.“How can these old women be so heartless?”he fumed.“Fantastic! Instead of looking after the girls in their charge, they torment them. If this goes on, what’s to be done?”“What’s to be done?”echoed Sunny Cloud Formation.“Drive all those humbugs out,I say.We don’t need such good-for-nothings here.”The woman was too deflated to say a word.<br />
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In a couple of days I shall make a full report, and that will take the wind out of your sails.Precious Jade’s just getting better, and we’ve all been trying to keep our voices down; yet you raise a rumpus fit to wake the dead.If the higher-ups are away just a few days, you lot run completely wild with no respect for anyone at all.In another day or two,I suppose, you’ll be slapping us as well. She doesn’t need a foster-mother like you to muck her up!”Precious Jade,in the doorway, pounded the sill with his cane.“How can these old women be so heartless?” Precious Jade was so angry that he banged on the threshold with his stick. ‘These old women have hearts of stone.he fumed.“Fantastic! Instead of looking after the girls in their charge, they torment them. If this goes on, what’s to be done?”“What’s to be done?” echoed Sunny Cloud Formation.“Drive all those humbugs out,I say.We don’t need such good-for-nothings here.” The woman, shamed into silence by Musk's tirade, made no reply.--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 14:28, 29 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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那芳官只穿着海棠红的小棉袄，底下绿绸洒花夹裤，敞着裤脚，一头乌油似的头发披在脑后，哭得泪人一般。麝月笑道：“把个莺莺小姐反弄成才拷打完的红娘了！这会子又不妆扮了，还是这么着？”晴雯因走过去拉了他，替他洗净了发，用手巾拧干，松松的挽了一个慵妆髻；命他穿了衣服，过这边来。接着司内厨的婆子来问：“晚饭有了，可送不送？”小丫头听了，进来问袭人。袭人笑道：“方才胡吵了一阵，也没留心听得，几下钟了？”晴雯道：“这劳什子又不知怎么了，又得去收拾！”<br />
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Meanwhile, Fragrant Official, wearing only a cerise padded jacket and flowered green silk lined-trousers, loose around the ankles, her glossy black hair streaming over her shoulders, had given way to floods of tears. It was a spectacle so different from her more familiar stage appearances that Musk could not help laughing at its incongruousness: ‘I must say, you don't look much like Cui Ying-ying at the moment. Reddie after her beating, though: now that's a part you could play without having to make up for it!” Skybright led Parfumee away and washed her hair for her. When she had toweled it dry, she did it up for her in a ‘lazy knot' and told her to go back to Precious Jade 's room when she had finished dressing. The old kitchen-maids now reported that dinner was ready, and asked whether it should be sent in or not. One of the junior maids went inside to ask Aroma. With all that racket just now I forgot to listen for the clock,” she said. “What time is it? It didn't,' said Skybright. ‘The wretched thing needs repairing again, I don't know why.”<br />
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Meanwhile, Fragrant Official, wearing only a cerise padded jacket and flowered green silk lined-trousers, loose around the ankles, her glossy black hair streaming over her shoulders, had given way to floods of tears. It was a spectacle so different from her more familiar stage appearances that Musk could not help laughing at its incongruousness: ‘I must say, you don't look much like Cui Ying-ying at the moment. Reddie after her beating, though: now that's a part you could play without having to make up for it!” Skybright led Parfumee away and washed her hair for her. When she had toweled it dry, she did it up for her in a ‘lazy knot' and told her to go back to Precious Jade 's room when she had finished dressing. The old kitchen-maids now reported that dinner was ready, and asked whether it should be sent in or not. One of the junior maids went inside to ask Aroma. With all that racket just now I forgot to listen for the clock,” she said. “argued for a while, and did not pay attention to time, a few timesWhat time is it? It didn't,' said Skybright. ‘The wretched thing needs repairing again, I don't know why.”--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 10:34, 30 May 2022 (UTC)<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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说着，拿过表来瞧了一瞧，说道：“再略等半钟茶的工夫就是了。”小丫头去了。麝月笑道：“提起淘气来，芳官也该打两下儿，昨日是他摆弄了那坠子半日，就坏了。”说话之间，便将食具打点现成。一时小丫头子捧了盒子进来站住。晴雯麝月揭开看时，还是这四样小菜。晴雯笑道：“已经好了，还不给两样清淡菜吃！这稀饭咸菜闹到多早晚？”一面摆好，一面又看那盒中，却有一碗火腿鲜笋汤，忙端了放在宝玉跟前。宝玉便就桌上喝了一口，说道：“好汤！”众人都笑道：“菩萨，能几日没见荤腥儿，馋得这样起来？”<br />
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Saying that, he took a look at his watch and said, "Just wait for half an hour for tea." "The little girl went. Musk smiled, "When it comes to naughtiness, <br />
Fragrant Official should also hit it twice, yesterday he fiddled with the pendant for half a day, and it broke." Between words, he made some ready-made utensils. At a moment the little girl took the box and came in and stood still. When Skybright Musk Moon was unveiled, it was still these four small dishes. Skybright smiled and said, "It's already good, don't give two light vegetables to eat!" How early and late is this porridge pickle? While laying it out, while looking at the box, there was a bowl of ham fresh bamboo shoot soup, which was busy serving it in front of Precious Jade. Precious Jade took a sip on the table and said, "Good soup! Everyone laughed and said, "Bodhisattva, how many days have you not seen a meaty child, and you are so hungry?" ”<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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一面说，一面端起来，轻轻用口吹着。因见芳官在侧，便递与芳官，说道：“你也学些服侍，别一味傻玩傻睡。口儿轻着些，别吹上唾沫星儿。”芳官依言果吹了几口，甚妥。他干娘也端饭在门外伺候，向里忙跑进来，笑道：“他不老成，仔细打了碗，等我吹罢。”一面说，一面就接。晴雯忙喊道：“快出去！你让他砸了碗，也轮不到你吹！你什么空儿跑到里槅子来了？”一面又骂小丫头们：“瞎了眼的！他不知道，你们也不说给他！”小丫头们都说：“我们撵他不出去，说他又不信，如今带累我们受气，这是何苦呢！你可信了？<br />
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As he spoke, he picked it up and blew it gently. Seeing Fragrant Official at his side, he handed him over and said, "You have to learn to serve others. Don't just play and sleep. Keep your mouth quiet, and don't spit." Fragrant Official blew a few mouthfuls of the fruit according to his words. His foster mother also served at the door, rushed in to the inside, said with a smile: "He is not old, carefully bowl, wait for me to blow. As he spoke, he answered. Skybright quickly shouted: "Get out! Even he breaks the bowl, you are not qualified to blow it either! Okay, well, when did you get up?" "Blind! Blind! He doesn't know, and you won't tell him!" The girls said, "Why is it that we have brought this burden on us because we won't let him out because he doesn't believe us? Can you be trusted?<br />
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She took the bowl and blew gently at the film of oil on the surface. Then, noticing Fragrant Official standing near by, she passed the bowl to her. "You can do this," she said. "Time you learned to make yourself useful, instead of acting like a silly goose. Mind you blow gently though. Don't spit into the soup." Fragrant Official did as she was told, and was managing quite well, when in rushed her foster-mother who had been waiting outside with the rice. Now when Fragrant Official and the others first arrived they had been assigned foster-mothers outside, who had later accompanied them to Pear Fragrance Court. This woman had originally been a third-class servant in the Rong Mansion, only doing some laundry work and never entering the inner apartments, so that she did not know the rules of the house. Once the actresses were taken into the Garden, however. their foster-mothers had gone with them to the different apartments. After being told off by Sheyue, this woman was afraid that she might not be allowed to remain in charge of Fragrant Official, and that would be very much to her disadvantage. So she was determined now to win them round. Seeing Fragrant Official blowing on the soup, she hurried in. "Let me do that!' she cried with a smile. "She's so green she may break the bowl.' She reached out for it. "Get out!' shouted Sunny Cloud Formation. "Even if you make her smash it, this is no job for you. How dare you sneak into this room? Out you go at once!' She scolded the younger maids, "Are you all blind? If she doesn't know any better, you should have told her." "We tried to chase her away but she wouldn't go, they protested. "She didn't believe us. And now she's got us into trouble too." They rounded on the woman. "Now do you believe us?--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 02:24, 29 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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我们到的地方儿，有你到的一半儿，那一半儿是你到不去的呢！何况又跑到我们到不去的地方还不算，又去伸手动嘴的了。”一面说，一面推他出去。阶下几个等空盒家伙的婆子见他出来，都笑道：“嫂子也没有‘用镜子照一照’，就进去了！”羞得那婆子又恨又气，只得忍耐下去了。芳官吹了几口，宝玉笑道：“你尝尝，好了没有？”芳官当是玩话，只是笑着看袭人等。袭人道：“你就尝一口何妨？”晴雯笑道：“你瞧我尝。”说着便喝一口。芳官见如此，他便尝了一口，说：“好了。”<br />
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Half the places we’re allowed in are out of bounds to you, yet here you come bursting in where even we are forbidden to go. As if that weren’t enough, you now start reaching out and opening your big mouth!" They bundled the woman off. The matrons waiting at the foot of the steps for the hampers greeted her with mocking laughter. "You should have looked in the mirror before butting in there, sister," one of them sniggered. The woman, torn between rage and shame, had to control herself as best she could. By now, Fragrant Official had blown on the soup several times. "That’ll do," said Precious Jade. "Don’t tire yourself. Taste it to see if it’s cool enough." Thinking he must be joking, she turned with a smile to Aroma and the other girls. "Go on, taste it,” urged Aroma. "Let me show you," offered Sun Cloud Formation, then took a sip. Fragrant Official followed her example."It’s all right," she said.<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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递与宝玉，喝了半碗，吃了几片笋，又吃了半碗粥，就罢了。众人便收出去。小丫头捧沐盆，盥漱毕，袭人等去吃饭。宝玉使个眼色与芳官，芳官本来伶俐，又学几年戏，何事不知。便装肚子疼，不吃饭了。袭人道：“既不吃，在屋里做伴儿。把粥留下，你饿了再吃。”说着都去了。宝玉将方才见藕官，如何谎言护庇，如何藕官叫我问你，细细的告诉一遍，又问：“他祭的果系何人？”芳官听了，眼圈儿一红，又叹一口气，道：“这事说来，藉官儿也是胡闹。”宝玉忙问：“如何？”芳官道：“他祭的就是死了的药官儿。”<br />
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Precious Jade Merchant drank about half the soup, ate a few pieces of bamboo-shoot, consumed half a bowlful of the gruel, and declared himself satisfied. The servants cleared away. A little maid came in with a wash-bowl. After he had washed his hands and rinsed his mouth out, it was Aroma's and the other senior maids' turn to have their dinner. Precious Jade Merchant signaled at this point to Fragrant Official. And since she was quick in the uptake and had learned a good deal in her few years as an actress, She had a stomach-ache, she told them. She didn't feel like any dinner. “Then you may as well stay here and keep him company,” said Aroma. “I'll leave you the gruel, in ease you feel like it later.” Precious Jade Merchant was now able to tell Fragrant Official about his encounter with Actress Lotus-root - how he had lied to protect her and how, feeling unable to answer his question herself, she had referred him to Fragrant Official for an explanation. “For whom were those offerings?” he asked. Fragrant Official's eyes reddened slightly and she sighed. ‘Oh, Actress Lotus-root is crazy.” Why?” said Precious Jade Merchant. “What do you mean?”“ It was for Pivoine,”said Fragrant Official, “the girl in our troupe who died.”<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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宝玉道：“他们两个也算朋友，也是应当的。”芳官道：“那里又是什么朋友哩？那都是傻想头，他是小生，药官是小旦，往常时，他们扮作两口儿，每日唱戏的时候，都装着那么亲热，一来二去，两个人就装糊涂，倒像真的一样儿。后来两个竟是你疼我，我爱你。药官儿一死，他就哭的死去活来的，到如今不忘，所以每节烧纸。后来补了蕊官，我们见他也是那样，就问他：‘为什么得了新的就把旧的忘了？’他说：‘不是忘了，比如人家男人死了女人，也有再娶的，只是不把死的丢过不提就是有情分了。’你说他是傻不是呢？”<br />
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Precious Jade said, “Why not, if they were friends?” Fragrant Official said, “They weren’t just ordinary friends. Ouguan had the fantastic notion that as she used to play young men and Diguan young ladies, and as they were often cast as husband and wife, although it was make-believe they should act the part every day as if they were really in love. So they became so crazy about each other that even offstage they were for ever together. In the end they were so devoted that when Diguan died she nearly cried her heart out, and to this day she’s never forgotten her. That’s why she burns paper money at all the festivals. When Actress Pistil later took Diguan’s place, we found that Ouguan was just as attached to her. ‘Has your new sweetheart made you forget the old one?’ we asked. ‘No, but there’s a very good reason for this,’ she told us. ‘I’m like a widower who marries again. If he doesn’t forget his first wife, he’s still true to her. But if he insists on remaining single all the rest of his life, that’s against the rules of propriety too, and how could his dead wife rest in peace in her grave?‘ Don’t you call that crazy and senseless? It’s really ridiculous!”<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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宝玉听了这呆话，独合了他的呆性，不觉又欢又悲，又称奇道绝，拉着芳官嘱咐道：“既如此说，我有一句话嘱咐你，须得你告诉他：以后断不可烧纸，逢时按节，只备一炉香，一心虔诚，就能感应了。我那案上也只设着一炉，我有心事，不论日期，时常焚香；随便新茶新水，就供一盏；或有鲜花鲜果，甚至荤腥素菜都可。只要敬心，不在虚名。以后快命他不可再烧纸！”芳官听了，便答应着；一时吃过粥，便有人回：“老太太回来了。”要知端的，且看下回分解。<br />
◎第五十九回 柳叶渚边嗔莺叱燕 绛芸轩里召将飞符<br />
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However, foolish Precious Jade heard such foolish talk. He exclaimed in wonder, torn between sadness and joy. He took Fragrant Official's hand and urged her, “If that’s how things are, you must tell her something from me. ” “What is it?’”asked Fragrant Official.“In future, she mustn’t burn paper coins. At all future festivals she need only burn some incense in a censer; and if her heart is pure, Diguan’s spirit will know it. There is a censer on my desk. Whenever I miss some dead friend, whatever the date, I burn incense and offer some fresh water or tea, or maybe flowers or fruit, or even meat or vegetables. As long as your heart is pure, Buddha himself will come to the sacrifice. That’s why we say: ‘It’s the intention that counts, not the empty form.’ So go presently and tell her not to burn any more paper money in future.”Fragrant Official promised to do this and then had the rice gruel. Just at that moment someone announced that Their Ladyships were back. To know what happened after, read the next chapter. Chapter 59 Yinger and Chunyan Are Scolded by Willow Bank And Red Rue Studio Sends for Reinforcements<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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话说宝玉闻听贾母等回来，随多添了一件衣服，拄了杖前边来，都见过了。贾母等因每日辛苦，都要早些歇息，一宿无话。次日五更，又往朝中去。离送灵日不远，鸳鸯、琥珀、翡翠、玻璃四人，都忙着打点贾母之物；玉钏、彩云、彩霞皆打点王夫人之物；当面查点与跟随的管事媳妇们。跟随的一共大小六个丫鬟，十个老婆媳妇子，男人不算。连日收拾驮轿器械。鸳鸯与玉钏儿皆不随去，只看屋子。一面先几日预备帐幔铺陈之物，先有四五个媳妇并几个男子领了出来，坐了几辆车绕道，先至下处，铺陈安插等候。<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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临日，贾母带着贾蓉媳妇坐一乘驮轿，王夫人在后，亦坐一乘驮轿；贾珍骑马，率了众家丁围护；又有几辆大车，与婆子丫鬟等坐，并放些随换的衣包等件。是日薛姨妈尤氏率领诸人直送至大门外方回。贾琏恐路上不便，一面打发他父母起身，赶上贾母王夫人驮轿，自己也随后带领家丁押后跟来。荣府内，赖大添派人丁上夜，将两处厅院都关了，一应出入人等皆走西边小角门；日落时，便命关了仪门，不放人出入；园中前后东西角门亦皆关锁，只留王夫人大房之后常系他姊妹出入之门，东边通薛姨妈的角门：这两门因在里院，不必关锁；<br />
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On the next day, Grandma Merchant took Prosperity Merchant, her daughter-in-law, to sit in a pack sedan, and Lady King followed who sat in another one. Treasure Merchant rode a horse and led servants for protection. There were several carts for nannies and servant girls, and some clothes and bags to change at any time were also put in it. That day Aunt Marshgrass and Madam You led all people see them out of the gate before coming back. Fearing that the journey might be inconvenient, Romance Merchant sent his parents on their way to catch the sedan chair of Lady King and Grandma Merchant, then he caught up later who followed by servants. Inside Rong House, Big Rely sent more servants to keep watch at night and asked them to close the two halls and courtyards, and all people who came and went through the small corner gate on the west side. At sunset, he ordered to shut down the ceremony door so that no one would go in or out. The front, rear, east and west corner doors of the garden were also locked, except for the door of Lady King's main room which was for her sisters’ use. As for corner doors which opened to the east towards Aunt Marshgrass’s room, they did not need to be locked because they were in the inner garden.<br />
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When the day came, Grandma Merchant and Prosperity’s wife took a horse-borne litter, and Lady King followed them behind. Treasure Merchant rode a horse and led servants for protection. There were several big carts for serving-women and young maids which also carried changes of clothing. That day Aunt Marshgrass and Madam You saw them off from outside of the main gate with the rest of serving-women. Fearing that the journey might be inconvenient, Romance Merchant sent his parents on their way and caught up with the litters which Lady King and Grandma Merchant sat, and then followed the escort. In Rong House, Big Rely sent more servants to keep watch at night and asked them to close the two main gates and all people who came and went passed the small corner gate on the west side. At sunset, he ordered to shut down the ceremonial door, allowing no entrance or exit. The front and back slide gates and those to the east and west of the garden were also locked, except for the door of Lady King’s main room which was used by the girls. As for corner doors which opened to the east towards Aunt Marshgrass’s room, they did not need to be locked because they were in the inner garden.--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 12:55, 28 May 2022 (UTC)<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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里面鸳鸯和玉钏儿也将上房关了，自领丫鬟婆子下房去歇；每日林之孝家的带领十来个老婆子上夜，穿堂内又添了许多小厮更打：已安插得十分妥当。一日清晓，宝钗春困已醒，搴帷下榻，微觉轻寒，及启户视之，见园中土润苔青：原来五更时落了几点微雨。于是唤起湘云等人来。一面梳洗，湘云因说两腮作痒，恐又犯了杏斑癣，因问宝钗要些蔷薇硝擦。宝钗道：“前日剩的都给了妹子了。”因说：“颦儿配了许多，我正要要他些来，因今年竟没发痒，就忘了。”因命莺儿去取些来。莺儿应了才去时，蕊官便说：“我同你去，顺便瞧瞧藕官。”<br />
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Inside the garden, Mandarin Duck and Jade Bracelet also closed the doors of main apartments, and took some maids from there to stay in the servants’ quarters to have rests. While every night Filial Piety Forest's Wife took some old serving-women stay in the garden to keep watch. All entrance halls were patrolled by pages with clappers. Everything was done with a well-arranged order. On a early spring morning when Precious Hairpin awoke from the spring fatigue, parted the bed-curtains and got up, she found it was a little bit cold. She opened the door and looked outside. The soil in the yard was wet and moss was green. There was also some rain falling down at dawn. She woke up Fragrant-cloud and other people. While they were dressing, Fragrant-cloud said her cheeks were itched. She was afraid that she had the spring rashes again, so she asked Precious Hairpin whether she had rose powder. Precious Hairpin said: “I have given all I had to my sister Precious Strings a few days ago. Mascara Jade has made a lot and I was about to ask her for some. But I forgot this thing because I did not have any itched feelings this spring.” Then she let Maid Oriole go Mascara Jade’s residence to fetch some powder. As Maid Oriole was about to go, Actress Pistil said: “I will go with you together and visit Actress Lotus-root by the way.”<br />
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Inside, Mandarin Duck and Jade Bracelet also closed their mistresses’ main apartments, and took the other maids and matrons from there to stay in the servants’ quarters; while every night Filial Piety Forest's Wife brought some dozen old serving-women to keep watch, and all the entrance halls were patrolled by extra pages with clappers. In this way excellent order was maintained. Early one spring morning when Precious Hairpin awoke, parted her bed-curtains and got up, she found it rather chilly. She opened the door and looked out. The soil in the courtyard was moist, the moss on it green, for a light rain had fallen at dawn. She then woke Fragrant-cloud and the others. As they were dressing, Fragrant-cloud remarked that her cheeks itched. She was afraid she had a spring rash again, and would like some rose-nitric powder to apply to it. “I gave all I had left the other day to Precious Strings,” Precious Hairpin told her. “Mascara Jade had a good deal made and I was meaning to ask her for some, but not having felt any itching this spring I forgot.” She ordered Oriole to go and fetch some of this powder. As Oriole was about to leave on this errand, Etamine offered to go with her, as that would give her a chance to see Nenuphar.--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 07:46, 28 May 2022 (UTC)<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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说着一径同莺儿出了蘅芜苑。二人你言我语，一面行走，一面说笑，不觉到了柳叶渚，顺着柳堤走来。因见叶才点碧，丝若垂金，莺儿便笑道：“你会拿这柳条子编东西不会？”蕊官笑道：“编什么东西？”莺儿道：“什么编不得？玩的，使的，都可。等我摘些下来，带着这叶子编一个花篮，采了各色花儿放在里头，才是好玩呢！”说着，且不去取硝，且伸手采了许多嫩条，命蕊官拿着，他却一行走，一行编花篮。随路见花便采一二枝，编出一个玲珑过梁的篮子。枝上自有本来翠叶满布，将花放上，却也别致有趣。<br />
So the two of them set off from Alpinia Park. Chatting as they strolled, the girls soon reached Willow Bank. As they walked along it they saw that the willows, now turning green, seemed hung with golden threads. “Can you weave things out of osiers?” Oriole asked. “What sort of things?” “Oh, anything ‘ little toys or useful objects. Wait till I’ve picked a few twigs with leaves and I’ll make a basket to fill with different flowers. That should be fun.” So instead of fetching the powder, Oriole plucked an armful of tender twigs which she made Etamine carry, and started to weave a basket as on they walked, stopping now and then to pick flowers. The dainty little basket was soon completed. Covered with its own fresh green leaves and filled with flowers, it made a charming and original toy.<br />
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So the two of them set off from Alpinia Park. Chatting as they strolled, they soon reached Willow Bank. As they walked along it, they saw that willows, now turning green, seemed hung with golden threads. “Can you weave things out of osiers?” Oriole asked. “What sort of things?” “Oh, anything ‘ little toys or useful objects. Wait till I’ve picked a few twigs with leaves and I’ll make a basket to fill with different flowers. That should be fun.” So instead of fetching the powder, Oriole plucked an armful of tender twigs which she made Etamine carry, and started to weave a basket as on they walked, stopping now and then to pick flowers. The dainty little basket was soon completed. Covered with its own fresh green leaves and filled with flowers, it made a charming and original toy.--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:49, 30 May 2022 (UTC)<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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喜得蕊官笑道：“好姐姐，给了我罢！”莺儿道：“这一个咱们送林姑娘，回来咱们再多采些，编几个大家玩。”说着，来至潇湘馆中。黛玉也正晨妆，见了这篮子，便笑说：“这个新鲜花篮是谁编的？”莺儿说：“我编了，送与姑娘玩的。”黛玉接了，笑道：“怪道人人赞你的手巧，这玩意儿却也别致。”一面瞧了，一面便叫紫鹃挂在那里。莺儿又问侯薛姨妈，方和黛玉要硝。黛玉忙命紫鹃去包了一包，递与莺儿。黛玉又说道：“我好了，今日要出去逛逛；你回去说与姐姐，不用过来问候妈了，也不敢劳他过来，我梳了头，同妈都往你那里去吃饭，大家热闹些。”<br />
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Actress Pistil smiled and said, "Good sister, give it to me!" Maid Oriole said, "Let's send Mascara Jade this one, and when we come back, we'll pick more and make up a few for everyone to play." She said, and came to the Bamboo Lodge. Mascara Jade was also making up in the morning, and when she saw this basket, she smiled and said, "Who made this fresh flower basket?" Maid Oriole said, "I made it up and sent it to the girl to play with." Mascara Jade took it and smiled, "It's true that everyone praises your skill, and this thing does look chic." As she looked, she told Nightingale to hang it there. Maid Oriole asked Aunt Marshgrass again, then asked Mascara Jade for saltpetre. Mascara Jade order Nightingale to wrap a bag and hand it to Maid Oriole. Mascara Jade said again, "I'm fine, I'm going to go out for a walk today; you go back and say that you and your sister don't have to come over to greet her, and you don't dare to ask her to come over, I combed my hair and go to your place with her to eat, it is more fun."<br />
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Actress Pistil smiled and said, "My dear sister, give it to me!" Maid Oriole said, "Let's send this one to Mascara Jade, and when we come back, we'll pick more and make up a few for everyone to play." She said, and came to the Bamboo Lodge. Mascara Jade was also making up in the morning, and when she saw this basket, she smiled and said, "Who made this fresh flower basket?" Maid Oriole said, "I made it up and sent it to you to play with." Mascara Jade took it and smiled, "It's true that everyone praises your skill, and this thing does look chic." As she looked, she told Nightingale to hang it there. Maid Oriole greeted Aunt Marshgrass again, then asked Mascara Jade for saltpetre. Mascara Jade order Nightingale to wrap a bag and hand it to Maid Oriole. Mascara Jade said again, "I'm fine, I'm going out for a walk today; you go back and tell sister that both of you don't have to come over to greet Aunt Marshgrass, and I don't dare to ask her to come over. After I comb my hair, we will go to eat in your room with Aunt Marshgrass, which is more fun."--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 08:42, 30 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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莺儿答应了出来，便到紫鹃房中找蕊官，只见蕊官却与藉官二人正说得高兴，不能相舍，莺儿便笑说：“姑娘也去呢，藕官先同去等着，岂不是好？”紫鹃听见如此说，便也说道：“这话倒很是，他这里淘气的可厌。”一面说，一面便将黛玉的匙箸用一块洋巾包了，交与藕官道：“你先带了这个去，也算一趟差了。”藕官接了，笑嘻嘻同他二人出来，一径顺着柳堤走来。莺儿便又采些柳条，索性坐在山石上编起来；又命蕊官先送了硝去再来。他二人只顾爱看他编，那里舍得去？莺儿只管催，说：“你们再不去，我就不编了。”<br />
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Maid Oriole promised and went out to Nightingale's room to find Actress Pistil, only to see that Actress Pistil and Actress Lotus-root were chatting merrily and couldn't be separated. Maid Oriole then smiled and said, "Actress Lotus-root can go with us, too. You go and wait for us there, isn't it a good idea?" Nightingale heard this and said, "So it is. She is so naughty there." She then packed Mascara Jade's spoon and chopsticks with a foreign scarf and handed it to Actress Lotus-root, saying, "Take this with you, it's also a piece of work." Actress Lotus-root took it and went out with Maid Oriole and Actress Pistil, smiling. They walked along the willow bank. Maid Oriole got some wicker and sat on the stone of the rockery to weave the flower basket. She then asked Actress Pistil to send the nitre first. But the two were attracted by her weaving the basket and unwilling to go to finish their work. Maid Oriole urged them to go quickly and said, "I won't do this any more if you don't go."<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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藕官便说：“同你去了，再快回来。”二人方去了。这里莺儿正编，只见何妈的小女春燕走来，笑问：“姐姐编什么呢？”正说着，蕊官藕官也到了，春燕便向藕官道：“前日你到底烧了什么纸？被我姨妈看见了，要告你没告成，倒被宝玉赖了他好些不是，气得他一五一十告诉我妈。你们在外头这二三年了，积了些什么仇恨，如今还不解开？”藕官冷笑道：“有什么仇恨？他们不知足，反怨我们了。在外头这两年，不知赚了我们多少东西。你说说，可有的没的？”<br />
春燕笑道：“他是我的姨妈，也不好向着外人反说他的。<br />
‘I’ll go with you,’ volunteered Actress Lotus-root. ‘Then we can hurry back.’And with that they went off. Presently along came Mother He’s young daughter Spring Swallow, who wanted to know what Maid Oriole was making. Just at that moment the other girls returned.‘What was that paper you were burning the other day when my aunt spotted you?’ Spring Swallow asked Actress Lotus-root. ‘Before she could report you, Precious Jade Merchant gave her such a dressing-down that she went off in a huff and told my mother all about it. What feud did you have with them those few years in the troupe outside the Garden that you’re still at loggerheads?’‘What feud?’ Actress Lotus-root snorted. ‘There’s just no satisfying them they’re for ever nagging at us. Not to mention anything else, goodness knows how much they made the last two years out of our daily food allowance outside ‘ more than enough to feed their own families ‘ in addition to their rake off on purchases. Yet any job we give them, they complain to high heaven. What sort of behaviour is that?’Spring Swallow smiled.‘She’s my aunt, so I can’t run her down to outsiders.<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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怨不得宝玉说：‘女孩儿未出嫁是颗无价宝珠，出了嫁不知怎么就变出许多不好的毛病来；再老了，更不是珠子，竟是鱼眼睛了！分明一个人，怎么变出三样来？’这话虽是混账话，想起来真不错。别人不知道，只说我妈和姨妈，他老姐儿两个，如今越老了，越把钱看得真了。先是老姐儿两个在家抱怨没个差使进益；幸亏有了这园子，把我挑进来，可巧把我分到怡红院。家里省了我一个人的费用不算外，每月还有四五百钱的余剩，这也还说不够。后来老姐儿两人都派到梨香院去照看他们，藕官认了我姨妈，芳官认了我妈，这几年着实宽绰了。<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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如今挪进来，也算撂开手了，还只无厌。你说好笑不好笑？接着我妈和芳官女吵了一场，又要宝玉吹汤，讨个没趣儿。幸亏园里的人多，没人记的清楚谁是谁的亲故；要有人记得，我们一家人，叫人家看着什么意思呢！你这会子又跑了来弄这个。这一带地上的东西，都是我姑妈管着，他一得了这地，每日起早睡晚，自己辛苦了还不算，每日逼着我们来照看，生怕有人遭塌，我又怕误了我的差使；如今我们进来了，老姑嫂两个照看得谨谨慎慎，一根草也不许人乱动。你还掐这些花儿，又折他的嫩树枝子，他们即刻就来，仔细他们抱怨。”<br />
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Now that we moved in, we completely gave up. I had no other thoughts. It's so funny. Then my mom had a quarrel with Fragrant Official, asking Precious Jade to chill the soup. Made herself embarrassed. Luckily, there weren't many people in the yard at that time and no one knew clearly the relations. If anyone knew, we were going to be a joke. You came to do this now? See the things on the ground, they are all my aunt's charging. She couldn't do that much. Nearly in the morning and late at night, making herself tired does not count, she even wanted us to be with her so that she doesn't have to worry anyone damaging it. I feared that my work would be impeded. Now I came in, the old ladies were so careful. Don't even allow others to touch a grass. You picked the flowers and fresh branches. They are coming soon and you are doomed."<br />
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Now that we moved in, we completely gave up. I had no other thoughts. It's so funny. Then my mom had a quarrel with Fragrant Official, and then she asked Precious Jade to chill the soup. Only to make herself embarrassed. Luckily, there weren't many people in the yard at that time and no one knew clearly the relations. If anyone knew, we were going to be a joke. You came to do this now? See the things on the ground, they are all my aunt's charging. She couldn't do that much. Nearly in the morning and late at night, making herself tired does not count, she even wanted us to be with her so that she doesn't have to worry anyone damaging it. I feared that my work would be impeded. Now I came in, the old ladies were so careful. Don't even allow others to touch a grass. You picked the flowers and fresh branches. They are coming soon and you are doomed."--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 15:15, 31 May 2022 (UTC)<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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莺儿道：“别人折掐使不得，独我使得。自从分了地基之后，各房里每日皆有分例的，不用算；单管花草玩意儿，谁管什么，每日谁就把各房里姑娘丫头戴的，必要各色送些折枝的去，另有插瓶的。惟有我们姑娘说了：‘一概不用送，等要什么再和你要。’究竟总没要过一次。我今便掐些，他们也不好意思说的。”一言未了，他姑妈果然拄了拐杖走来。莺儿春燕等忙让坐。那婆子见采了许多嫩柳，又见藕官等采了许多鲜花，心里便不受用；看着莺儿编弄，又不好说什么，便说春燕道：“我叫你来照看照看，你就贪住玩不去了，<br />
"Others may not be allowed to pick what they like, but I am, "retorted Maid Oriole." After the different places were allotted, each household was assigned its share of the produce. Not counting edibles, just take flowers for example. Those in charge have to send some over every day for the young ladies and maids to wear, as well as to put in their vases. My young lady was the only one who told them not to send any. She said she'd ask for what she needed, but in fact she never once has. So how can they scold me for picking a few flowers now?"<br />
While she was still speaking, sure enough, along came Spring Swallow's aunt leaning on her cane. Maid Oriole and Spring Swallow at once urged her to be seated. The sight of all the willow twigs and flowers which Actress Lotus-root and the others had picked vexed the woman, but not liking to say anything against Maid Oriole, who was making a basket, she rounded on her niece.<br />
"I told you to keep an eye on things, but you take that as a chance to play around …<br />
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"Others may not be allowed to pick what they like, but I am, "retorted Maid Oriole." After the different places were allotted, each household was assigned its share of the produce. Not counting edibles, just take flowers for example. Those in charge have to send some over every day for the young ladies and maids to wear, as well as to put in their vases. My young lady was the only one who told them not to send any. She said she'd ask for what she needed, but in fact she never once has. So how can they scold me for picking a few flowers now?"<br />
While she was still speaking, sure enough, along came Spring Swallow's aunt leaning on her cane. Maid Oriole and Spring Swallow at once urged her to be seated. The sight of all the willow twigs and flowers which Actress Lotus-root and the others had picked vexed the woman, but not liking to say anything against Maid Oriole, who was making a basket, she rounded on her niece.<br />
"I told you to keep an eye on things, but you take that as a chance to play around …--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 05:08, 31 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
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倘或叫起你来，你又说我使你了，拿我作隐身草儿，你来乐！”春燕道：“你老人家又使我，又怕，这会子反说我，难道把我劈八瓣子不成？”莺儿笑道：“姑妈，你别信小燕儿的话。这都是他摘下来，烦我给他编，我撵他，他不去。”春燕笑道：“你可少玩儿！你只顾玩儿，他老人家就认真的。”那婆子本是愚夯之辈，兼之年近昏眊，惟利是命，一概情面不管；正心疼肝断，无计可施，听莺儿如此说，便倚老卖老，拿起柱杖向春燕身上击上几下，骂道：“小蹄子，我说着你，你还和我强嘴儿呢！<br />
"l told you not go back to your apartments. When they want you there, you say you've been working for me. Using me as your cover,ch?"<br />
"You order me about yet you're afraid, and now you're scolding me," protested Spring Swallow. "l can't be everywhere at once, can I?"<br />
"Don't you believe her, aunt," chuckled Yinger. "She was the one who picked all these and asked me to make her a basket. When I tried to chase her away, she wouldn't go."<br />
"Don't talk such nonsense!" cried Spring Swallow. “My aunt can't take a joke, she'll believe you."<br />
Indeed, her aunt had been born stupid, and now that age had addled her wits her one interest in life was money: she had no consideration at all for others. Inwardly fuming, she had not known how to retaliate until Yinger made this joke. Now, presuming on her seniority, she raised her cane and struck her niece several blows.<br />
"Little bitch!"she swore. "I'll teach you to talk back!<br />
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"I told you not go back to your apartments. When they want you there,you say you've been working for me. Using me as your cover?" "You order me about yet you're afraid, and now you're scolding me,"protested Spring Swallow. "I can't be everywhere at once,can I?" "Don't you believe her, aunt," chuckled Oriole. "She was the one who picked all these and asked me to make her a basket. When I tried to chase her away,she wouldn't go." "Don't talk such nonsense!" cried Spring Swallow. “My aunt can't take a joke,she'll believe you." Indeed,her aunt had been born stupid, and now that age had addled her wits her one interest in life was money: she had no consideration at all for others. Inwardly fuming,she had not known how to retaliate until Yinger made this joke. Now,presuming on her seniority,she raised her cane and struck her niece several blows. "Little bitch!"she swore. "I'll teach you to talk back!--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 13:21, 31 May 2022 (UTC)<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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你妈恨的牙痒痒，要撕你的肉吃呢，你还和我梆子是的。”打得春燕又愧又急，因哭道：“莺儿姐姐玩话，你就认真打我！我妈为什么恨我？又没烧糊了洗脸水，有什么不是？”莺儿本是玩话，忽见婆子认真动了气，忙上前拉住，笑道：“我才是玩话，你老人家打他，这不是臊我了吗？”那婆子道：“姑娘，你别管我们的事，难道为姑娘在这里不许我们管孩子不成？”莺儿听见这般蠢话，便赌气红了脸，撒了手，冷笑道：“你要管，那一刻管不得？偏我说了一句玩话，就管他了？我看你管去！”说着便坐下，仍编柳篮子。<br />
Your mother's grinding her teeth,itching to tear you to pieces and chew you up. Yet you still answer me back in that pert way!" Hurt and humiliated,Spring Swallow sobbed,"Sister Oriole was only joking,yet you believed her and beat me. Why should my mother be angry? I've not boiled away her water or burned her pan. What have I done wrong?" Maid Oriole,seeing that her teasing had really angered the woman now caught her by the arm. "I was only joking,"she said soothingly. "By beating her you make me feel bad too." "Don't meddle with our affairs miss,"snapped the other. "Can't we punish our own children just because you're here?" This stupid gibe made Yinger flush with anger. She let go of the woman with a scornful laugh,"You can punish her any time you please. Why do it just after I make a joke? All right - go ahead." With that she sat down again and was going on making her basket.<br />
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==比较文学与跨文化研究 Mahzad 202021080004==<br />
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偏又有春燕的娘出来找他，喊道：“你不来舀水，在那里做什么？”那婆子便接声儿道：“你来瞧瞧，你女孩儿连我也不服了，在这里排揎我呢！”那婆子一面走过来，说：“姑奶奶又怎么了？我们丫头眼里没娘罢了，连姑妈也没了不成？”莺儿见他娘来了，只得又说原故。他姑娘那里容人说话，便将石上的花柳与他娘瞧，道：“你瞧瞧，你女孩儿这么大孩子玩的！他领着人糟塌我，我怎么说人？”他娘也正为芳官之气未平，又恨春燕不遂他的心，便走上来打了个耳刮子，骂道：“小娼妇，你能上了几年台盘？你也跟着那起轻薄浪小妇学！怎么就管不得你们了？干的我管不得，你是我自己生出来的，难道也不敢管你不成？<br />
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==外国语言文学 Muhammad Numan 202121080002==<br />
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既是你们这起蹄子到得去的地方我到不去，你就死在那里伺侯，又跑出来浪汉子！”一面又抓起柳条子来，直送到他脸上，问道：“这叫做什么，这编的是你娘的什么？”莺儿忙道：“那是我编的，你别‘指桑骂槐’的！”那婆子深妒袭人晴雯一干人，早知道凡房中大些的丫鬟，都比他们有些体统权势，凡见了这一干人，心中又畏又让，未免又气又恨，亦且迁怒于众；复又看见了藕官，又是他姐姐的冤家：四处凑成一股怒气。那春燕啼哭着往怡红院去了。他娘又恐问他为何哭，怕他又说出来，又要受晴雯等的气，不免赶着来喊道：“你回来！我告诉你再去。”春燕那里肯回来，急的他娘跑了去要拉他。春东回头看见，便也往前飞跑。<br />
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==英语语言文学 TOURE MARIAM 202021080005==<br />
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他娘只顾赶他，不防脚下被青苔滑倒，引的莺儿三个人都反笑了。莺儿赌气将花柳皆掷于河中，自回房去。这里把个婆子心疼的只念佛，又骂：“促狭小蹄子！遭塌了花儿，雷也是要劈的！”自己且掐花与各房送去。却说春燕一直跑入院中，顶头遇见袭人往黛玉处问安去，春燕便一把抱住袭人说：“姑娘救我！我娘又打我呢！”袭人见他娘来了，不免生气，便说道：“三日两头儿，打了干的打亲的，还是卖弄你女孩儿多？还是认真不知王法？”这婆子来了几日，见袭人不言不语，是好性的，便说道：“姑娘，你不知道，别管我们的闲事，都是你们纵的，还管什么？”说着，便又赶着打。<br />
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==外国语言文学 UDDIN NIZAM 202121080007==<br />
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袭人气的转身进来，见麝月正在海棠下晾手巾，听如此喊闹，便说：“姐姐别管，看他怎样！”一面使眼色与春燕。春燕便会意，便直奔了宝玉去。众人都笑说：“这可是从来没有的事今儿都闹出来了。”麝月向婆子道：“你再略煞一煞气儿，难道这些人的脸面，和你讨一个情还讨不出来不成？”那婆子见他女儿奔到宝玉身边去，又见宝玉拉了春燕的手，说：“你别怕，有我呢！”春燕一行哭，一行将方才莺儿等事都说出来。宝玉越发急起来，说：“你只在这里闹也罢了，怎么连亲戚也都得罪起来！”麝月又向婆子及众人道：<br />
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==翻译学 SAGARA SEYDOU 201911080004 ==<br />
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“怨不得这嫂子说我们管不着他们的事，我们虽无知，错管了，如今请出一个管得着的人来管一管，嫂子就心服口服，也知道规矩了。”便回头叫小丫头子：“去把平儿给我叫来！平儿不得闲。就把林大娘叫了来。”那小丫头子应了就走。众媳妇上来笑说：“嫂子快求姑娘们叫回那孩子罢。平姑娘来了，可就不好了！”那婆子说道：“凭是那个姑娘来了，也要凭个理，没有见个娘管女孩儿，大家管着娘的！”众人笑道：“你当是那个平姑娘？是二奶奶屋里的平姑娘！他有情么，说你两句；他一翻脸，嫂子，你‘吃不了兜着走’！”说着，只见那个小丫头子回来说：“平姑娘正有事呢，问我做什么，我告诉了他。</div>Li Yuanhttps://bou.de/u/index.php?title=20220602_homework&diff=14385420220602 homework2022-05-31T15:49:23Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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虽是玩话，细想来倒也有些意思。我想宝琴虽有了人家，我虽无人可给，难道一句话也不说？我想你宝兄弟，老太太那样疼他，他又生得那样，若要外头说去，老太太断不中意，不如把你林妹妹定与他，岂不四角俱全？”黛玉先还怔怔的，后来见说到自己身上，便啐了宝钗一口，红了脸，拉着宝钗笑道：“我只打你！为什么招出姨妈这些老没正经的话来？”宝钗笑道：“这可奇了！妈妈说你，为什么打我？”紫鹃忙跑来笑道：“姨太太既有这主意，为什么不和太太说去？”<br />
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A joke as it was, the old lady should have this intention, I suppose. Although I can select no one except Precious Strings, who has been engaged, how can’t I help with Precious Jade’s marriage? As for this issue, our old lady is so doting on her grandson, such a handsome man, so it’s expected that she will definitely not be satisfied with a girl from an unfamiliar family as her granddaughter-in-law. Your Sister Forest seems to be a better choice than any others. Isn’t it a perfect match, is it? ” At first, Mascara Jade was absent-minded at the topic, and then realized the topic had come to her, so the blushed girl pretended to spit at Precious Hairpin and pushed her, “I’ll knock your head off! You just entice your mother to make such ridiculous remarks!” “It indeed amazes me! Mom gossiped about you! And why you beat me!”Precious Hairpin joked. Nightingale also came to join them, “Now that Lady Marshgrass has this idea, you shall talk it to Grandma Merchant.”<br />
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Thank you for your correction work this semester! (*￣︶￣)<br />
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（reply: My enjoyment, sweet girl~）<br />
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A joke as it was, the old lady should have this intention, I suppose. Although I can select no one except Precious Strings, who has been engaged, how can I pass over Precious Jade’s marriage? As for this issue, our old lady has been so doting on her grandson, such a handsome man, so it’s expected that she will definitely not be satisfied with a girl from an unfamiliar family as her granddaughter-in-law. Your Sister Forest seems to be a better choice than any others. Isn’t it a perfect match, is it? ” At first, Mascara Jade was absent-minded at the topic, and then realized the topic had come to her, so the blushed girl pretended to spit at Precious Hairpin and pulled her arm, “I’ll knock your head off! You just entice your mother to make such ridiculous remarks!” “It indeed amazes me! It's Mom that gossiped about you! And why you beat me!”Precious Hairpin joked. Nightingale also came to join them, “Now that Lady Marshgrass has this idea, you shall talk it to Grandma Merchant.”--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:44, 29 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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薛姨妈笑道：“你这孩子急什么！想必催着姑娘出了阁，你也要早些寻一个小女婿去了。”紫鹃也红了脸，笑道：“姨太太真个倚老卖老的！”说着便转身去了。黛玉先骂：“又与你这蹄子什么相干！”后来见了这样，也笑道：“阿弥陀佛！该，该，该！也臊了一鼻子灰去了！”薛姨妈母女及婆子丫鬟都笑起来。一语未了，忽见湘云走来，手里拿着一张当票，口内笑道：“这是什么账篇子？”黛玉瞧了，不认得。地下婆子们都笑道：“这可是一件好东西！这个乖不是<br />
白教的。”<br />
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"What are you hurry for, child?" teased Aunt Marshgrass. "I reckon the sooner your mistress is married off, the sooner you can find yourself a young husband." Nightingale flushed to turn back, "You’re taking advantage of one's seniority, your Ladyship!" Then she went away. "What business does it have with you?" scolded Mascara Forest, and then laughed too at her discomfiture. "Amitabha! She deserves it!" Aunt Marshgrass, Precious Hairpin and all the present joined the laughter. At that moment, Fragrant Cloud came in, with a pawn ticket in her hand. "What’s this bill for?" she asked smilingly. Mascara Forest took a look but did not know what it was. "It’s something marvelous," the married servants laughed. "But we won’t teach you for nothing."<br />
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"What are you hurry for, child?" teased Aunt Marshgrass. "I reckon the sooner your mistress is married off, the sooner you can find yourself a young husband." Nightingale flushed to turn back, "You’re taking advantage of one's seniority, your Ladyship!" Then she went away. "What business does it have with you?" scolded Mascara Forest, and then laughed too at her discomfiture. "Amitabha! She deserves it!" Aunt Marshgrass, Precious Hairpin and all the present joined the laughter. At that moment, Fragrant Cloud came in, with a pawn ticket in her hand. "What’s this bill for?" she asked smilingly. Mascara Forest took a look but did not know what it was. "It’s something marvelous," the married servants laughed. "But we won’t teach you for nothing."--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 11:16, 30 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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宝钗忙一把接了看时，正是岫烟才说的当票子，忙折了起来。薛姨妈忙说：“那必定是那个妈妈的当票子失落了，回来急的他们找。那里得的？”湘云道：“什么‘当票子’？”众人笑道：“真真是个呆子，连个票子也不知道！”薛姨妈叹道：“怨不得他，真真是侯门千金，而且又小，那里知道这个？那里去有这个？便是家下人有这个，他如何得见？别笑他是呆子，若给你们家的姑娘看了，也都成了呆子。”众婆子笑道：“林姑娘方才也不认得。别说姑娘们。就如宝玉，倒是外头常走出去的，只怕也还没见过呢。”<br />
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Precious Hairpin took it from Fragrant-cloud and found that it was the pawn Tadpole had mentioned. She hastily folded it up.‘It must be a pawn ticket some old nurse has lost,’ said Aunt Marshgrass. ‘She’ll be frantic when she can’t find it.’‘A pawn ticket? What’s that?’ asked Fragrant-cloud.Everybody laughed.‘You idiot! You doesn’t even know what a pawn ticket is.’‘That’s quite natural,’ remarked Aunt Marshgrass. ‘As the daughter of a noble house, and still young, how could she know of such things? Where would she have seen one? Even if some one in their household had one, she wouldn’t set eyes on it. So don’t you go calling her an idiot. If you showed your young mistresses this, that would make them all idiots,too.’‘Just now Sister Fores didn’t know it either,’ agreed the women. ‘And not only the young ladies. We’d be surprised if Precious Jade doesn't know what it is, though he often goes outside.’<br />
Precious Hairpin took it from Fragrant-cloud and found that it was the pawn Tadpole had mentioned. She hastily folded it up.‘It must be a pawn ticket some old nurse has lost,’ said Aunt Marshgrass. ‘She’ll be frantic when she can’t find it.’‘A pawn ticket? What’s that?’ asked Fragrant-cloud.Everybody laughed.‘You idiot! You doesn’t even know what a pawn ticket is.’‘That’s quite natural,’ remarked Aunt Marshgrass. ‘As the daughter of a noble house, and still young, how could she know of such things? Where would she have seen one? Even if some one in their household had one, she wouldn’t set eyes on it. So don’t you go calling her an idiot. If you showed your young mistresses this, that would make them all idiots,too.’‘Just now Sister Fores didn’t know it either,’ agreed the women. ‘And not only the young ladies. We’d be surprised if Precious Jade doesn't know what it is, though he often goes outside.’--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 12:58, 30 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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薛姨妈忙将原故讲明。湘云黛玉二人听了，方笑道：“这人也太会想钱了！姨妈家当铺也有这个不成？”众人笑道：“这更呆了！‘天下老鸹一般黑’，岂有两样的。”薛姨妈因又问：“是那里拾的？”湘云方欲说时，宝钗忙说：“是一张死了没用的，不知是那年勾了账的。香菱拿着哄他们玩的。”薛姨妈听了此话是真，也就不问了。一时人来回：“那府里大奶奶过来请姨太太说话呢。”薛姨妈起身去了。这里屋内无人时，宝钗方问湘云：“何处拾的？”湘云笑道：“我见你令弟媳的丫头篆儿悄悄的递与莺儿。<br />
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Aunt Marshgrass quickly explained the reason. When the two of them heard this, Fang laughed and said, "This man is so good at thinking about money! My aunt's pawnshop has that too?" The crowd laughed: "This is more foolish! There is nothing different about the pot calling the kettle black. Aunt Marshgrass asked again, "Where did you pick it up?" When Fragrant-cloud History was about to say something, Precious Hairpin Marshgrass replied, "It's a dead one. I don't know if it was written that year. Wiselotus Potterymaker is holding it to coax them." Aunt Marshgrass heard this to be true and asked no more questions. At that time a person back and forth: "that mansion big grandma come to ask a concubine to talk." Aunt Marshgrass got up and went. When there was no one in the room, Precious Hairpin Marshgrass asked Fragrant-cloud History, "Where did you pick it up?" Fragrant-cloud History said with a smile, "I saw you make your sister-in-law's wench whisper to Maid Oriole.<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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莺儿便随手夹在书里，只当我没看见。我等他们出去了，我偷着看，竟不认得。知道你们都在这里，所以拿来大家认认。”黛玉忙问：“怎么他也当衣裳不成？既当了，怎么又给你去？”宝钗见问，不好隐瞒他两个，便将方才之事，都告诉了他二人。黛玉便说：“兔死狐悲，物伤其类”，不免也要感叹起来了。史湘云听了，便动了气，说：“等我问着二姐姐去！我骂那起老婆子丫头一顿，给你们出气，何如？”说着，便要走出去，宝钗忙一把拉住，笑道：“你又发疯了，还不给我坐着呢！”<br />
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"Warbler then clipped it in the book, and thought I did not notice. After they went out, I took a peep at it but did not know what it is. I knew you were all here, so I brought it for everyone to recognize." Mascara Jade asked , "Did she pawn her clothes too? And if so, why should she give the ticket to you?" Knowing it is not good to hide the truth, then Precious Hairpin told them what had happened. Mascara Jade then said, "It's like the fox is sad at the death of a hare and all beings grieve for their fellow beings." And she can not help but also sigh up. However,Fragrant-cloud became angry and said, "Wait till I go to ask the second sister! What if I scolded the old woman to vent your anger on them?" Precious Hairpin quickly stopped her and said with a smile, "You are crazy again. Hurry to sit down here!"<br />
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"Warbler then clipped it in the book, and thought I did not notice. After they went out, I took a peep at it but did not know what it is. I knew you were all here, so I brought it for everyone to recognize." Mascara Jade asked , "Did she pawn her clothes too? And if so, why should she give it to you?" Knowing it is not good to hide the truth, then Precious Hairpin told them what had happened. Mascara Jade then said, "It's like the fox is sad at the death of a hare and all beings grieve for their fellow beings." And she can not help but also sigh up. However,Fragrant-cloud became angry and said, "Wait till I go to ask the second sister! What if I scolded the old woman to vent your anger on them?" Precious Hairpin quickly stopped her and said with a smile, "You are crazy again. Hurry to sit down here!"--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 05:26, 31 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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黛玉笑道：“你要是个男人，出去打一个抱不平儿。你又充什么荆轲、聂政？真真好笑。”湘云道：“既不叫我问他去，明日也把他接到咱们院里一处住去，岂不是好？”宝钗笑道：“明日再商量。”说着，人报：“三姑娘四姑娘来了。”三人听说，忙掩了口，不提此事。要知端的，且听下回分解。<br />
◎第五十八回 杏子阴假凤泣虚凰 茜纱窗真情揆痴理<br />
话说他三人因见探春等进来，忙将此话掩住不提。探春等问候过，大家说笑了一会方散。谁知上回所表的那位老太妃已薨，凡诰命等皆入朝随班，按爵守制；<br />
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Mascara Jade said with a smile, "If you were a man, go out and fight for justice. What are you calling Jing Ke and Nie Zheng for? It's really funny." Fragrant-cloud said, "If you don't ask me to ask him, I'll pick him up tomorrow. Wouldn’t it be good for us to live in one place in the courtyard?” Precious Hairpin smiled and said, “We’ll discuss it tomorrow.” Then the people reported, “The third girl and fourth girl come here.” Knowing this, they shut their mouth and said nothing. To know the truth, and listen to the next decomposition. <br />
◎The fifty-eighth chapter Xingzi Yin fake phoenix weeping illusory phoenix Qian screen window is true and idiotic. It was said that the three of them were waiting to come in because of seeing Seeking-Spring so they hurriedly covered up this remark. After Seeking-Spring and other greetings, everyone joked and laughed for a while before dispersing. Who would have known that the old concubine who was listed last time had passed away, and all the appointments, etc., would enter the court and follow the class, and be held by the rank;<br />
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Mascara Jade said with a quizzical smile, "If you were a real man, go out and fight for justice. What are you calling Jing Ke and Nie Zheng for? It's really funny." Fragrant-cloud said, "If you don't ask me to ask him, I'll pick him up tomorrow. Wouldn’t it be good for us to give him a room to live in in the courtyard?” Precious Hairpin smiled and said, “We’ll discuss it tomorrow.” Then the people reported, “The third girl and fourth girl are coming.” Knowing this, they ended their conversation. To know the truth, listen to the next decomposition. <br />
◎The fifty-eighth chapter Xingzi Yin fake phoenix weeping illusory phoenix Qian screen window is true and idiotic. It was said that the three of them were waiting to come in because of seeing Seeking-Spring so they hurriedly covered up this remark. After Seeking-Spring and her greetings, everyone joked and laughed for a while before dispersing. Who would have known that the old concubine who was listed last time had passed away, and all the appointments, etc., would enter the court and follow the class, and be held by the rank;--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 13:34, 31 May 2022 (UTC)<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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敕谕天下，凡有爵之家，一年内不得筵宴音乐，庶民皆三月不得婚姻。贾母婆媳祖孙等俱每日入朝随祭，至未正以后方回。在大偏宫二十一日后，方请灵入先陵，地名孝慈县。这陵离都来往得十来日之功，如今请灵至此，还要停放数日，方入地宫，故得一月光景。宁府贾珍夫妻二人，也少不得是要去的。两府无人，因此大家计议，家中无主，便报了“尤氏产育”，将他腾挪出来，协理荣宁两处事件。因托了薛姨妈在园内照管他姊妹丫鬟。薛姨妈只得也挪进园来。<br />
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It announced that Nobles throughout the empire were forbidden feasting and music for a year, while common people were prohibited from marrying for three months.<br />
Grandma Merchant with her daughter-in-law as well as grandchildren of the family had to go to court every morning and offered the sacrifice, not returning until around two p.m. After twenty-one days of lying in state in the Great Inner Court of the Side Palace, the coffin would be conveyed to the Imperial Mausoleum in the county called Filial Kindness; and as this was some ten days journey from the capital, the coffin would have to wait there for several days before it could be interred in the underground palace, the whole proceedings would occupy nearly one month. Treasure Merchant and his wife should both have assisted at these obsequies; but as that would have left no one at home, after much discussion they decided to beg leave from the court for Madam Outstanding on the plea that she was with the child so that she could take over the supervision of the two mansions. Aunt Marshgrass, having been prevailed upon to take care of the girls and maids in the Garden, now had to move in there too.<br />
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It announced that Nobles throughout the empire were forbidden feasting and music for a year, while common people were prohibited from marrying for three months. Grandma Merchant with her daughter-in-law as well as grandchildren of the family had to go to court every morning and offered the sacrifice, not returning until around two in the afternoon. After twenty-one days of lying in state in the Great Inner Court of the Side Palace, the coffin would be conveyed to the Imperial Mausoleum in the county called Filial Kindness; and as this was some ten days journey from the capital, the coffin would have to wait there for several days before it could be interred in the underground palace, the whole proceedings would occupy nearly one month. Treasure Merchant and his wife of the Ning Mansion should both have assisted at these obsequies; but as that would have left no one at home, after much discussion they decided to beg leave from the court for Madam Outstanding on the plea that she was with child, so that she could take over the supervision of the two mansions. Aunt Marshgrass, having been prevailed upon to take care of the girls and maids in the Garden, now had to move in there too.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 15:11, 29 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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因宝钗处有湘云香菱，李纨处目今李婶母虽去，然有时来住，三五日不定，贾母又将宝琴送与他去照管；迎春处有岫烟；探春因家务冗杂，且不时有赵姨娘与贾环来嘈聒，甚不方便，惜春处房屋狭小，况贾母又千叮咛万嘱咐托他照管林黛玉，薛姨妈素习也最怜爱他的，今既巧遇这事，便挪至潇湘馆来和黛玉同房，一应药饵饮食，十分经心。黛玉感戴不尽，以后便亦如宝钗之称呼，连宝钗前亦直以“姐姐”呼之，宝琴前直以“妹妹”呼之，俨似同胞共出，较诸人更似亲切。贾母见如此，也十分喜悦放心。<br />
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Precious Hairpin already had Fragrant-cloud and Wiselotus Potterymaker living with her; Silk Plum, although her aunt and her aunt's two daughters were not staying with her, received visits from them every few days, and she had been entrusted with Precious Strings as well by the Grandma Merchant; Spring Pleasure was sharing with Cloud Marshgrass; Seeking-Spring's apartments were not convenient either, as she was fully occupied with household affairs and the trouble caused by Concubine Walk and Ring Merchant; and Cherishing Spring's place was limited. Besides, as the old lady had asked Aunt Marshgrass to take special care of Mascara Jade Forest, for whom she herself felt the deepest sympathy. Under the circumstances she naturally moved into Bamboo Lodge where she shared Mascara Jade's room and kept a strict eye on the girl's medicines. Mascara Jade was more grateful for this than words can tell, She began to treat Aunt Marshgrass as her own mother and Precious Hairpin and Precious Strings as her sisters, feeling closer to them than to all the other girls. Grandma Merchant was very relieved and happy to observe this condition.<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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薛姨妈只不过照管他姊妹，禁约得丫鬟辈；一应家中大小事务也不肯多口。尤氏虽天天过来，也不过应名点卯，亦不肯乱作威福，且他家内上下，也只剩他一个料理；再者，每日还要照管贾母王夫人的下处一应所需饮馔铺设之物：所以也甚操劳。当下荣宁两处主人既如此不暇，并两处执事人等，或有跟随着入朝的，或有朝外照理下处事务的，又有先踩踏下处的，也都各各忙乱。因此两处下人无了正经头绪，也都偷安，或乘隙结党，与权暂执事者窃弄威福。荣府只留得赖大并几个管家照管外务。<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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这赖大手下常用几个人已去，虽另委人，都是些生的，只觉不顺手。且他们无知，或赚骗无节，或呈告无据，或举荐无因，种种不善，在在生事，也难备述。又见各官宦家，凡养优伶男女者，一概蠲免遣发，尤氏等便议定，待王夫人回家回明，也欲遣发十二个女孩子。又说：“这些人原是买的，如今虽不学唱，尽可留着使唤，只令其教习们自去也罢了。”王夫人因说：“这学戏的倒比不得使唤的，他们也是好人家的女儿，因无能，卖了做这事，装丑弄鬼的几年，如今有这机会，不如给他们几两银子盘费，各自去罢。<br />
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Big Rely's trusted servants had gone somewhere else, although he had appointed others, he was not familiar with them so he felt that it was not going well. Moreover, they were ignorant, dishonest, reported without evidence, or recommended for no reason. All in all, they have so many inadequacies, too much to account. As all the official families had dismissed all the actors and actresses raised in their house, Madam Outstanding and others agreed that they also wanted to lay off twelve maids when Lady King came back home. She added, "These people were bought from traffickers at first, but now, although they don't learn to sing, we can keep them and let serving women teach them to do household work ."Lady King said, "there is no comparison between these servants and actors who are also the daughters of good families, they were sold to learn performing for their families' deficit financial condition. Having been acting in opera for several years, they have this opportunity to do something else now, it's better to give them a few taels of silver and let them go somewhere else."--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 12:53, 28 May 2022 (UTC)<br />
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Big Rely's trusted servants had gone somewhere else, although he had appointed others, he was not familiar with them so he felt that it was not going well. Moreover, they were ignorant, dishonest, reported without evidence, or recommended for no reason. Generally speaking, they have so many inadequacies, too much to account. As all the official families had dismissed all the actors and actresses raised in their house, Madam Outstanding and others agreed that they also wanted to lay off twelve maids when Lady King came back home. She added, "These people were bought from traffickers at first, but now, although they don't learn to sing, we can keep them and let serving women teach them to do household work ."Lady King said, "there is no comparison between these servants and actors who are also the daughters of good families, they were sold to learn performing for their families' deficit financial condition. Having been acting in opera for several years, they have this opportunity to do something else now, it's better to give them a few taels of silver and let them go somewhere else."--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 01:34, 31 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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当日祖宗手里都是有这例的。咱们如今损阴坏德，而且还小器。如今虽有几个老的还在，那是他们各有原故，不肯回去的，所以才留下使唤的，大了配了我们家里小厮们了。”尤氏道：“如今我们也去问他十二个，有愿意回去的，就带了信儿，叫他父母来亲自来领回去，给他们几两银子盘缠，方妥；倘若不叫上他的亲人来，只怕有混帐人冒名领出去，又转卖了，岂不辜负了这恩典？若有不愿意回去的，就留下。”王夫人笑道：“这话妥当。”尤氏等遣人告诉了凤姐儿，一面说与总理房中，每教习给银八两，令其自便。<br />
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There is a precedent for this in the time of our ancestors. Now we have become immoral and mean. Now there are still a few old servants left, have their own difficulties. Let the older pair with the younger." "Now let's ask the servants what they think of it," said Outstanding. "If any of them want to go home, let them write to their parents and ask them to take them home. And gave them a few taels of silver for their journey home. If there are no relatives to take them, it is likely that a fraudster will take their place, lead them out and then sell them again. Then all the good work we've done has gone down the drain. Those who don't want to go home, let them stay." Lady King smiled and said, "It's good to do that." Outstanding called servant notice Splendid Phoenix King, and then told the accountant about it. Each servant was given eight ounces of silver to decide for themselves.<br />
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There is a precedent for this in the time of our ancestors. Now we have become immoral and mean. Now there are still a few old servants left, because they have their own difficulties. Let the older pair with the younger." "Now let's ask these twelve girls about their thoughts," said Madam Outstanding. "If any of them want to go home, then let them write to their parents and ask them to take them home, with giving them a few taels of silver for their journey home. If there are no relatives to take them, it is likely that a fraudster will take their place, and sell them out again. Then all the good work we've done has gone down the drain. Those who don't want to go home can be kept." Lady King smiled and said, "It's good to do that." Madam Outstanding ordered a servant to inform Sister Phoenix, and then told the accountant about it. Each instructor was given an eight-tael gratuity with free permission to leave.--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 13:08, 28 May 2022 (UTC)<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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凡梨香院一应物件，查清记册收明，派人上夜。将十二个女孩子叫来，当面细问，倒有一多半不愿意回家的：也有说父母虽有，他只以卖我们姊妹为事，这一去还被他卖了；也有父母已亡，或被叔伯兄弟所卖的；也有说无人可投的；也有说恋恩不舍的。所愿去者止四五人。王夫人听了，只得留下。将去者四五人皆令其干娘领回家去，单等他亲父母来领；将不愿去者，分散在园中使唤。贾母便留下文官自使，将正旦芳官指与宝玉，将小旦蕊官送了宝钗，将小生藕官指与了黛玉，将大花面葵官送了湘云，将小花面豆官送了宝琴，将老外艾官指与了探春，尤氏便讨了老旦茄官去。<br />
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Everything in Pear Fragrance Court was inventoried and put away, and some servants were appointed to guard the place at night. Twelve girls were called for and questioned, and more than half of them did not want to go home. Others said that their parents only sold their daughters for money, and if they went back they would be sold again. Some said their parents were dead and they were sold by their brothers or uncles. But others said there was no one to depend; there were also those who said they didn’t want to leave this kind family which had been so good to them. There were only four or five people who wished to go. When Lady King heard this she had to keep them. The few who chose to leave were instructed to stay with their foster-mothers until their own parents should come for them; and she allocated those people who stayed there to work in the Garden. Grandma Merchant then left Literal Official, and allocated Fragrant Official who played the part of young ladies to Precious Jade, Actress Pistil who played pert maids to Precious Hairpin, Actress Lotus-root who played young gentlemen to Mascara Jade, Sunflower who played the chief warriors to Fragrant-cloud, Bean who played lesser warriors to Precious Strings, Chinese Mugwort who played old men to Seeking-Spring. Madam Outstanding then took Entertainer whose role was old women.<br />
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Everything in Pear Fragrance Court was inventoried and put away, and some servants were appointed to guard the place at night. Twelve girls were called for and questioned carefully by the way of facing each other, and more than half of them did not want to go home. Others said that even though their parents weren't poor ,they still sold their daughters for money, and if they went back they would be sold again. Some said their parents were dead and they were sold by their brothers or uncles. But others said there was no one to depend; there were also those who said they didn’t want to leave this kind family which had been so good to them. There were only four or five people who wished to leave. When Lady King heard this she had to keep them. The few who chose to leave were instructed to stay with their foster-mothers until their own parents should come for them; and she allocated those people who stayed there to work in the Garden. Grandma Merchant then left Literal Official, and allocated Fragrant Official who played the part of young ladies to Precious Jade, Actress Pistil who played pert maids to Precious Hairpin, Actress Lotus-root who played young gentlemen to Mascara Jade, Sunflower who played the chief warriors to Fragrant-cloud, Bean who played lesser warriors to Precious Strings, Chinese Mugwort who played old men to Seeking-Spring. Madam Outstanding then took Entertainer whose role was old women.--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 03:14, 29 May 2022 (UTC)Li Ying<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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当下各得其所，就如那倦鸟出笼，每日园中游戏。众人皆知他们不能针黹，不惯使用，皆不大责备。其中或有一二个知事的，愁将来无应时之技，亦将本技丢开，便学起针黹纺绩女工诸务。一日正是朝中大祭，贾母等五更便去了，下处用些点心小食，然后入朝。早膳已毕，方退至下处歇息，用过早饭，略歇片刻，复入朝待中晚二祭，方出至下处歇息。用过晚饭方回家。可巧这下处乃是一个大官的家庙，乃比丘尼焚修，房舍极多极净，东西二院，荣府便赁了东院；北静王府便赁了西院。<br />
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Once places had been found of them, they were like the uncaged bird enjoying the fresh air, did nothing all day but wander about happily in the garden.Everyone knows they aren't able to cook and sew, so they don't blame them." It is true that one or two of them had the good sense to see that the future would be bleak for them without a craft, now that their theatrical training had been discontinued, and who applied themselves to learning domestic skills like sewing and spinning; but they were the exception. It is time for the great sacrifice at the court.The Granny Merchant prepared to went to the court, she ate some deserts at about 4 a.m in the morning and then proceed to the court.After breakfast, she returned home to rest for a while. Then she had participated in the second sacrifice held at moon or night. As the ceremony finished ,she had time to rest. By chance，the hostel，the family temple of a high official，had nuns in residence and scores of cells all of which were scrupulous clean.There are two mansions respectively located in the west and east. The Ring Mansions party had the use of the east courtyard, the Prince of Beijing's household that of the west.<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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太妃少妃每日宴息，见贾母等在东院，彼此同出同入，都有照应。外面细事不消细述。且说大观园内，因贾母王夫人天天不在家内，又送灵去一月方回，各丫鬟婆子，皆有闲空，多在园中游玩，更又将梨香院内伏侍的众婆子一概撤回，并散在园内听使，更觉园内人多了几十个。因文官等一干人，或心性高傲，或倚势凌下，或拣衣挑食，或口角锋芒，大概不安分守己者多，因此众婆子含怨，只是口中不敢与他们分争；如今散了学，大家趁了愿；也有丢开手的；也有心地狭窄犹怀旧怨的，因将众人皆分在各房名下，不敢来厮侵。<br />
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The two ladies would see Grandma Merchant in the banquet held in the east of the Garden each day, and they were together all the time to be there for each other. There was no need to talk about the outside thins. In the Garden, when Grandma Merchant and Lady King were away from home for the funeral affairs and would come back a month later, all the maids and women servants were free from work and had fun in the Garden. What’s more, all the women servants of the Peer Fragrance Court were called back and then sent to serve around the Garden. Then, there were more dozens of people in the Garden. Literal Official and other girls were arrogant, likely to throw weight on others, fastidious about food and clothing, and likely to speak harsh words. That is to say, they were not inclined to be obedient. Hence, other women servants complained about their behaviors, but they dared not to argue with them. Now, they would be relieved after the closing of the opera club. Some of them were open to it, while others were too mean to let the former thing go. Therefore, they were arranged to serve different places, so they dared not to fight with each other.<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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可巧这日乃是清明之日，贾琏已备下年例祭祀，带领贾环、贾琮、贾兰三人去往铁槛寺祭柩烧纸；宁府贾蓉也同族中人各办祭祀前往。因宝玉病未大愈，故不曾去得。饭后发倦，袭人因说：“天气甚好，你且出去逛逛，省的丢下粥碗就睡，存在心里。”宝玉听说，只得拄了一支杖，靸着鞋，步出院来。因近日将园中分与众婆子料理，各司各业，皆在忙时：也有修竹的，也有??树的，也有栽花的，也有种豆的，池中间又有驾娘们行着船夹泥的，种藕的。湘云、香菱、宝琴与些丫鬟等都坐在山石上瞧他们取乐。宝玉也慢慢行来。<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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湘云见了他来，忙笑说：“快把这船打出去！他们是接林妹妹的。”众人都笑起来。宝玉红了脸，也笑道：“人家的病，谁是好意的，你也形容着取笑儿。”湘云笑道：“病也比人家另一样，原招笑儿，反说起人来。”说着，宝玉便也坐下，看着众人忙乱了一回。湘云因说：“这里有风，石头上又冷，坐坐去罢。”宝玉也正要去瞧黛玉，起身拄拐，辞了他们，从沁芳桥一带堤上走来。只见柳垂金线，桃吐丹霞，山石之后，一株大杏树，花已全落，叶稠阴翠，上面已结了豆子大小的许多小杏。<br />
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Fragrant-cloud saw him coming, and said with a smile, "Quickly launch this ship! They were to pick up Sister Forest. The crowd laughed. Precious Jade blushed and laughed: "her illness, who is well-intentioned, you also describe it as making fun of it." Fragrant-cloud laughed: "The illness, the same as people, is interesting. Don’t blame me." With that, Precious Jade also sat down and watched the busy crowd. Fragrant-cloud said, "It is windy and cold on the stone, don’t stay here too long." Precious Jade was also about to go to see Mascara Jade, so he got up on crutches, resigned from them, and walked from the embankment around Qinfang Bridge. On the road, he saw the willow weeping, peach blossoms. After the mountain stone, he saw a large apricot tree, whose flowers have all fallen and leaves are thick and shady. Many bean-sized apricots have been formed on it.<br />
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Fragrant-cloud saw him coming, and said with a smile, "Quickly launch this ship! They were to pick up Sister Forest. The crowd laughed. Precious Jade blushed and laughed: "her illness, who is well-intentioned, you also describe it as making fun of it." Fragrant-cloud laughed: "The illness, the same as people, is interesting. Don’t blame me." With that, Precious Jade also sat down and watched the busy crowd. Fragrant-cloud said, "It is windy and cold on the stone, don’t stay here too long." Precious Jade was also about to go to see Mascara Jade, so he got up on crutches, resigned from them, and walked from the embankment around Qinfang Bridge. On the road, he saw the willow weeping, peach blossoms. After the mountain stone, he saw a large apricot tree, whose flowers have all fallen and leaves are thick and shady. Many bean-sized apricots have been formed on it.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:03, 30 May 2022 (UTC)<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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宝玉因想道：“能病了几天，竟把杏花辜负了！不觉到‘绿叶成荫子满枝’了！”因此仰望杏子不舍。又想起邢岫烟已择了夫婿一事：虽说男女大事，不可不行，但未免又少了一个好女儿，不过二年，便也要“绿叶成荫子满枝”了；再过几日，这杏树子落枝空，再几年，岫烟也不免乌发如银，红颜似缟了。因此，不免伤心，只管对杏叹息。正悲叹时，忽有一个雀儿飞来，落于枝上乱啼。宝玉又发了呆性了，心下想道：“这雀儿必定是杏花正开时他曾来过，今见无花空有叶，故也乱啼。这声韵必是啼哭之声，可恨公冶长不在眼前，不能问他。<br />
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Precious Jade then thought:"The illness got in the way of watching apricot blossom! Now it's full of leaves!" That made him fell disrupting. Then he thought about the marriage of Cave Cloud City: Thought it's necessary for people to marry someone, however, the family of City still has to see off their good girl. No more than two years, she will have kids; A few days later, the apricot tree would wither and a few years later, the hair of Cave Cloud would turn into grey, and she will get old. That's what made Precious Jade sad, and he just heaved sigh in front of the apricot tree. Meanwhile, here flied a sparrow. it landed on the branch, singing around. Precious Jade then dived into deep thought again:"This sparrow must come when the apricot blossomed, now it sees that there are no flowers so it can't stop making noise. That must be crying. it's a pity that GongYechang is not here, or i can ask him about it.<br />
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Precious Jade then thought:"The illness prevented him from watching apricot blossom! Now it's full of leaves!" That made him fell disrupting. Then he thought about the marriage of Cave Cloud City: Though she will get married sooner or later, the world has to see off their good girl. No more than two years, she will have kids; A few days later, the apricot tree would wither and a few years later, the hair of Cave Cloud would turn into grey, and she will get old. That's what made Precious Jade sad, and he just heaved sigh in front of the apricot tree. Meanwhile, here flied a sparrow. it landed on the branch, singing around. Precious Jade then dived into deep thought again:"This sparrow must come when the apricot blossomed, now it sees that there are no flowers so it can't stop making noise. That must be crying. it's a pity that GongYechang is not here, or I can ask him about it.--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:31, 28 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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但不知明年再发时，这个雀儿可还记得飞到这里来与杏花一会不能？”正自胡思间，忽见一股火光，从山石那边发出，将雀儿惊飞。宝玉吃了一惊，又听外边有人喊道：“藕官，你要死！怎么弄些纸钱进来烧？我回奶奶们去，仔细你的肉！”宝玉听了，益发疑惑起来，忙转过山石看时，只见藕官满面泪痕，蹲在那里，手内还拿着火，守着些纸钱灰作悲。宝玉忙问道：“你与谁烧纸钱？快不要在这里烧！你或是为父母兄弟，你告诉我名姓，外头去叫小厮们，打了包袱写上名姓去烧。”藕官见了宝玉，只不做一声，宝玉数问不答。<br />
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He wonder if the bird will remember next year when it blossoms again.His fantasy was interrupted by a sudden burst of flames on the other side of the rockery, and the bird flew away in terror. Precious Jade was as startled as the bird. A brief burst of flames was followed by an angry shout.Lotus-root, you little rascal, how dare you burn paper offerings in the garden! I'll report you right away. You'll be whipped, my girl. Precious Jade wonder what happened in the end, hurried around to the other side of the rockery to investigate. With tears streaming down his face, Lotus-root squatted on the ground, holding a hot pan that had just burst into flames, and looked sadly at a pile of charred and smoking gold paper money.Who? He asked her. You know, you really shouldn't burn it here. I think it must be for one of your parents -- or your brother, perhaps? Tell me this man's name, and I'll tell my men to go out and buy you a decent bun and write your name on it. When seeing it was Precious Jade, she pressed her lips tightly, and no matter how he asked, she just would not speak. --[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:26, 28 May 2022 (UTC)<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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忽见一个婆子恶狠狠的走来拉藕官，口内说道：“我已经回了奶奶们，奶奶们气得了不得！”藕官听了，终是孩气，怕辱没了没脸，便不肯去。婆子道：“我说你们别太兴头过余了，如今还比得你们在外头乱闹呢！这是尺寸地方儿。”指着宝玉道：“连我们的爷还守规矩呢，你是什么阿物儿，跑来胡闹！怕也不中用，跟我快走罢！”宝玉忙道：“他并没烧纸钱，原是林妹妹叫他来烧那烂字纸的，你没看真，反错告了他。”藕官正没了主意，见了宝玉，也正添了畏惧；<br />
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Then up came an irate matron to drag her away.“I’ve reported this to the mistresses.They’re very angry!” she scolded.Nenuphar,being only a child,hung back for fear of being put to shame.“I always said you were riding for a fall,”stormed the woman.“You can’t fool around here the way you did outside.You have to watch your step.”pointing at Preciou Jade she continued,“Even our young master has to observe the rules.Who do you think you are to fool around here? It’s no use being afraid.Come along with me.”“She wasn’t burning paper coins but waste paper for Mascara Jade Forest,”put in Preciou Jade quickly.“You didn’t see clearly and accused her wrongly.”Nenuphar had been at a loss,and Preciou Jade’s appearance had frightened her even more;<br />
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Just then the woman he had heard shouting came hurrying back, an evil expression of triumph on her face, and seized hold of the girl. “Well, I've reported you to the young mistresses,” she said, “and they're very, very angry.” she scolded.Nenuphar,being only a child,hung back for fear of being put to shame.“I always said you were riding for a fall,”stormed the woman.“You can’t fool around here the way you did outside.You have to watch your step.”pointing at Preciou Jade she continued,“Even our young master has to observe the rules.Who do you think you are to fool around here? It’s no use being afraid.Come along with me.”“She wasn’t burning paper coins but waste paper for Mascara Jade Forest,”put in Preciou Jade quickly.“You didn’t see clearly and accused her wrongly.”Nenuphar had been at a loss,and Preciou Jade’s appearance had frightened her even more;--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 11:33, 30 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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忽听他反替遮饰，心内转忧成喜，也便硬着口说道：“你狠看真是纸钱了么？我烧的是林姑娘写坏了的字纸。”那婆子便弯腰向纸灰中拣那不曾化尽的遗纸在手内，说道：“你还嘴硬？有证又有凭。只和你厅上讲去。”说着，拉了袖子，拽着要走。宝玉忙拉藕官，又用拄杖隔开那婆子的手，说道：“你只管拿了回去。实告诉你，我昨夜做了一梦，梦见杏花神和我要一挂白钱，不可叫本房人烧，另叫生人替烧，我的病就好得快了。所以我请了白钱，巴巴的烦他来替我烧了。我今日才能起来，偏你又看见了。<br />
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She could hardly believe her ears when she heard him covering up for her. Her fear gave way to a surprised delight and she plucked up courage to defend herself. “Yes, what makes you so sure it was spirit money?” “Miss Lin spoiled some paper when writing. That's what I've been burning.” But the woman was unimpressed. Stooping down, she picked out one or two of the unconsumed fragments from the ashes. “Don't argue with me! Here's evidence! You'll have to come with me to the jobs room and explain yourself to them there.” She caught hold of the girl's sleeve to drag her off. But Bao-yu held her by the other sleeve and struck at the woman's hand with his walking-stick until she let go. “I'll tell you the truth. Last night I dreamed that the spirit of the apricot tree came to ask me for a string of white paper money, saying that if it was burns for me by a stranger, not by anyone in my apartments, my sickness would be cured faster. And now, after I've been to the trouble of getting the stuff and finding this girl to make the offering for me, it's all wasted, because you saw her doing it.”<br />
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She could hardly believe her ears when she heard him covering up for her. Her fear gave way to a surprised delight and she plucked up courage to defend herself. “Yes, what makes you so sure it was spirit money?” “Miss Lin spoiled some paper when writing. That's what I've been burning.” But the woman was unimpressed. Stooping down, she picked out one or two of the unconsumed fragments from the ashes. “Don't argue with me! Here's evidence! You'll have to come with me to the jobs room and explain yourself to them there.” She caught hold of the girl's sleeve to drag her off. But Precious Jade held her by the other sleeve and struck at the woman's hand with his walking-stick until she let go. “I'll tell you the truth. Last night I dreamed that the spirit of the apricot tree came to ask me for a string of white paper money, saying that if it was burns for me by a stranger, not by anyone in my apartments, my sickness would be cured faster. And now, after I've been to the trouble of getting the stuff and finding this girl to make the offering for me, it's all wasted, because you saw her doing it.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 14:32, 30 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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这会子又不好了，都是你冲了！还要告他去？藕官，你只管见他们去，就照依这话说。”藕官听了，越得主意，反拉着要走。那婆子忙丢下纸钱，陪笑央告宝玉，说道：“我原不知道，若回太太，我这人岂不完了？”宝玉道：“你也不许再回，我便不说。”婆子道：“我已经回了，原叫我带他。只好说他被林姑娘叫去了。”宝玉点头应允。婆子自去。这里宝玉细问藉官：“为谁烧纸？必非父母兄弟，定有私自的情理。”藕官因方才护庇之情，心中感激，知他是自己一流人物，况再难隐瞒，便含泪说道：<br />
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But now, by butting in like this, you’ve gone and spoiled everything. And do you still mean to report her? Go with her, Actress Lotus-root, and tell them what I’ve just said. When the old lady comes back, I’ll report her for deliberately spoiling my sacrifice so as to make me die early.” Emboldened by this, Actress Lotus-root started tugging the woman away. The latter hastily dropped the paper money.“How was I to know?” she asked Precious Jade meekly. “If you tell the old lady, Second Master, it will be the end of me! I’ll go and tell the mistresses that I made a mistake—it was you burning sacrificial paper.” “Don’t say anything about it and I won’t tell her,” he promised. “But I’ve already reported it, and they ordered me to take her there. How can I say nothing? All right, I’ll tell them Miss Lin sent for her.” Precious Jade thought for a while then nodded, and the woman went away. Then he asked again: “Whom was the offering for? I’m sure it can’t have been for your own people, as in that case you’d have asked others to burn it for you. There must be a story behind it.” Actress Lotus-root, grateful for his championship, began to feel that they were kindred spirits. Tears sprang to her eyes.<br />
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But now, by butting in like this, you’ve gone and spoiled everything. And do you still mean to report her? Go with her, Actress Lotus-root, and tell them what I’ve just said. When the old lady comes back, I’ll report her for deliberately spoiling my sacrifice so as to make me die early.” Emboldened by this, Actress Lotus-root started tugging the woman away. The latter hastily dropped the paper money.“How was I to know?” she asked Precious Jade meekly. “If you tell the old lady, Second Master, it will be the end of me! I’ll go and tell the mistresses that I made a mistake—it was you burning sacrificial paper.” “Don’t say anything about it and I won’t tell her,” he promised. “But I’ve already reported it, and they ordered me to take her there. How can I say nothing? All right, I’ll tell them Miss Lin sent for her.” Precious Jade thought for a while then nodded, and the woman went away. Then he asked again: “Whom was the offering for? I’m sure it can’t have been for your own people, as in that case you’d have asked others to burn it for you. There must be a story behind it.” Actress Lotus-root, grateful for his championship, began to feel that they were kindred spirits. Tears sprang to her eyes.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 12:32, 30 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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“我这事，除了你屋里的芳官合宝姑娘的蕊官，并没第三个人知道。今日忽然被你撞见，这意思，少不得也告诉了你，只不许再对一人言讲。”又哭道：“我也不便和你面说，你只回去，背人悄悄问芳官就知道了。”说毕，怏怏而去。宝玉听了，心下纳闷，只得踱到潇湘馆瞧黛玉，越发瘦得可怜，问起来，比往日大好了些。黛玉见他也比先大瘦了，想起往日之事，不免流下泪来，些微谈了一谈，便催宝玉去歇息调养。宝玉只得回来。因惦记着要问芳官原委，偏有湘云香菱来了，正和袭人芳官一处说笑，不好叫他，恐人又盘诘，只得耐着。<br />
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"Besides myself there are only two other people in the world who know about this: Fragrant Official in your room and Etamine in Miss Bao's.After what happened today, I think I shall have to let you be a third; but you must promise never to speak about it to anyone else.”She slipped away then, leaving him full of curiosity. Precious Jade was very puzzled as he went on to Bamboo Lodge.He found Mascara Jade looking more pathetically frail than ever, although she insisted that her health was much better.She saw that he too was much thinner, and could not help shedding tears at the thought of the reason. After a brief chat she urged him to go back and rest,He left reluctantly, not knowing quite where to go.he was anxious to ask Parfumee about Nenuphar's secret, but Fragrant-cloud and Caltrop had just arrived and were engaged in lively conversation with her and Aroma in the adjoining room. Fearing that if he called her to him the others might ask questions, he resolved to be patient.<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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一时芳官又跟了他干娘去洗头，他干娘偏又先叫他亲女儿洗过才叫芳官洗。芳官见了这般，便说他偏心：“把你女儿的剩水给我洗。我一个月的月钱都是你拿着，沾我的光不算，反倒给我剩东剩西的！”他干娘羞愧变成恼，便骂他：“不识抬举的东西！怪不得人人都说戏子没一个好缠的，凭你什么好的，入了这一行，都学坏了。这一点子小崽子，也挑幺挑六，咸嘴淡舌，咬群的骡子似的！”娘儿两个吵起来。袭人忙打发人去说：“少乱嚷！瞅着老太太不在家，一个个连句安静话也都不说了。”<br />
At this time, Fragrant Official followed his godmother to wash his hair, and his adopted mother asked her own daughter to wash before Fragrant Official washed. <br />
When Fragrant Official saw this, he said that she was partial: "You actually let me wash my hair with your daughter's leftover water. You take all my money every month, which takes advantage of me, but give me what's leftover! " His mother turned from shame to annoyance, so she scolded him: "Unappreciative guy！" No wonder everyone says that there is no one actor who is easy to be entangled with. Since you who had been a kind child entered this profession, you became a bad one. You little jerk should be choosy and wag your jaw like a rogue mule." They quarreled. Aroma hurriedly sent someone to say, "Don't shout! Seeing that Grandma Merchant was not at home, you didn't even keep quiet. "<br />
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At that time, Fragrant Official followed his foster mother to wash her hair, but her foster mother asked her own daughter to wash before Fragrant Official. Then she accused her of being partial: " You actually let me wash my hair with your daughter's leftover water. You take all my money every month. You are taking advantage of me, but you always give me what's leftover!" Her mother turned from shame to annoyance, so she scolded her: " Unappreciative guy! No wonder everyone says that there is no one actor who is easy to be entangled with. No matter how good you are, as long as you entered this profession, you will definitely become a bad one. You little jerk should be choosy and wag your jaw like a rogue mule." Then they had a big quarrel. Aroma hurriedly sent someone to say, " Don't shout! Seeing that Grandma Merchant was not at home, you didn't even keep quiet now. "--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 13:54, 28 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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晴雯因说：“这是芳官不省事，不知狂的什么？也不过是会两出戏，倒像杀了贼王、擒过反叛来的！”袭人道：“‘一个巴掌拍不响’，老的也太不公些，小的也太可恶些。”宝玉道：“怨不得芳官！自古说：‘物不平则鸣’。他少亲少眷的在这里，没人照看；赚了他的钱。又作践他，如何怪得！”又向袭人说：“他到底一月多少钱？以后不如你收了过来照管他，岂不省事？”袭人道：“我要照看他，那里不照看了？又要他那几个钱才照看他？没的招人骂去了。”<br />
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Then Sunny Cloud said, “ Fragrant Official is to blame for arousing this trouble. How could she be so arrogant? All that she knows is how to act in a couple of plays, but why did she act like she has ever killed a thief or crushed the rebellion?” But Aroma refuted, “ As the old saying goes, ‘It takes two to make a quarrel’. Her mother was too unfair to her, while she was too detestable.” Then Precious Jade said, “ We should not blame her. Injustice provokes outcry. She is alone here, without any relatives or anyone taking care of her. Now that her foster mother took away her money, but ill-treated her, how can we blame her for acting like this？” He continued to speak to Aroma, “ How much money does she get every month? Why don’t you get her money and take care of her from now on? Won’t it save much trouble?” But Aroma said, “ I’m taking care of her all the time. When did I miss my job? What’s the point of doing this with taking her money away? It will do nothing good to me except for courting others’ curse.”<br />
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Then Sunny Cloud Formation said, “ Fragrant Official is to blame for arousing this trouble. How could she be so arrogant? All that she knows is how to perform in a couple of plays, but why did she act like she has ever killed a thief or crushed the rebellion?” But Aroma refuted, “ As the old saying goes, ‘It takes two to make a quarrel’. Her mother treated her unfairly, while she was too detestable.” Then Precious Jade said, “ We should not blame her. Injustice provokes outcry. She is alone here, without any relatives or anyone taking care of her. Now that her foster mother took away her money, but ill-treated her, how can we blame her for acting like this？” He continued to speak to Aroma, “ How much money does she get every month? Why don’t you get her money and take care of her from now on? Won’t it save much trouble?” But Aroma said, “ I’m taking care of her all the time. When did I miss my job? What’s the point of doing this with taking her money away? It will do nothing good to me except for courting others’ curse.”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 14:51, 28 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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说着，便起身至那屋里，取了一瓶花露油、鸡蛋、香皂、头绳之类，叫了一个婆子来：“送给芳官去，叫他另要水自洗，不要吵闹了。”他干娘越发羞愧，便说芳官“没良心！只说我克扣你的钱！”便向他身上拍了几下，芳官便哭起来。宝玉便走出来，袭人忙劝：“做什么？我去说他。”晴雯忙先过来，指他干娘说道：“你这么大年纪，太不懂事！你不给他好好的洗，我们才给他东西。你自己不臊，还有脸打他！他要是还在学里学艺，你也敢打他不成？”那婆子便说：“‘一日叫娘，终身是母。’他排揎我，我就打得！”<br />
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While speaking, Aroma stood up and headed for that room to fetch back a bottle of essential oil extracted from floral water, some eggs, toilet soap, sheadlines alike. Then she found a granny and ordered, “Just bring those stuff to Fragrant Official, tell him to have a bath with clean water and stop kicking up a row.” Becoming terribly ashamed, his adopted mother just said to Fragrant Official, “You brute! All you can say is I short-charge you!” While speaking, she patted Fragrant Official a few times, inviting his crying out. Therefore, Precious Jade just came out, and Aroma just stopped him, “What are you doing? Let me exhort him.” Hurriedly rushing there at once, Sunny Cloud Formation pointed to Fragrant Official’s adopted mother and said, “Well then, you’ve come to such an old age, and you still don’t know how to behave properly! We’ve just offered something for him and you don’t help with his bathing well. Even you don’t feel bashful to beat him! If he stills learns an artistic skill now, don’t you dare hit him?” That woman just replied, “As a common saying goes, ‘Once you call me mother, then I’ll be your mother for the whole life.’ If he yells at me, then I can beat him.”<br />
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While speaking, Aroma stood up and headed for that room to fetch back a bottle of floral water, some eggs, toilet soaps, hair bands alike. Then she found a granny and ordered, “Just bring those stuff to Fragrant Official, and tell her to get some water to wash her hair and stop kicking up a row.” Becoming terribly ashamed, her adopted mother just said to Fragrant Official, “You brute! All you can do is to tell others that I pocket your wages!” While speaking, she patted Fragrant Official a few times, inviting his crying out. Therefore, Precious Jade just came out, and Aroma stopped him in a rush, “What are you doing? Let me exhort her.” Hurriedly rushing there at once, Sunny Cloud Formation pointed to Fragrant Official’s adopted mother and said, “Well then, you’ve come to such an old age, and you still don’t know how to behave properly! As you don’t wash her hair well, so we just offered something for her. You're not ashamed of yourself but have the nerve to beat her! If she still learns an artistic skill now, don’t you dare hit her?” That woman just replied, “As a common saying goes, ‘Once you call me mother, then I’ll be your mother for the whole life.’ If she yells at me, then I can beat her.”--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 06:44, 30 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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袭人唤麝月道：“我不会和人拌嘴，晴雯性太急，你快过去震吓他两句。”麝月听了，忙过来说道：“你且别嚷。我且问你：别说我们这一处，你看满园子里，谁在主子屋里教导过女儿的？就是你的亲女儿，既经分了房，有了主子，自有主子打骂；再者，大些的姑娘姐姐们也可以打得骂得，谁许你老子娘又半中间管起闲事来了！都这样管，又要叫他们跟着我们学什么？越老越没了规矩！你见前日坠儿的妈来吵，你如今也来跟他学！你们放心，因连日这个病那个病，再老太太又不得闲，所以我也没有去回。<br />
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Listening to that, Aroma asked Musk Deer Month for help: "I'm clumsy in quarreling with others, and Sunny Cloud Formation has an impatient disposition. Now you go there and frighten her with your words." Hearing that, Musk Deer Month came here in a rush and said, "Hold on a second. Let me ask you: In the Grand View Garden, have you ever seen anyone lecturing their daughter in the master's house? Let alone in our house. Even if Fragrant Official is your own daughter, she has been assigned to a master who will naturally beat her if she makes mistakes; besides, the older sisters and girls in this house are also eligible to do so, in this way, who allowed you to meddle in this business? If all people act like you, how can these little girls learn from us? The older you get, the less rules you have! Witnessing Lassock Drop's mother wrangling here few days ago, so you followed her example today! Trust me, I haven't reported this matter since the ladies fell ill in succession and Grandma Merchant was so busy.<br />
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Aroma told Musk, “I’m no good at arguing, and Sunny Cloud Formation’s too hot-tempered. Why don’t you go and give her a good scare?”Hearing that, Musk Deer Month came here in a rush and said, "Hold on a second. Let me ask you: In the Grand View Garden, have you ever seen anyone lecturing their daughter in the master's house? Let alone in our house. Even if Fragrant Official is your own daughter, she has been assigned to a master who will naturally beat her if she makes mistakes; besides, the older sisters and girls in this house are also eligible to do so, in this way, who allowed you to meddle in this business? If all people act like you, how can these little girls learn from us? The older you get, the less rules you have! Witnessing Lassock Drop's mother wrangling here few days ago, so you followed her example today! Trust me, I haven't reported this matter since the ladies fell ill in succession and Grandma Merchant was so busy.--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 11:36, 29 May 2022 (UTC)<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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等两日咱们去痛回一回，大家把这威风煞一煞儿才好呢！况且宝玉才好了些，连我们也不敢说话，你反打得人狼号鬼叫的！上头出了几日门，你们就无法无天的，眼珠子里就没了人了。再两天，你们就该打我们了。他不要你这干娘，怕粪草埋了他不成？”宝玉恨得拿拄杖打着门槛子说道：“这些老婆子都是铁心石肠是的，真是大奇事！不能照看，反倒折挫他们。地久天长，如何是好？”晴雯道：“什么‘如何是好’？都撵了出去，不要这些‘中看不中吃的’！”那婆子羞愧难当，一言不发。<br />
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In a couple of days I shall make a full report,and that will take the wind out of your sails.Precious Jade’s just getting better, and we’ve all been trying to keep our voices down; yet you raise a rumpus fit to wake the dead.If the higher-ups are away just a few days,you lot run completely wild with no respect for anyone at all.In another day or two,I suppose,you’ll be slapping us as well. She doesn’t need a foster-mother like you to muck her up!”Precious Jade,in the doorway,pounded the sill with his cane.“How can these old women be so heartless?”he fumed.“Fantastic! Instead of looking after the girls in their charge, they torment them. If this goes on, what’s to be done?”“What’s to be done?”echoed Sunny Cloud Formation.“Drive all those humbugs out,I say.We don’t need such good-for-nothings here.”The woman was too deflated to say a word.<br />
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In a couple of days I shall make a full report, and that will take the wind out of your sails.Precious Jade’s just getting better, and we’ve all been trying to keep our voices down; yet you raise a rumpus fit to wake the dead.If the higher-ups are away just a few days, you lot run completely wild with no respect for anyone at all.In another day or two,I suppose, you’ll be slapping us as well. She doesn’t need a foster-mother like you to muck her up!”Precious Jade,in the doorway, pounded the sill with his cane.“How can these old women be so heartless?” Precious Jade was so angry that he banged on the threshold with his stick. ‘These old women have hearts of stone.he fumed.“Fantastic! Instead of looking after the girls in their charge, they torment them. If this goes on, what’s to be done?”“What’s to be done?” echoed Sunny Cloud Formation.“Drive all those humbugs out,I say.We don’t need such good-for-nothings here.” The woman, shamed into silence by Musk's tirade, made no reply.--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 14:28, 29 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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那芳官只穿着海棠红的小棉袄，底下绿绸洒花夹裤，敞着裤脚，一头乌油似的头发披在脑后，哭得泪人一般。麝月笑道：“把个莺莺小姐反弄成才拷打完的红娘了！这会子又不妆扮了，还是这么着？”晴雯因走过去拉了他，替他洗净了发，用手巾拧干，松松的挽了一个慵妆髻；命他穿了衣服，过这边来。接着司内厨的婆子来问：“晚饭有了，可送不送？”小丫头听了，进来问袭人。袭人笑道：“方才胡吵了一阵，也没留心听得，几下钟了？”晴雯道：“这劳什子又不知怎么了，又得去收拾！”<br />
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Meanwhile, Fragrant Official, wearing only a cerise padded jacket and flowered green silk lined-trousers, loose around the ankles, her glossy black hair streaming over her shoulders, had given way to floods of tears. It was a spectacle so different from her more familiar stage appearances that Musk could not help laughing at its incongruousness: ‘I must say, you don't look much like Cui Ying-ying at the moment. Reddie after her beating, though: now that's a part you could play without having to make up for it!” Skybright led Parfumee away and washed her hair for her. When she had toweled it dry, she did it up for her in a ‘lazy knot' and told her to go back to Precious Jade 's room when she had finished dressing. The old kitchen-maids now reported that dinner was ready, and asked whether it should be sent in or not. One of the junior maids went inside to ask Aroma. With all that racket just now I forgot to listen for the clock,” she said. “What time is it? It didn't,' said Skybright. ‘The wretched thing needs repairing again, I don't know why.”<br />
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Meanwhile, Fragrant Official, wearing only a cerise padded jacket and flowered green silk lined-trousers, loose around the ankles, her glossy black hair streaming over her shoulders, had given way to floods of tears. It was a spectacle so different from her more familiar stage appearances that Musk could not help laughing at its incongruousness: ‘I must say, you don't look much like Cui Ying-ying at the moment. Reddie after her beating, though: now that's a part you could play without having to make up for it!” Skybright led Parfumee away and washed her hair for her. When she had toweled it dry, she did it up for her in a ‘lazy knot' and told her to go back to Precious Jade 's room when she had finished dressing. The old kitchen-maids now reported that dinner was ready, and asked whether it should be sent in or not. One of the junior maids went inside to ask Aroma. With all that racket just now I forgot to listen for the clock,” she said. “argued for a while, and did not pay attention to time, a few timesWhat time is it? It didn't,' said Skybright. ‘The wretched thing needs repairing again, I don't know why.”--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 10:34, 30 May 2022 (UTC)<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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说着，拿过表来瞧了一瞧，说道：“再略等半钟茶的工夫就是了。”小丫头去了。麝月笑道：“提起淘气来，芳官也该打两下儿，昨日是他摆弄了那坠子半日，就坏了。”说话之间，便将食具打点现成。一时小丫头子捧了盒子进来站住。晴雯麝月揭开看时，还是这四样小菜。晴雯笑道：“已经好了，还不给两样清淡菜吃！这稀饭咸菜闹到多早晚？”一面摆好，一面又看那盒中，却有一碗火腿鲜笋汤，忙端了放在宝玉跟前。宝玉便就桌上喝了一口，说道：“好汤！”众人都笑道：“菩萨，能几日没见荤腥儿，馋得这样起来？”<br />
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Saying that, he took a look at his watch and said, "Just wait for half an hour for tea." "The little girl went. Musk smiled, "When it comes to naughtiness, <br />
Fragrant Official should also hit it twice, yesterday he fiddled with the pendant for half a day, and it broke." Between words, he made some ready-made utensils. At a moment the little girl took the box and came in and stood still. When Skybright Musk Moon was unveiled, it was still these four small dishes. Skybright smiled and said, "It's already good, don't give two light vegetables to eat!" How early and late is this porridge pickle? While laying it out, while looking at the box, there was a bowl of ham fresh bamboo shoot soup, which was busy serving it in front of Precious Jade. Precious Jade took a sip on the table and said, "Good soup! Everyone laughed and said, "Bodhisattva, how many days have you not seen a meaty child, and you are so hungry?" ”<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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一面说，一面端起来，轻轻用口吹着。因见芳官在侧，便递与芳官，说道：“你也学些服侍，别一味傻玩傻睡。口儿轻着些，别吹上唾沫星儿。”芳官依言果吹了几口，甚妥。他干娘也端饭在门外伺候，向里忙跑进来，笑道：“他不老成，仔细打了碗，等我吹罢。”一面说，一面就接。晴雯忙喊道：“快出去！你让他砸了碗，也轮不到你吹！你什么空儿跑到里槅子来了？”一面又骂小丫头们：“瞎了眼的！他不知道，你们也不说给他！”小丫头们都说：“我们撵他不出去，说他又不信，如今带累我们受气，这是何苦呢！你可信了？<br />
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As he spoke, he picked it up and blew it gently. Seeing Fragrant Official at his side, he handed him over and said, "You have to learn to serve others. Don't just play and sleep. Keep your mouth quiet, and don't spit." Fragrant Official blew a few mouthfuls of the fruit according to his words. His foster mother also served at the door, rushed in to the inside, said with a smile: "He is not old, carefully bowl, wait for me to blow. As he spoke, he answered. Skybright quickly shouted: "Get out! Even he breaks the bowl, you are not qualified to blow it either! Okay, well, when did you get up?" "Blind! Blind! He doesn't know, and you won't tell him!" The girls said, "Why is it that we have brought this burden on us because we won't let him out because he doesn't believe us? Can you be trusted?<br />
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She took the bowl and blew gently at the film of oil on the surface. Then, noticing Fragrant Official standing near by, she passed the bowl to her. "You can do this," she said. "Time you learned to make yourself useful, instead of acting like a silly goose. Mind you blow gently though. Don't spit into the soup." Fragrant Official did as she was told, and was managing quite well, when in rushed her foster-mother who had been waiting outside with the rice. Now when Fragrant Official and the others first arrived they had been assigned foster-mothers outside, who had later accompanied them to Pear Fragrance Court. This woman had originally been a third-class servant in the Rong Mansion, only doing some laundry work and never entering the inner apartments, so that she did not know the rules of the house. Once the actresses were taken into the Garden, however. their foster-mothers had gone with them to the different apartments. After being told off by Sheyue, this woman was afraid that she might not be allowed to remain in charge of Fragrant Official, and that would be very much to her disadvantage. So she was determined now to win them round. Seeing Fragrant Official blowing on the soup, she hurried in. "Let me do that!' she cried with a smile. "She's so green she may break the bowl.' She reached out for it. "Get out!' shouted Sunny Cloud Formation. "Even if you make her smash it, this is no job for you. How dare you sneak into this room? Out you go at once!' She scolded the younger maids, "Are you all blind? If she doesn't know any better, you should have told her." "We tried to chase her away but she wouldn't go, they protested. "She didn't believe us. And now she's got us into trouble too." They rounded on the woman. "Now do you believe us?--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 02:24, 29 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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我们到的地方儿，有你到的一半儿，那一半儿是你到不去的呢！何况又跑到我们到不去的地方还不算，又去伸手动嘴的了。”一面说，一面推他出去。阶下几个等空盒家伙的婆子见他出来，都笑道：“嫂子也没有‘用镜子照一照’，就进去了！”羞得那婆子又恨又气，只得忍耐下去了。芳官吹了几口，宝玉笑道：“你尝尝，好了没有？”芳官当是玩话，只是笑着看袭人等。袭人道：“你就尝一口何妨？”晴雯笑道：“你瞧我尝。”说着便喝一口。芳官见如此，他便尝了一口，说：“好了。”<br />
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Half the places we’re allowed in are out of bounds to you, yet here you come bursting in where even we are forbidden to go. As if that weren’t enough, you now start reaching out and opening your big mouth!" They bundled the woman off. The matrons waiting at the foot of the steps for the hampers greeted her with mocking laughter. "You should have looked in the mirror before butting in there, sister," one of them sniggered. The woman, torn between rage and shame, had to control herself as best she could. By now, Fragrant Official had blown on the soup several times. "That’ll do," said Precious Jade. "Don’t tire yourself. Taste it to see if it’s cool enough." Thinking he must be joking, she turned with a smile to Aroma and the other girls. "Go on, taste it,” urged Aroma. "Let me show you," offered Sun Cloud Formation, then took a sip. Fragrant Official followed her example."It’s all right," she said.<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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递与宝玉，喝了半碗，吃了几片笋，又吃了半碗粥，就罢了。众人便收出去。小丫头捧沐盆，盥漱毕，袭人等去吃饭。宝玉使个眼色与芳官，芳官本来伶俐，又学几年戏，何事不知。便装肚子疼，不吃饭了。袭人道：“既不吃，在屋里做伴儿。把粥留下，你饿了再吃。”说着都去了。宝玉将方才见藕官，如何谎言护庇，如何藕官叫我问你，细细的告诉一遍，又问：“他祭的果系何人？”芳官听了，眼圈儿一红，又叹一口气，道：“这事说来，藉官儿也是胡闹。”宝玉忙问：“如何？”芳官道：“他祭的就是死了的药官儿。”<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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宝玉道：“他们两个也算朋友，也是应当的。”芳官道：“那里又是什么朋友哩？那都是傻想头，他是小生，药官是小旦，往常时，他们扮作两口儿，每日唱戏的时候，都装着那么亲热，一来二去，两个人就装糊涂，倒像真的一样儿。后来两个竟是你疼我，我爱你。药官儿一死，他就哭的死去活来的，到如今不忘，所以每节烧纸。后来补了蕊官，我们见他也是那样，就问他：‘为什么得了新的就把旧的忘了？’他说：‘不是忘了，比如人家男人死了女人，也有再娶的，只是不把死的丢过不提就是有情分了。’你说他是傻不是呢？”<br />
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Precious Jade said, “Why not, if they were friends?” Fragrant Official said, “They weren’t just ordinary friends. Ouguan had the fantastic notion that as she used to play young men and Diguan young ladies, and as they were often cast as husband and wife, although it was make-believe they should act the part every day as if they were really in love. So they became so crazy about each other that even offstage they were for ever together. In the end they were so devoted that when Diguan died she nearly cried her heart out, and to this day she’s never forgotten her. That’s why she burns paper money at all the festivals. When Actress Pistil later took Diguan’s place, we found that Ouguan was just as attached to her. ‘Has your new sweetheart made you forget the old one?’ we asked. ‘No, but there’s a very good reason for this,’ she told us. ‘I’m like a widower who marries again. If he doesn’t forget his first wife, he’s still true to her. But if he insists on remaining single all the rest of his life, that’s against the rules of propriety too, and how could his dead wife rest in peace in her grave?‘ Don’t you call that crazy and senseless? It’s really ridiculous!”<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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宝玉听了这呆话，独合了他的呆性，不觉又欢又悲，又称奇道绝，拉着芳官嘱咐道：“既如此说，我有一句话嘱咐你，须得你告诉他：以后断不可烧纸，逢时按节，只备一炉香，一心虔诚，就能感应了。我那案上也只设着一炉，我有心事，不论日期，时常焚香；随便新茶新水，就供一盏；或有鲜花鲜果，甚至荤腥素菜都可。只要敬心，不在虚名。以后快命他不可再烧纸！”芳官听了，便答应着；一时吃过粥，便有人回：“老太太回来了。”要知端的，且看下回分解。<br />
◎第五十九回 柳叶渚边嗔莺叱燕 绛芸轩里召将飞符<br />
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However, foolish Precious Jade heard such foolish talk. He exclaimed in wonder, torn between sadness and joy. He took Fragrant Official's hand and urged her, “If that’s how things are, you must tell her something from me. ” “What is it?’”asked Fragrant Official.“In future, she mustn’t burn paper coins. At all future festivals she need only burn some incense in a censer; and if her heart is pure, Diguan’s spirit will know it. There is a censer on my desk. Whenever I miss some dead friend, whatever the date, I burn incense and offer some fresh water or tea, or maybe flowers or fruit, or even meat or vegetables. As long as your heart is pure, Buddha himself will come to the sacrifice. That’s why we say: ‘It’s the intention that counts, not the empty form.’ So go presently and tell her not to burn any more paper money in future.”Fragrant Official promised to do this and then had the rice gruel. Just at that moment someone announced that Their Ladyships were back. To know what happened after, read the next chapter. Chapter 59 Yinger and Chunyan Are Scolded by Willow Bank And Red Rue Studio Sends for Reinforcements<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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话说宝玉闻听贾母等回来，随多添了一件衣服，拄了杖前边来，都见过了。贾母等因每日辛苦，都要早些歇息，一宿无话。次日五更，又往朝中去。离送灵日不远，鸳鸯、琥珀、翡翠、玻璃四人，都忙着打点贾母之物；玉钏、彩云、彩霞皆打点王夫人之物；当面查点与跟随的管事媳妇们。跟随的一共大小六个丫鬟，十个老婆媳妇子，男人不算。连日收拾驮轿器械。鸳鸯与玉钏儿皆不随去，只看屋子。一面先几日预备帐幔铺陈之物，先有四五个媳妇并几个男子领了出来，坐了几辆车绕道，先至下处，铺陈安插等候。<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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临日，贾母带着贾蓉媳妇坐一乘驮轿，王夫人在后，亦坐一乘驮轿；贾珍骑马，率了众家丁围护；又有几辆大车，与婆子丫鬟等坐，并放些随换的衣包等件。是日薛姨妈尤氏率领诸人直送至大门外方回。贾琏恐路上不便，一面打发他父母起身，赶上贾母王夫人驮轿，自己也随后带领家丁押后跟来。荣府内，赖大添派人丁上夜，将两处厅院都关了，一应出入人等皆走西边小角门；日落时，便命关了仪门，不放人出入；园中前后东西角门亦皆关锁，只留王夫人大房之后常系他姊妹出入之门，东边通薛姨妈的角门：这两门因在里院，不必关锁；<br />
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On the next day, Grandma Merchant took Prosperity Merchant, her daughter-in-law, to sit in a pack sedan, and Lady King followed who sat in another one. Treasure Merchant rode a horse and led servants for protection. There were several carts for nannies and servant girls, and some clothes and bags to change at any time were also put in it. That day Aunt Marshgrass and Madam You led all people see them out of the gate before coming back. Fearing that the journey might be inconvenient, Romance Merchant sent his parents on their way to catch the sedan chair of Lady King and Grandma Merchant, then he caught up later who followed by servants. Inside Rong House, Big Rely sent more servants to keep watch at night and asked them to close the two halls and courtyards, and all people who came and went through the small corner gate on the west side. At sunset, he ordered to shut down the ceremony door so that no one would go in or out. The front, rear, east and west corner doors of the garden were also locked, except for the door of Lady King's main room which was for her sisters’ use. As for corner doors which opened to the east towards Aunt Marshgrass’s room, they did not need to be locked because they were in the inner garden.<br />
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When the day came, Grandma Merchant and Prosperity’s wife took a horse-borne litter, and Lady King followed them behind. Treasure Merchant rode a horse and led servants for protection. There were several big carts for serving-women and young maids which also carried changes of clothing. That day Aunt Marshgrass and Madam You saw them off from outside of the main gate with the rest of serving-women. Fearing that the journey might be inconvenient, Romance Merchant sent his parents on their way and caught up with the litters which Lady King and Grandma Merchant sat, and then followed the escort. In Rong House, Big Rely sent more servants to keep watch at night and asked them to close the two main gates and all people who came and went passed the small corner gate on the west side. At sunset, he ordered to shut down the ceremonial door, allowing no entrance or exit. The front and back slide gates and those to the east and west of the garden were also locked, except for the door of Lady King’s main room which was used by the girls. As for corner doors which opened to the east towards Aunt Marshgrass’s room, they did not need to be locked because they were in the inner garden.--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 12:55, 28 May 2022 (UTC)<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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里面鸳鸯和玉钏儿也将上房关了，自领丫鬟婆子下房去歇；每日林之孝家的带领十来个老婆子上夜，穿堂内又添了许多小厮更打：已安插得十分妥当。一日清晓，宝钗春困已醒，搴帷下榻，微觉轻寒，及启户视之，见园中土润苔青：原来五更时落了几点微雨。于是唤起湘云等人来。一面梳洗，湘云因说两腮作痒，恐又犯了杏斑癣，因问宝钗要些蔷薇硝擦。宝钗道：“前日剩的都给了妹子了。”因说：“颦儿配了许多，我正要要他些来，因今年竟没发痒，就忘了。”因命莺儿去取些来。莺儿应了才去时，蕊官便说：“我同你去，顺便瞧瞧藕官。”<br />
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Inside the garden, Mandarin Duck and Jade Bracelet also closed the doors of main apartments, and took some maids from there to stay in the servants’ quarters to have rests. While every night Filial Piety Forest's Wife took some old serving-women stay in the garden to keep watch. All entrance halls were patrolled by pages with clappers. Everything was done with a well-arranged order. On a early spring morning when Precious Hairpin awoke from the spring fatigue, parted the bed-curtains and got up, she found it was a little bit cold. She opened the door and looked outside. The soil in the yard was wet and moss was green. There was also some rain falling down at dawn. She woke up Fragrant-cloud and other people. While they were dressing, Fragrant-cloud said her cheeks were itched. She was afraid that she had the spring rashes again, so she asked Precious Hairpin whether she had rose powder. Precious Hairpin said: “I have given all I had to my sister Precious Strings a few days ago. Mascara Jade has made a lot and I was about to ask her for some. But I forgot this thing because I did not have any itched feelings this spring.” Then she let Maid Oriole go Mascara Jade’s residence to fetch some powder. As Maid Oriole was about to go, Actress Pistil said: “I will go with you together and visit Actress Lotus-root by the way.”<br />
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Inside, Mandarin Duck and Jade Bracelet also closed their mistresses’ main apartments, and took the other maids and matrons from there to stay in the servants’ quarters; while every night Filial Piety Forest's Wife brought some dozen old serving-women to keep watch, and all the entrance halls were patrolled by extra pages with clappers. In this way excellent order was maintained. Early one spring morning when Precious Hairpin awoke, parted her bed-curtains and got up, she found it rather chilly. She opened the door and looked out. The soil in the courtyard was moist, the moss on it green, for a light rain had fallen at dawn. She then woke Fragrant-cloud and the others. As they were dressing, Fragrant-cloud remarked that her cheeks itched. She was afraid she had a spring rash again, and would like some rose-nitric powder to apply to it. “I gave all I had left the other day to Precious Strings,” Precious Hairpin told her. “Mascara Jade had a good deal made and I was meaning to ask her for some, but not having felt any itching this spring I forgot.” She ordered Oriole to go and fetch some of this powder. As Oriole was about to leave on this errand, Etamine offered to go with her, as that would give her a chance to see Nenuphar.--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 07:46, 28 May 2022 (UTC)<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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说着一径同莺儿出了蘅芜苑。二人你言我语，一面行走，一面说笑，不觉到了柳叶渚，顺着柳堤走来。因见叶才点碧，丝若垂金，莺儿便笑道：“你会拿这柳条子编东西不会？”蕊官笑道：“编什么东西？”莺儿道：“什么编不得？玩的，使的，都可。等我摘些下来，带着这叶子编一个花篮，采了各色花儿放在里头，才是好玩呢！”说着，且不去取硝，且伸手采了许多嫩条，命蕊官拿着，他却一行走，一行编花篮。随路见花便采一二枝，编出一个玲珑过梁的篮子。枝上自有本来翠叶满布，将花放上，却也别致有趣。<br />
So the two of them set off from Alpinia Park. Chatting as they strolled, the girls soon reached Willow Bank. As they walked along it they saw that the willows, now turning green, seemed hung with golden threads. “Can you weave things out of osiers?” Oriole asked. “What sort of things?” “Oh, anything ‘ little toys or useful objects. Wait till I’ve picked a few twigs with leaves and I’ll make a basket to fill with different flowers. That should be fun.” So instead of fetching the powder, Oriole plucked an armful of tender twigs which she made Etamine carry, and started to weave a basket as on they walked, stopping now and then to pick flowers. The dainty little basket was soon completed. Covered with its own fresh green leaves and filled with flowers, it made a charming and original toy.<br />
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So the two of them set off from Alpinia Park. Chatting as they strolled, they soon reached Willow Bank. As they walked along it, they saw that willows, now turning green, seemed hung with golden threads. “Can you weave things out of osiers?” Oriole asked. “What sort of things?” “Oh, anything ‘ little toys or useful objects. Wait till I’ve picked a few twigs with leaves and I’ll make a basket to fill with different flowers. That should be fun.” So instead of fetching the powder, Oriole plucked an armful of tender twigs which she made Etamine carry, and started to weave a basket as on they walked, stopping now and then to pick flowers. The dainty little basket was soon completed. Covered with its own fresh green leaves and filled with flowers, it made a charming and original toy.--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:49, 30 May 2022 (UTC)<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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喜得蕊官笑道：“好姐姐，给了我罢！”莺儿道：“这一个咱们送林姑娘，回来咱们再多采些，编几个大家玩。”说着，来至潇湘馆中。黛玉也正晨妆，见了这篮子，便笑说：“这个新鲜花篮是谁编的？”莺儿说：“我编了，送与姑娘玩的。”黛玉接了，笑道：“怪道人人赞你的手巧，这玩意儿却也别致。”一面瞧了，一面便叫紫鹃挂在那里。莺儿又问侯薛姨妈，方和黛玉要硝。黛玉忙命紫鹃去包了一包，递与莺儿。黛玉又说道：“我好了，今日要出去逛逛；你回去说与姐姐，不用过来问候妈了，也不敢劳他过来，我梳了头，同妈都往你那里去吃饭，大家热闹些。”<br />
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Actress Pistil smiled and said, "Good sister, give it to me!" Maid Oriole said, "Let's send Mascara Jade this one, and when we come back, we'll pick more and make up a few for everyone to play." She said, and came to the Bamboo Lodge. Mascara Jade was also making up in the morning, and when she saw this basket, she smiled and said, "Who made this fresh flower basket?" Maid Oriole said, "I made it up and sent it to the girl to play with." Mascara Jade took it and smiled, "It's true that everyone praises your skill, and this thing does look chic." As she looked, she told Nightingale to hang it there. Maid Oriole asked Aunt Marshgrass again, then asked Mascara Jade for saltpetre. Mascara Jade order Nightingale to wrap a bag and hand it to Maid Oriole. Mascara Jade said again, "I'm fine, I'm going to go out for a walk today; you go back and say that you and your sister don't have to come over to greet her, and you don't dare to ask her to come over, I combed my hair and go to your place with her to eat, it is more fun."<br />
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Actress Pistil smiled and said, "My dear sister, give it to me!" Maid Oriole said, "Let's send this one to Mascara Jade, and when we come back, we'll pick more and make up a few for everyone to play." She said, and came to the Bamboo Lodge. Mascara Jade was also making up in the morning, and when she saw this basket, she smiled and said, "Who made this fresh flower basket?" Maid Oriole said, "I made it up and sent it to you to play with." Mascara Jade took it and smiled, "It's true that everyone praises your skill, and this thing does look chic." As she looked, she told Nightingale to hang it there. Maid Oriole greeted Aunt Marshgrass again, then asked Mascara Jade for saltpetre. Mascara Jade order Nightingale to wrap a bag and hand it to Maid Oriole. Mascara Jade said again, "I'm fine, I'm going out for a walk today; you go back and tell sister that both of you don't have to come over to greet Aunt Marshgrass, and I don't dare to ask her to come over. After I comb my hair, we will go to eat in your room with Aunt Marshgrass, which is more fun."--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 08:42, 30 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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莺儿答应了出来，便到紫鹃房中找蕊官，只见蕊官却与藉官二人正说得高兴，不能相舍，莺儿便笑说：“姑娘也去呢，藕官先同去等着，岂不是好？”紫鹃听见如此说，便也说道：“这话倒很是，他这里淘气的可厌。”一面说，一面便将黛玉的匙箸用一块洋巾包了，交与藕官道：“你先带了这个去，也算一趟差了。”藕官接了，笑嘻嘻同他二人出来，一径顺着柳堤走来。莺儿便又采些柳条，索性坐在山石上编起来；又命蕊官先送了硝去再来。他二人只顾爱看他编，那里舍得去？莺儿只管催，说：“你们再不去，我就不编了。”<br />
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Maid Oriole promised and went out to Nightingale's room to find Actress Pistil, only to see that Actress Pistil and Actress Lotus-root were chatting merrily and couldn't be separated. Maid Oriole then smiled and said, "Actress Lotus-root can go with us, too. You go and wait for us there, isn't it a good idea?" Nightingale heard this and said, "So it is. She is so naughty there." She then packed Mascara Jade's spoon and chopsticks with a foreign scarf and handed it to Actress Lotus-root, saying, "Take this with you, it's also a piece of work." Actress Lotus-root took it and went out with Maid Oriole and Actress Pistil, smiling. They walked along the willow bank. Maid Oriole got some wicker and sat on the stone of the rockery to weave the flower basket. She then asked Actress Pistil to send the nitre first. But the two were attracted by her weaving the basket and unwilling to go to finish their work. Maid Oriole urged them to go quickly and said, "I won't do this any more if you don't go."<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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藕官便说：“同你去了，再快回来。”二人方去了。这里莺儿正编，只见何妈的小女春燕走来，笑问：“姐姐编什么呢？”正说着，蕊官藕官也到了，春燕便向藕官道：“前日你到底烧了什么纸？被我姨妈看见了，要告你没告成，倒被宝玉赖了他好些不是，气得他一五一十告诉我妈。你们在外头这二三年了，积了些什么仇恨，如今还不解开？”藕官冷笑道：“有什么仇恨？他们不知足，反怨我们了。在外头这两年，不知赚了我们多少东西。你说说，可有的没的？”<br />
春燕笑道：“他是我的姨妈，也不好向着外人反说他的。<br />
‘I’ll go with you,’ volunteered Actress Lotus-root. ‘Then we can hurry back.’And with that they went off. Presently along came Mother He’s young daughter Spring Swallow, who wanted to know what Maid Oriole was making. Just at that moment the other girls returned.‘What was that paper you were burning the other day when my aunt spotted you?’ Spring Swallow asked Actress Lotus-root. ‘Before she could report you, Precious Jade Merchant gave her such a dressing-down that she went off in a huff and told my mother all about it. What feud did you have with them those few years in the troupe outside the Garden that you’re still at loggerheads?’‘What feud?’ Actress Lotus-root snorted. ‘There’s just no satisfying them they’re for ever nagging at us. Not to mention anything else, goodness knows how much they made the last two years out of our daily food allowance outside ‘ more than enough to feed their own families ‘ in addition to their rake off on purchases. Yet any job we give them, they complain to high heaven. What sort of behaviour is that?’Spring Swallow smiled.‘She’s my aunt, so I can’t run her down to outsiders.<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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怨不得宝玉说：‘女孩儿未出嫁是颗无价宝珠，出了嫁不知怎么就变出许多不好的毛病来；再老了，更不是珠子，竟是鱼眼睛了！分明一个人，怎么变出三样来？’这话虽是混账话，想起来真不错。别人不知道，只说我妈和姨妈，他老姐儿两个，如今越老了，越把钱看得真了。先是老姐儿两个在家抱怨没个差使进益；幸亏有了这园子，把我挑进来，可巧把我分到怡红院。家里省了我一个人的费用不算外，每月还有四五百钱的余剩，这也还说不够。后来老姐儿两人都派到梨香院去照看他们，藕官认了我姨妈，芳官认了我妈，这几年着实宽绰了。<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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如今挪进来，也算撂开手了，还只无厌。你说好笑不好笑？接着我妈和芳官女吵了一场，又要宝玉吹汤，讨个没趣儿。幸亏园里的人多，没人记的清楚谁是谁的亲故；要有人记得，我们一家人，叫人家看着什么意思呢！你这会子又跑了来弄这个。这一带地上的东西，都是我姑妈管着，他一得了这地，每日起早睡晚，自己辛苦了还不算，每日逼着我们来照看，生怕有人遭塌，我又怕误了我的差使；如今我们进来了，老姑嫂两个照看得谨谨慎慎，一根草也不许人乱动。你还掐这些花儿，又折他的嫩树枝子，他们即刻就来，仔细他们抱怨。”<br />
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Now that we moved in, we completely gave up. I had no other thoughts. It's so funny. Then my mom had a quarrel with Fragrant Official, asking Precious Jade to chill the soup. Made herself embarrassed. Luckily, there weren't many people in the yard at that time and no one knew clearly the relations. If anyone knew, we were going to be a joke. You came to do this now? See the things on the ground, they are all my aunt's charging. She couldn't do that much. Nearly in the morning and late at night, making herself tired does not count, she even wanted us to be with her so that she doesn't have to worry anyone damaging it. I feared that my work would be impeded. Now I came in, the old ladies were so careful. Don't even allow others to touch a grass. You picked the flowers and fresh branches. They are coming soon and you are doomed."<br />
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Now that we moved in, we completely gave up. I had no other thoughts. It's so funny. Then my mom had a quarrel with Fragrant Official, and then she asked Precious Jade to chill the soup. Only to make herself embarrassed. Luckily, there weren't many people in the yard at that time and no one knew clearly the relations. If anyone knew, we were going to be a joke. You came to do this now? See the things on the ground, they are all my aunt's charging. She couldn't do that much. Nearly in the morning and late at night, making herself tired does not count, she even wanted us to be with her so that she doesn't have to worry anyone damaging it. I feared that my work would be impeded. Now I came in, the old ladies were so careful. Don't even allow others to touch a grass. You picked the flowers and fresh branches. They are coming soon and you are doomed."--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 15:15, 31 May 2022 (UTC)<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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莺儿道：“别人折掐使不得，独我使得。自从分了地基之后，各房里每日皆有分例的，不用算；单管花草玩意儿，谁管什么，每日谁就把各房里姑娘丫头戴的，必要各色送些折枝的去，另有插瓶的。惟有我们姑娘说了：‘一概不用送，等要什么再和你要。’究竟总没要过一次。我今便掐些，他们也不好意思说的。”一言未了，他姑妈果然拄了拐杖走来。莺儿春燕等忙让坐。那婆子见采了许多嫩柳，又见藕官等采了许多鲜花，心里便不受用；看着莺儿编弄，又不好说什么，便说春燕道：“我叫你来照看照看，你就贪住玩不去了，<br />
"Others may not be allowed to pick what they like, but I am, "retorted Maid Oriole." After the different places were allotted, each household was assigned its share of the produce. Not counting edibles, just take flowers for example. Those in charge have to send some over every day for the young ladies and maids to wear, as well as to put in their vases. My young lady was the only one who told them not to send any. She said she'd ask for what she needed, but in fact she never once has. So how can they scold me for picking a few flowers now?"<br />
While she was still speaking, sure enough, along came Spring Swallow's aunt leaning on her cane. Maid Oriole and Spring Swallow at once urged her to be seated. The sight of all the willow twigs and flowers which Actress Lotus-root and the others had picked vexed the woman, but not liking to say anything against Maid Oriole, who was making a basket, she rounded on her niece.<br />
"I told you to keep an eye on things, but you take that as a chance to play around …<br />
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"Others may not be allowed to pick what they like, but I am, "retorted Maid Oriole." After the different places were allotted, each household was assigned its share of the produce. Not counting edibles, just take flowers for example. Those in charge have to send some over every day for the young ladies and maids to wear, as well as to put in their vases. My young lady was the only one who told them not to send any. She said she'd ask for what she needed, but in fact she never once has. So how can they scold me for picking a few flowers now?"<br />
While she was still speaking, sure enough, along came Spring Swallow's aunt leaning on her cane. Maid Oriole and Spring Swallow at once urged her to be seated. The sight of all the willow twigs and flowers which Actress Lotus-root and the others had picked vexed the woman, but not liking to say anything against Maid Oriole, who was making a basket, she rounded on her niece.<br />
"I told you to keep an eye on things, but you take that as a chance to play around …--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 05:08, 31 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
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倘或叫起你来，你又说我使你了，拿我作隐身草儿，你来乐！”春燕道：“你老人家又使我，又怕，这会子反说我，难道把我劈八瓣子不成？”莺儿笑道：“姑妈，你别信小燕儿的话。这都是他摘下来，烦我给他编，我撵他，他不去。”春燕笑道：“你可少玩儿！你只顾玩儿，他老人家就认真的。”那婆子本是愚夯之辈，兼之年近昏眊，惟利是命，一概情面不管；正心疼肝断，无计可施，听莺儿如此说，便倚老卖老，拿起柱杖向春燕身上击上几下，骂道：“小蹄子，我说着你，你还和我强嘴儿呢！<br />
"l told you not go back to your apartments. When they want you there, you say you've been working for me. Using me as your cover,ch?"<br />
"You order me about yet you're afraid, and now you're scolding me," protested Spring Swallow. "l can't be everywhere at once, can I?"<br />
"Don't you believe her, aunt," chuckled Yinger. "She was the one who picked all these and asked me to make her a basket. When I tried to chase her away, she wouldn't go."<br />
"Don't talk such nonsense!" cried Spring Swallow. “My aunt can't take a joke, she'll believe you."<br />
Indeed, her aunt had been born stupid, and now that age had addled her wits her one interest in life was money: she had no consideration at all for others. Inwardly fuming, she had not known how to retaliate until Yinger made this joke. Now, presuming on her seniority, she raised her cane and struck her niece several blows.<br />
"Little bitch!"she swore. "I'll teach you to talk back!<br />
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"I told you not go back to your apartments. When they want you there,you say you've been working for me. Using me as your cover?" "You order me about yet you're afraid, and now you're scolding me,"protested Spring Swallow. "I can't be everywhere at once,can I?" "Don't you believe her, aunt," chuckled Oriole. "She was the one who picked all these and asked me to make her a basket. When I tried to chase her away,she wouldn't go." "Don't talk such nonsense!" cried Spring Swallow. “My aunt can't take a joke,she'll believe you." Indeed,her aunt had been born stupid, and now that age had addled her wits her one interest in life was money: she had no consideration at all for others. Inwardly fuming,she had not known how to retaliate until Yinger made this joke. Now,presuming on her seniority,she raised her cane and struck her niece several blows. "Little bitch!"she swore. "I'll teach you to talk back!--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 13:21, 31 May 2022 (UTC)<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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你妈恨的牙痒痒，要撕你的肉吃呢，你还和我梆子是的。”打得春燕又愧又急，因哭道：“莺儿姐姐玩话，你就认真打我！我妈为什么恨我？又没烧糊了洗脸水，有什么不是？”莺儿本是玩话，忽见婆子认真动了气，忙上前拉住，笑道：“我才是玩话，你老人家打他，这不是臊我了吗？”那婆子道：“姑娘，你别管我们的事，难道为姑娘在这里不许我们管孩子不成？”莺儿听见这般蠢话，便赌气红了脸，撒了手，冷笑道：“你要管，那一刻管不得？偏我说了一句玩话，就管他了？我看你管去！”说着便坐下，仍编柳篮子。<br />
Your mother's grinding her teeth,itching to tear you to pieces and chew you up. Yet you still answer me back in that pert way!" Hurt and humiliated,Spring Swallow sobbed,"Sister Oriole was only joking,yet you believed her and beat me. Why should my mother be angry? I've not boiled away her water or burned her pan. What have I done wrong?" Maid Oriole,seeing that her teasing had really angered the woman now caught her by the arm. "I was only joking,"she said soothingly. "By beating her you make me feel bad too." "Don't meddle with our affairs miss,"snapped the other. "Can't we punish our own children just because you're here?" This stupid gibe made Yinger flush with anger. She let go of the woman with a scornful laugh,"You can punish her any time you please. Why do it just after I make a joke? All right - go ahead." With that she sat down again and was going on making her basket.<br />
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==比较文学与跨文化研究 Mahzad 202021080004==<br />
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偏又有春燕的娘出来找他，喊道：“你不来舀水，在那里做什么？”那婆子便接声儿道：“你来瞧瞧，你女孩儿连我也不服了，在这里排揎我呢！”那婆子一面走过来，说：“姑奶奶又怎么了？我们丫头眼里没娘罢了，连姑妈也没了不成？”莺儿见他娘来了，只得又说原故。他姑娘那里容人说话，便将石上的花柳与他娘瞧，道：“你瞧瞧，你女孩儿这么大孩子玩的！他领着人糟塌我，我怎么说人？”他娘也正为芳官之气未平，又恨春燕不遂他的心，便走上来打了个耳刮子，骂道：“小娼妇，你能上了几年台盘？你也跟着那起轻薄浪小妇学！怎么就管不得你们了？干的我管不得，你是我自己生出来的，难道也不敢管你不成？<br />
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==外国语言文学 Muhammad Numan 202121080002==<br />
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既是你们这起蹄子到得去的地方我到不去，你就死在那里伺侯，又跑出来浪汉子！”一面又抓起柳条子来，直送到他脸上，问道：“这叫做什么，这编的是你娘的什么？”莺儿忙道：“那是我编的，你别‘指桑骂槐’的！”那婆子深妒袭人晴雯一干人，早知道凡房中大些的丫鬟，都比他们有些体统权势，凡见了这一干人，心中又畏又让，未免又气又恨，亦且迁怒于众；复又看见了藕官，又是他姐姐的冤家：四处凑成一股怒气。那春燕啼哭着往怡红院去了。他娘又恐问他为何哭，怕他又说出来，又要受晴雯等的气，不免赶着来喊道：“你回来！我告诉你再去。”春燕那里肯回来，急的他娘跑了去要拉他。春东回头看见，便也往前飞跑。<br />
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==英语语言文学 TOURE MARIAM 202021080005==<br />
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他娘只顾赶他，不防脚下被青苔滑倒，引的莺儿三个人都反笑了。莺儿赌气将花柳皆掷于河中，自回房去。这里把个婆子心疼的只念佛，又骂：“促狭小蹄子！遭塌了花儿，雷也是要劈的！”自己且掐花与各房送去。却说春燕一直跑入院中，顶头遇见袭人往黛玉处问安去，春燕便一把抱住袭人说：“姑娘救我！我娘又打我呢！”袭人见他娘来了，不免生气，便说道：“三日两头儿，打了干的打亲的，还是卖弄你女孩儿多？还是认真不知王法？”这婆子来了几日，见袭人不言不语，是好性的，便说道：“姑娘，你不知道，别管我们的闲事，都是你们纵的，还管什么？”说着，便又赶着打。<br />
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==外国语言文学 UDDIN NIZAM 202121080007==<br />
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袭人气的转身进来，见麝月正在海棠下晾手巾，听如此喊闹，便说：“姐姐别管，看他怎样！”一面使眼色与春燕。春燕便会意，便直奔了宝玉去。众人都笑说：“这可是从来没有的事今儿都闹出来了。”麝月向婆子道：“你再略煞一煞气儿，难道这些人的脸面，和你讨一个情还讨不出来不成？”那婆子见他女儿奔到宝玉身边去，又见宝玉拉了春燕的手，说：“你别怕，有我呢！”春燕一行哭，一行将方才莺儿等事都说出来。宝玉越发急起来，说：“你只在这里闹也罢了，怎么连亲戚也都得罪起来！”麝月又向婆子及众人道：<br />
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==翻译学 SAGARA SEYDOU 201911080004 ==<br />
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“怨不得这嫂子说我们管不着他们的事，我们虽无知，错管了，如今请出一个管得着的人来管一管，嫂子就心服口服，也知道规矩了。”便回头叫小丫头子：“去把平儿给我叫来！平儿不得闲。就把林大娘叫了来。”那小丫头子应了就走。众媳妇上来笑说：“嫂子快求姑娘们叫回那孩子罢。平姑娘来了，可就不好了！”那婆子说道：“凭是那个姑娘来了，也要凭个理，没有见个娘管女孩儿，大家管着娘的！”众人笑道：“你当是那个平姑娘？是二奶奶屋里的平姑娘！他有情么，说你两句；他一翻脸，嫂子，你‘吃不了兜着走’！”说着，只见那个小丫头子回来说：“平姑娘正有事呢，问我做什么，我告诉了他。</div>Li Yuanhttps://bou.de/u/index.php?title=20220526_culture&diff=14382220220526 culture2022-05-31T04:07:51Z<p>Li Yuan: /* 英语笔译 李颖 Li Ying 202170081578 */</p>
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<div>Quicklinks:[[Chinese Language and Culture 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Joint_translation_terms]]<br />
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[[20220526_culture|culture of session 14 for session 15 May.26]]<br />
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'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is <br />
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27 Globalization: The Westernization Movement 54% 黄天琪 Huang Tianqi<br />
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31 Globalization: The Eastward Spread of Western Learning 53% 莫雨婷Mo Yuting<br />
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'''Assignment 2''': '''Click here''' to answer the questions of the topics below <br />
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27 Globalization: The Westernization Movement <br />
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31 Globalization: The Eastward Spread of Western Learning <br />
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Due before 4:30 pm Jun.2<br />
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'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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Due before 6:00 pm Jun.1<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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因又笑说道：“几年间，门子也会钻了，由知府推升转了御史，不过几年，升了吏部侍郎，署兵部尚书。为着一件事降了三级。如今又要升了。”冯紫英道：“人世的荣枯，仕途的得失，终属难定。”贾政道：“像雨村算便宜的了。还有我们差不多的人家，就是甄家，从前一样功勋，一样的世袭，一样的起居，我们也是时常往来。不多几年，他们进京来，差人到我这里请安，狠还热闹。一回儿抄了原籍的家财，至今杳无音信。不知他近况若何，心下也着实惦记，看了这样，你想做官的怕不怕？”贾赦道：“咱们家是最没有事的。”<br />
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Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The rise and fall of one’s fate and the gain and loss of one’s official career are unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years ago, when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious with his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant didn’t care.<br />
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Thank you for your correction work this semester.(*￣︶￣)<br />
（Reply: My enjoyment,sweetie~ (づ￣︶￣)づ）<br />
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Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The ups and downs of one’s fate and the gain and loss of one’s official career are both unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once as illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years later when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious about his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant replied disapprovingly.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:05, 30 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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冯紫英道：“果然尊府是不怕的：一则里头有贵妃照应；二则故旧好，亲戚多；三则你家自老太太起，至于少爷们，没有一个刁钻刻薄的。”贾政道：“虽无刁钻刻薄，却没有德行才情。白白的衣租食税，那里当得起？”贾赦道：“咱们不用说这些话，大家吃酒罢。”大家又喝了几杯，摆上饭来。吃毕喝茶。冯家的小厮走来，轻轻的向紫英说了一句。冯紫英便要告辞了。贾赦贾政道：“你说什么？”小厮道：“外面下雪，早已下了梆子了。”贾政叫人看时，已是雪深一寸多了。贾政道：“那两件东西，你收拾好了么？”<br />
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“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.<br />
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“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 11:19, 30 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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冯紫英道：“收好了。若尊府要用，价钱还自然让些。”贾政道：“我留神就是了。”冯紫英道：“我再听信罢。天气冷，请罢，别送了。”贾赦贾政便命贾琏送了出去。却说冯紫英去后，贾政叫门上的人来吩咐道：“今儿临安伯那里来请吃酒，知道是什么事？”门上的人道：“奴才曾问过，并没有什么喜庆事，不过南安王府里到了一班小戏子，都说是个名班，伯爷高兴，唱两天戏，请相好的老爷们瞧瞧，热闹热闹。大约不用送礼的。”说着，贾赦过来问道：“明儿二老爷去不去？”贾政道：“承他亲热，怎么好不去的？”<br />
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“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.<br />
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“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.--[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 13:14, 28 May 2022 (UTC)<br />
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==英语笔译 崔晓凡 Cui Xiaofan 202170081566==<br />
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说着，门上进来回道：“衙门里书办来请老爷明日上衙门。有堂派的事，必得早些去。”贾政道：“知道了。”说着，只见两个管屯里地租子的家人走来，请了安，磕了头，旁边站着。贾政道：“你们是郝家庄的？”两个答应了一声。贾政也不往下问，竟与贾赦各自说了一回话儿散了。家人等秉着手灯，送过贾赦去。这里贾琏便叫那管租的人道：“说你的。”那人说道：“十月里的租子，奴才已经赶上来了。原是明儿可到。谁知京外拿车，把车上的东西，不由分说，都掀在地下。奴才告诉他，说是府里收租子的车，不是买卖车，他更不管这些。<br />
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Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.<br />
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Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 12:43, 30 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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奴才叫车夫只管拉着走，几个衙役就把车夫混打了一顿，硬扯了两辆车去了。奴才所以先来回报。求爷打发个人到衙门里去要了来才好。再者，也整治整治这些无法无天的差役才好。爷还不知道呢，更可怜的是那买卖车，客商的东西全不顾，掀下来，赶着就走。那些赶车的但说句话，打的头破血出的。”贾琏听了，骂道：“这个还了得！”立刻写了一个帖儿，叫家人：“拿去向拿车的衙门里要车去，并车上东西。若少了一件，是不依的！快叫周瑞。”周瑞不在家。又叫旺儿。旺儿晌午出去了，还没有回来。贾琏道：“这些忘八羔子，一个都不在家！他们终年家吃粮不管事。”<br />
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The slave told the coachman to pull it away, but some government soldiers beat up the coachman and drove off with two carts. The minion returns the favor first. Please send someone to the Yamen for it. Moreover, it is good to punish these lawless servants. Ye still don't know, more pitiful is that the business car, the merchant's things all disregard, lift down, hurried away. Those who drive the wagons say nothing and bleed from the head." Romance Merchant, hearing this, cursed: "This is remarkable!" Immediately she wrote a post, telling her family: "Go to the government office where the cart is taken and ask for the cart and its contents. If one is missing, it will not depend on! Call Zhou Rui quickly." Zhou Rui is not at home. Also known as Wanger. Prosperous went out at noon and did not return. Romance Merchant said, "None of these forgetful kids are at home! They don't care what they eat all year round."<br />
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==英语笔译 高智慧 Gao Zhihui 202170081568==<br />
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因吩咐小厮们：“快给我找去。”说着，也回到自己屋里，睡下不提。且说临安伯第二天又打发人来请。贾政告诉贾赦道：“我是衙门里有事。琏儿要在家等候拿车的事情，也不能去。倒是大老爷带宝玉应酬一天也罢了了。”贾赦点头道：“也使得。”贾政遣人去叫宝玉，说“今儿跟大爷到临安伯那里听戏去。”宝玉喜欢的了不得，便换上衣服，带了焙茗、扫红、锄药三个小子，出来见了贾赦，请了安，上了车，来到临安伯府里。门上人回进去，一会子出来说：“老爷请。”<br />
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Shouting to his pages to find them both at once, Romance Merchant retired to his apartment for the night. Next morning brought a reminder from the Earl of Linan. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent word to Precious Jade that he was to accompany his uncle to the Earl of Lin-an’s theatre party. Precious Jade was thrilled. He changed, and choosing three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him, came out to pay his morning respects to Jia She. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in. Pardon Merchant led Precious Jade into the main courtyard, which was packed with a noisy throng. They paid their respects to the Earl and exchanged civilities with the other guests before sitting down and joining in the flow of light-hearted conversation. Before long the manager of the troupe came forward with two playbills, an ordinary one and a fancy one in the form of an ivory tablet, and saluting his patrons by dropping one knee to the ground in Manchu-style, announced: ‘Will the gentlemen please select their favourite plays?’<br />
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Shouting to his pages to find them at once, Romance Merchant retired to his apartment for the night. Next morning came a reminder from the Earl Temporary Settlement. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent words to Precious Jade that he was to accompany his uncle to the Earl Temporary Settlement’s theatre party. Precious Jade was thrilled with joy. He got himself dressed, chose three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him,and came out to pay his morning respects to Pardon Merchant. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in.<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 13:55, 28 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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于是贾赦带着宝玉走入院内，只见宾客喧阗。贾赦宝玉见了临安伯，又与众宾客都见过了礼，大家坐着，说笑了一回。只见一个掌班的拿着一本戏单，一个牙笏，向上打了一个千儿，说道：“求各位老爷赏戏。”先从尊位点起，挨至贾赦，也点了一出。那人回头见了宝玉，便不向别处去，竟抢步上来，打个千儿道：“求二爷赏两出。”宝玉一见那人，面如傅粉，唇若涂朱；鲜润如出水芙渠，飘扬似临风玉树：原来不是别人，就是蒋玉菡。前日听得他带了小戏儿进京，也没有到自己那里；此时见了，又不好站起来，只得笑道：“你多早晚来的？”<br />
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Then Pardon Merchant took Precious Jade into the courtyard which was fraught with the hustle and bustle. After the two paid their respects to Count Temporary Settlement and greeted the other guests, they sat down to talk . Then the one in charge of the troupe with a playlist and a ivory tablet stepped up and fell down on one kneel, saying, "Beg your lords to choose one and enjoy the play." In the order of seniority,they choose the operas. When it came to Pardon Merchant's turn, he also chose one. At that moment, turning around and catching sight of Precious Jade, that person unexpectedly come over to him and fell on one of his kneel, "Beg master to choose one." When Precious Jade saw the man whose face seemed powdered and his lips looked scarlet, it occurred to him that he was Jade Lotus Chiang. The day before yesterday, Precious Jade heard that he had brought a group of young actors with him to Peking, but he did not come to visit him. On such an occasion, Precious Jade could not just stand up to greet him, so he had to smile instead and asked, "When did you come?"<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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蒋玉菡把手在自己身子上一指，笑道：“怎么二爷不知道么？”宝玉因众人在坐，也难说话，只得胡乱点了一出。蒋玉菡去了，便有几个议论道：“此人是谁？”有的说：“他向来是唱小旦的，如今不肯唱小旦，年纪也大了，就在府里掌班。头里也改过小生。他也攒了好几个钱，家里已经有两三个铺子，只是不肯放下本业，原旧领班。”有的说：“想必成了家了。”有的说：“亲还没有定。他倒掌定一个主意，说是人生配偶，关系一生一世的事，不是混闹得的，不论尊卑贵贱，总要配的上他的才能。所以到如今还并没娶亲。”<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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宝玉暗忖度道：“不知日后谁家的女孩儿嫁他？要嫁着这样的人材儿，也算是不辜负了。”那时开了戏，也有昆腔，也有高腔，也有弋腔，梆子腔：做得热闹。到了晌午，便摆开桌子吃酒。又看了一回，贾赦便欲起身。临安伯过来留道：“天色尚早。听见说蒋玉菡还有一出《占花魁》，他们顶好的首戏。”宝玉听了，巴不得贾赦不走；于是贾赦又坐了一会。果然蒋玉菡扮着秦小官，伏侍花魁醉后神情，把这一种怜香惜玉的意思，做得极情尽致。以后对饮对唱，缠绵缱绻。宝玉这时不看花魁，只把两支眼睛独射在秦小官身上。<br />
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Precious Jade wondered who the lucky girl would be to marry such an intelligent man. Then the performance started with Kun opera, Yi Opera, Gao Opera and Ban Zi operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave.“It’s early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.”Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the woman, but staring at the male role.<br />
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Precious Jade wondered who the lucky girl would be to marry such a man of his ability. Then the performance started with Kun opera, High-pitched Tunes, Yi-qiang and Pangtse operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave. “It’s still early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.” Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the heroine, but staring at the male role.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 14:58, 29 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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更加蒋玉菡声音响亮，口齿清楚，按腔落板，宝玉的神魂都唱了进去了。直等这出戏进场后，更知蒋玉菡极是情种，非寻常戏子可比。因想着：“《乐记》上说的是：‘情动于中，故形于声；声成文，谓之音。’所以知声，知音，知乐，有许多讲究。声音之原，不可不察。诗词一道，但能传情，不能入骨，自后想要讲究讲究音律。”宝玉想出了神，忽见贾赦起身，主人不及相留。宝玉没法，只得跟了回来。到了家中，贾赦自回那边去了。宝玉来见贾政。贾政才下衙门，正向贾琏问起拿车之事。贾琏道：“今儿叫人拿帖儿去，知县不在家。<br />
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Precious Jade was quite enraptured by his singing, for Jade Lotus had a resonant voice, clear enunciation and good sense of rhythm. By the end of the performance, he was firmly convinced that Jade Lotus was a romantic, completely unique artist, and not to be compared with the common actors. He thought, "The Book of Music rightly says, 'Stirred feelings find expression in sound, and when the sound follows a pattern we call it music.' So sounds, notes and music take some understanding, and a study has to be made of their origin. Poetry can convey emotions, but it can't thrill us to the marrow. In future I really must make a study of music." His reverie was interrupted by Pardon Merchant rising to leave. As their host could not prevail on him to stay, Precious Jade had no choice but to go back with him. On their return Pardon Merchant went straight to his own home. And Precious Jade, paying his duty call on his father, found him just back from the ministry questioning Romance Merchant about the seizure of their carts. Romance Merchant said, "I sent servants there today with my card, but the local mandarin was out.<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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他的门上说了：‘这是本官不知道的，并无牌票出去拿车，都是那些混帐东西在外头撒野挤讹头。既是老爷府里的，我便立刻叫人去追办，包管明儿连车连东西一并送来。如有半点差迟，再行禀过本官，重重处治。此刻本官不在家，求这里老爷看破些，可以不用本官知道更好。”贾政道：“既无官票，到底是何等样人在那里作怪？”贾琏道：“老爷不知，外头都是这样。想来明儿必定送来的。”贾琏说完下来。宝玉上去见了。贾政问了几句，便叫他往老太太那里去。贾琏因为昨夜叫空了家人，出来传唤，那起人多已伺候齐全。<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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贾琏骂了一顿，叫大管家赖升：“将各行档的花名册子拿来，你去查点查点，写一张谕帖，叫那些人知道。若有并未告假，私自出去，传唤不到，贻误公事的，立刻给我打了撵出去！”赖升连忙答应了几个“是”，出来吩咐了一回，家人各自留意。过不几时，忽见有一个人，头上载着毡帽，身上穿着一身青布衣裳，脚下穿着一双撒鞋，走到门上，向众人作了个揖。众人拿眼上上下下打谅了他一番，便问他：“是那里来的？”那人道：“我自南边甄府中来的。并有家老爷手书一封，求这里的爷们呈上尊老爷。”众人听见他是甄府来的，才站起来让他坐下，道：“你乏了，且坐坐。我们给你回就是了。”<br />
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Romance Merchant scolded and asked Advancement, the major housekeeper, "bring me the roster of various lines of business, and you go and check them out, and write an oracle post to let those people know. If anyone goes out without asking for leave and cannot be summoned, he will be beaten and kicked out immediately! "Advancement hurriedly agreed with a few "yes" and came out to give orders, letting servants pay attention to it. After a while, a man came into sight with a felt hat on his head, dressed in blue cloth and a pair of slippers under his feet, he went to the door of the room and made a bow to the crowd. The crowd look at him up and down to and asked, "where did you come from?" The man said, "I'm from the Zhen House in the south. And there is a letter from the master of the Zhen family, Please give the letter to your master. " When they heard that he was from the Zhen House, they stood up and asked him to sit down and said, "you must be tired, sit down, please. We'll give it to our master. "--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 13:36, 28 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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门上一面进来回明贾政，呈上来书。贾政拆书看时，上写着：世交夙好，气谊素敦，遥仰襜帷，不胜依切。弟因菲材获谴，自分万死难偿，幸邀宽宥，待罪边隅。迄今门户雕零，家人星散。所有奴子包勇，向曾使用，虽无奇技，人尚悫实。倘使得备奔走，糊口有资，屋乌之爱，感佩无涯矣！专此奉达，余容再叙。不宣。贾政看完，笑道：“这里正因人多，甄家倒荐人来。又不好却的。”吩咐门上：“叫他见我，且留他住下，因材使用便了。”门上出去，带进人来，见贾政，便磕了三个头，起来道：“家老爷请老爷安。”自己又打个千儿，说：“包勇请老爷安。”<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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贾政回问了甄老爷的好，便把他上下一瞧，但见包勇身长五尺有零，肩背宽肥，浓眉爆眼，磕额长髯，气色粗黑，垂着手站着。便问道：“你是向来在甄家的，还是住过几年的？”包勇道：“小的向在甄家的。”贾政道：“你如今为什么要出来呢？”包勇道：“小的原不肯出来，只是家爷再四叫小的出来，说是别处你不肯去，这里老爷家里只当原在自己家里一样的，所以小的来的。”贾政道：“你们老爷不该有这事情，弄到这样的田地。”包勇道：“小的本不敢说：我们老爷只是太好了，一味的真心待人，反倒招出事来。”贾政道：“真心是最好的了。”<br />
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Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. Bag Valiant said, "I didn’t want to, but my master insisted. He said, ‘You wouldn’t agree to going anywhere else, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."<br />
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Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. "I didn’t want to, " Bag Valiant said,"but my master insisted again and he told me that other place you didn't want to go, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 03:40, 29 May 2022 (UTC)Li Ying<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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包勇道：“因为太真了，人人都不喜欢，讨人厌烦是有的。”贾政笑了一笑道：“既这样，皇天自然不负他的。”包勇还要说时，贾政又问道：“我听见说你们家的哥儿不是也叫宝玉么？”包勇道：“是。”贾政道：“他还肯向上巴结么？”包勇道：“老爷若问我们哥儿，倒是一段奇事。哥儿的脾气也和我家老爷一个样子，也是一味的诚实，从小儿只管和那些姐妹们在一处顽。老爷太太也狠打过几次，他只是不改。那一年太太进京的时候儿，哥儿大病了一场，已经死了半日，把老爷几乎急死，装裹都预备了。<br />
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Bag Valiant said:"Because he was too honest,nobody liked him and he offended some people.Master Merchant laughed:" Well, in that case, the God will give him due deserts."Bag Valiant were plant to reply, Master Merchant continued to say that:"I heard that your younger master's name is Precious Jade, is that true?"Bag Valiant said:" That is right, sir."Master Merchant said:" Is he still willing to flatter on the top?"Bag Valiant said:Your majesty asked me about my younger master, there were something strange about him. His temper is the same as our master's. Both of them were too honest, when he was a kid, he only played with those sisters. My masters also beat him severely,but there's no change in my younger master. That year our mistress came to the capital, younger master fell very ill.He lost his consciousness for so long that his father was frantic and had all the funeral preparations made."<br />
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Valiant Bag said:"He is too honest, so nobody likes him and he has offended some people." Master Merchant laughed:" Well, in that case, the God will give him due deserves." When Valiant Bag were plant to reply, Master Merchant continued to say. "I heard that your younger master's name is Precious Jade. Is that true?" he added. Valiant Bag said: "That's right, sir." Master Merchant said:" Is he still willing to flatter the top?" Bag Valiant replied: "If you ask me about my younger master, there is something strange about him. His temper is the same as our master's. Both of them are too honest. When he was a kid, he only played with those sisters. My master and mistress also beat him severely, but there's no change of my younger master. That year when our mistress headed for the capital, my younger master was severely ill. He lost his consciousness for so long that his father was almost worried to dead and had all the funeral preparations made."--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 04:07, 31 May 2022 (UTC)<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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幸喜后来好了，嘴里说道：走到一座牌楼那里，见了一个姑娘，领着他到了一座庙里，见了好些柜子，里头见了好些册子；又到屋里，见了无数女子，说是多变了鬼怪似的，也有变做骷髅儿的；他吓急了，便哭喊起来。老爷知他醒过来了，连忙调治，渐渐的好了。老爷仍叫他在姐妹们一处顽去，他竟改了脾气了：好着时候的玩意儿一概都不要了，惟有念书为事。就有什么人来引诱他，他也全不动心。如今渐渐的能彀帮着老爷料理些家务了。”贾政默然想了一回，道：“你去歇歇去罢。等这里用着你时，自然派你一个行次儿。”包勇答应着，退下来，跟着这里人出去歇息不提。<br />
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“Fortunately, he recovered in the end. He talked that he saw a girl at a memorial arch, who led him to a temple, where there were a great number of cabinets with many volumes of books inside. Walking inside, he saw many girls, who became ghosts and skeletons. He was so scared that he yelled and cried. When the Master knew he had woken, he set some doctors to give him a treatment. After that, he became well gradually. The Master then still allowed him to play with his sisters, but his character changed a lot. He threw away all the gadgets that he liked before and focused on books. Also, he would not be tempted to do other things by anyone. Now, he was able to help the Master with some family affairs.” Master Merchant pondered for a while after hearing what he said. “You can leave now. You will have your task when we need you,” Master Merchant said. Courage Bag showed his gratitude and left the room with other servants. His part ended.<br />
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==英语笔译 李梓婕 Li Zijie 202170081580==<br />
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一日贾政早起，刚要上衙门，看见门上那些人在那里交头接耳，好像要使贾政知道的是的，又不好明回，只管咕咕唧唧的说话。贾政叫上来问道：“你们有什么事这么鬼鬼祟祟的？”门上的人回道：“奴才们不敢说。”贾政道：“有什么事不敢说的？”门上的人道：“奴才今儿起来，开门出去，见门上贴着一张白纸，上写着许多不成事体的字。”贾政道：“那里有这样的事！写的是什么？”门上的人道：“是水月庵里的腌臜话。”贾政道：“拿给我瞧。”门上的人道：“奴才本要揭下来，谁知他贴得结实，揭不下来，只得一面抄，一面洗。<br />
One morning,Master Merchant rose early and was setting off to his yamen when he noticed the servants at the gate whispering and muttering among themselves as if they had some news for him which they dared not report outright. He called them over.“What is this hole-and-corner business’?” he demanded.“We hardly dare tell you, sir,” one of them answered.“Why not? Out with it!”“This morning when we got up and opened the gate, we found a sheet of paper pasted on it, covered with scurrilous writing.”“The idea!” exclaimed Master Merchant. “What was it?”“Dirty talk about Water Moon Convent, sir.”“Bring me the paper,” he ordered.“We tried to take it down, but it was glued on too firmly; so we copied it out, then soaked the paper to get it off.<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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刚才李德揭了一张给奴才瞧，就是那门上贴的话。奴才们不敢隐瞒。”说着，呈上那帖儿。贾政接来看时，上面写着：“西贝草斤”年纪轻，水月庵里管尼僧。一个男人多少女，窝娼聚赌是陶情。不肖子弟来办事，荣国府内出新闻。贾政看了，气得头昏目晕，赶着叫门上的人不许声张，悄悄叫人往宁荣两府靠近的夹道子墙壁上再去找寻。随即叫人去唤贾琏出来。贾琏即忙赶至。贾政忙问道：“水月庵中寄居的那些女尼女道，向来你也查考查考过没有？”贾琏道：“没有，一向都是芹儿在那里照管。”贾政道：“你知道芹儿照管得来，照管不来？”<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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贾琏道：“老爷既这么说，想来芹儿必有不妥当的地方儿。”贾政叹道：“你瞧瞧这个帖儿写的是什么。”贾琏一看道：“有这样事么。”正说着，只见贾蓉走来，拿着一封书子，写着“二老爷密启”。打开看时，也是无头榜一张，与门上所贴的话相同。贾政道：“快叫赖大带了三四辆车子到水月庵里去，把那些女尼女道士一齐拉回来。不许泄漏，只说里头传唤。”赖大领命去了。且说水月庵中小女尼女道士等，初到庵中，沙弥与道士原系老尼收管，日间教他些经忏。以后元妃不用，也便习学得懒怠了。那些女孩子们年纪渐渐的大了，都也有个知觉了。<br />
Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.<br />
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Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:02, 30 May 2022 (UTC)<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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更兼贾芹也是风流人物，打量芳官等出家，只是小孩子性儿，便去招惹他们。那知芳官竟是真心，不能上手，便把这心肠移到女尼女道士身上。因那小沙弥中有个名叫沁香的，和女道士中有个叫做鹤仙的，长得都甚妖娆，贾芹便和这两个人勾搭上了，闲时便学些丝弦，唱个曲儿。那时正当十月中旬，贾芹给庵中那些人领了月例银子，便想起法儿来，告诉众人道：“我为你们领月钱，不能进城，又只得在这里歇着。怪冷的，怎么样？我今儿带些果子酒，大家吃着乐一夜，好不好？”那些女孩子都高兴，便摆起桌子，连本庵的女尼也叫了来，惟有芳官不来。<br />
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Moreover, Celery Merchant was a also a play boy, he saw the nuns including Fagrant Official and flirted with them for the sake of his curiosity.However, Fragrant Official was serious about love affairs so that he could’t get anything from her and just targeted at other nuns and women Taoist priest, There were a little monk named Aroma and a woman Taoist priest named Crane Fairy. They both had a pretty appearance so that Celery Merchant made friends with them. He spent his spare time learning instruments and singing opera. It was the middle of Octorber, and Celery Merchant got the salary fort the people in the convent. Then a thought occurred in his mind. He told the people that:”I got the salary for you so that I can’t get into the town and I have to stay at such a cold place. I brought some fruit wine and we can have a feast tonight, how about it?” The girls were happy about it and set the tables. They even invited the nuns in the convent, however, Fragrant Official refused it.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:01, 30 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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贾芹喝了几杯，便说道要行令。沁香等道：“我们都不会，到不如搳拳罢。谁输了喝一杯，岂不爽快？”本庵的女尼道：“这天刚过晌午，混嚷混喝的不像，且先喝几盅，爱散的先散去。谁爱陪芹大爷的，回来晚上尽子喝去，我也不管。”正说着，只见道婆急忙进来说：“快散了罢，府里赖大爷来了。”众女尼忙乱收拾，便叫贾芹躲开。贾芹因多喝了几杯，便道：“我是送月钱来的，怕什么！”话犹未完，已见赖大进来。见这般样子，心里大怒。为的是贾政吩咐不许声张，只得含糊装笑道：“芹大爷也在这里呢么？”贾芹连忙站起来道：“赖大爷，你来作什么？”<br />
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After a few drinks, Celery Merchant proposed to play a drinking game. Pleasure Fragrance and the others said that they didn’t know the game so it would be better if they play finger-guess which is easy and fun: losers drink.“it’s inappropriate to drink and game since it’s only past midday. We can drink a little and return. For those who want to game with Mr. Merchant, just come here at night and I would say nothing about it.”A nun objected. As they spoke, a nun rushed in and said, “Stop it right now! Mr.Rely is here.”All the nuns started to clean it up and advised Celery Merchant to hide. “No need to panic. I’m here to deliver you the month allowance.”Celery Merchant bragged since he got loaded. He didn’t finish his words when Big rely came in, who was infuriated at the scene, but had to follow Master Merchant’s instruction to keep it down and so he smiled, “Didn’t expect to see you here, Mr.Celery Merchant. Celery Merchant stood up immediately, “Mr.Rely, what brings you here?”--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 12:35, 29 May 2022 (UTC)<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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赖大说：“大爷在这里更好。快快叫沙弥道士收拾，上车进城，宫里传呢。”贾芹等不知原故，还要细问。赖大说：“天已不早了，快快的，好赶进城。”众女孩子只得一齐上车。赖大骑着大走骡，押着赶进城，不提。却说贾政知道这事，气得衙门也不能上了，独坐在内书房叹气。贾琏也不敢走开。忽见门上的进来禀道：“衙门里今夜该班是张老爷。因张老爷病了，有知会来请老爷补一班。”贾政正等赖大回来要办贾芹，此时又要该班，心里纳闷，也不言语。贾琏走上去说道：“赖大是饭后出去的，水月庵离城二十来里，就赶进城，也得二更天。今日又是老爷的帮班，请老爷只管去。<br />
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Big Rely replied:“I’m glad you’re here, sir. Tell these novices to get ready at once to drive to town. They’re wanted in the palace.”This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.<br />
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“Pleased to find you here, sir,” said Lai Da, ”We must get the young ladies ready as quickly as possible, and take them back to town. They're wanted at the Palace.” This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 11:20, 30 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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赖大来了，叫他押着，也别声张，等明儿老爷回来再发落。倘或芹儿来了，也不用说明，看他明儿见了老爷怎么样说。”贾政听来有理，只得上班去了。贾琏抽空才要回到自己房中，一面走着，心里抱怨凤姐出的主意，欲要埋怨，因他病着，只得隐忍，慢慢的走着。且说那些下人，一人传十，传到里头，先是平儿知道，即忙告诉凤姐。凤姐因那一夜不好，恹恹的总没精神，正是惦记铁槛寺的事情。听说“外头贴了匿名揭帖”的一句话，吓了一跳，忙问：“贴的是什么？”平儿随口答应，不留神，就错说了，道：“没要紧，是馒头庵里的事情。”<br />
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When Lai Da gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Qin comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Jia Zheng left with some reluctance for the Board. As soon as he had gone Jia Lian set off back to his own apartment, brooding as he went on what he was going to say to Xi-feng. He held her to blame for having given Qin this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Xi-feng had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”<br />
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When Big Rely gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Celery comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Master Merchant left with some reluctance for the Board. As soon as he had gone Romance Merchant set off back to his own apartment, brooding as he went on what he was going to say to Sister Phoenix. He held her to blame for having given Celery this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Sister Phoenix had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 14:50, 30 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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凤姐本是心虚，听见“馒头庵的事情”，这一唬直唬怔了，一句话没说出来，急火上攻，眼前发晕，咳嗽了一阵，哇的一声，吐出一口血来。平儿慌了，说道：“水月庵里，不过是女沙弥女道士的事，奶奶着什么急？”凤姐听是水月庵，才定了定神，说道：“呸，糊涂东西！到底是水月庵呢，是馒头庵？”平儿笑道：“是我头里错听了，是馒头庵，后来听见不是馒头庵，是水月庵。我刚才也就说溜了嘴，说成馒头庵了。”凤姐道：“我就知道是水月庵。那馒头庵与我什么相干！原是这水月庵是我叫芹儿管的。大约刻扣了月钱。”平儿道：“我听着不像月钱的事，还有些腌臜话呢。”<br />
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Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.<br />
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Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 12:41, 30 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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凤姐道：“我更不管那个。你二爷那里去了？”平儿说：“听见老爷生气，他不敢走开。我听见事情不好，我吩咐这些人不许吵嚷，不知太太们知道了么。但听见说，老爷叫赖大拿这些女孩子去了。且叫个人前头打听打听。奶奶现在病着，依我竟先别管他们的闲事。”正说着，只见贾琏进来。凤姐欲待问他，见贾琏一脸的怒气，暂且装作不知。贾琏饭没吃完，旺儿来说：“外头请爷呢，赖大回来了。”贾琏道：“芹儿来了没有？”旺儿道：“也来了。”贾琏便道：“你去告诉赖大，说：老爷上班儿去了，把这些个女孩子暂且收在园里，明日等老爷回来，送进宫去。只叫芹儿在内书房等着我。”<br />
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"Well, I care even less about that.Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Lai Da to bring all the girls back from the Temple. I'll send someone out to see what's happened.Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance.ia Lian had not finished eating his dinner when Brightie came in.‘Lai Da's back, sir.”“Is Celery with him?”"Yes, sir.”‘Tell Lai Da the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace.Tell Celery to wait for me in the inner library.”<br />
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"Well, I care even less about that. Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Big Lie to bring all the girls back from the Temple. I'll send someone out to see what's happened. Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance. Romance Merchant had not finished eating his dinner when Brightie came in.‘Big Lie's back, sir." "Is Celery with him?" "Yes, sir." "Tell Big Lie the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace. Tell Celery to wait for me in the inner library."--[[User:Long Hanliang|Long Hanliang]] ([[User talk:Long Hanliang|talk]]) 01:46, 31 May 2022 (UTC)<br />
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==英语笔译 龙翰良 Long Hanliang 202170081589==<br />
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旺儿去了。贾芹走进书房，只见那些下人指指点点不知说什么，看起这个样儿来，不像宫里要人。想着问人，又问不出来。正在心里疑惑，只见贾琏走出来，贾芹便请了安，垂手侍立，说道：“不知道娘娘宫里即刻传那些孩子们做什么？叫侄儿好赶！幸喜侄儿今儿送月钱去，还没有走，便同着赖大来了。二叔想来是知道的。”贾琏道：“我知道什么？你才是明白的呢！”贾芹摸不着头脑儿，也不敢再问。贾琏道：“你干得好事！把老爷都气坏了。”贾芹道：“侄儿没有干什么。庵里月钱是月月给的，孩子们经忏是不忘记的。”<br />
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Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.<br />
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Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.--[[User:Luo Yaolin|Luo Yaolin]] ([[User talk:Luo Yaolin|talk]]) 05:13, 30 May 2022 (UTC)<br />
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==英语笔译 罗姚林 Luo Yaolin 202170081590==<br />
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贾琏见他不知，又是平素常在一处顽笑的，便叹口气道：“打嘴的东西！你各自去瞧瞧罢！”便从靴掖儿里头拿出那个揭帖来，扔与他瞧。贾芹拾来一看，吓的面如土色，说道：“这是谁干的！我并没得罪人，为什么这么坑我？我一月送钱去，只走一趟，并没有这些事。若是老爷回来，打着问我，侄儿便该死了。我母亲知道，更要打死。”说着，见没人在旁边，便跪下去说道：“好叔叔，救我一救儿罢！”说着，只管磕头，满眼流泪。贾琏想道：“老爷最恼这些，要是问准了有这些事，这场气也不小。闹出去也不好听，又长那个贴帖儿的人的志气了。将来咱们的事多着呢。Having noticed that he indeed had no idea about it, and they themselves privately were on speaking terms, Romance Merchant sighed," You bastard.! Take and see it carefully!" as putting out a notice from his shoes and throwing it to Celery Merchant. At the sight of the notice, Celery Merchant said questioningly with his face ashy gray," Who made it? I never gave offence to anybody, why should I be ensnared like this? I merely went there once a month for sending money and never did such things. I would be sunk if the master asked me about it after his back, and the consequence would be even worse if my mom knew it." Seeing no other people around here, Celery Merchant knelt down to implore him,"my dear uncle, please help me, please!" followed kowtowing and tearing constantly. "Master is very vexed with such things and must be extremely angry with this if he knew it's true." Romance Merchant thought to himself, "And the family's reputation would be blemished for the spreading of it, which, on the contrary, the notice maker would be therefore more arrogant. There are many other concerns in the future."<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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倒不如趁着老爷上班儿，和赖大商量着，若混过去，就可以没事了。现在没有对证。”想定主意，便说：“你别瞒我，你干的鬼鬼祟祟的事，你打谅我都不知道呢。若要完事，就是老爷打着问你，你一口咬定没有才好。没脸的，起去罢！”叫人去唤赖大。不多时，赖大来了，贾琏便与他商量。赖大说：“这芹大爷本来闹的不像了。奴才今儿到庵里的时候，他们正在那里喝酒呢。帖儿上的话，是一定有的。”贾琏道：“芹儿，你听！赖大还赖你不成？”贾芹此时红涨了脸，一句也不敢言语。还是贾琏拉着赖大，央他：“护庇护庇罢，只说贾芹哥儿在家里找来的。<br />
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It would be better to take advantage of the master to go to work and discuss with Big Lie. If you muddle through, you will be all right. There is no counterevidence now. " When he made up his mind, he said, "Don't lie to me. You think I don't know about the furtive things you've done." In the worst-case scenario, if your lordship tortures you, you must insist that you don't have it. Shameless, go away! "He sent someone to call Big Lie. After a while, when Big Lie came, Romance Merchant discussed it with him. Big Lie said, "Uncle Qin didn't look like it anymore." When the lackeys came to the nunnery today, they were drinking there. There must be some words on the post. " Romance Merchant said, " Celery, listen! Can Big Lie still put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and told him, "Please protect him, only say that Celery took it at home."<br />
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It would be better to discuss with Big Rely to come up with an excuse to get ride of the trouble while Master is away for work. If you muddle through, you will be all right. Now no one can verify this." When he made up his mind, he said, "Don't you lie to me. You think I don't know about the furtive things you've done? In the worst-case scenario, even if your lordship tortures you, you must insist that you didn’t make it. You the shameless guy, just go away! "He sent someone to call Big Rely. After a while, when he came, Romance Merchant discussed it with him. Then Big Rely said, "Master Celery really did a shameful thing. When I came to the nunnery today, they were drinking there. The things depicted on the post must have happened." Romance Merchant said, " Celery, listen! Can Big Rely put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and begged him, "Please protect him, and just say that Celery found it at home."--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 02:50, 30 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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你带了他去，只说没有见我。明日你求老爷，也不用问那些女孩子了。竟是叫了媒人来，领了去，一卖完事。果然娘娘再要的时候儿，咱们再买。”赖大想来，闹也无益，且名声不好，就应了。贾琏叫贾芹：“跟了赖大爷去罢！听着他教你，你就跟着他。”说罢，贾芹又磕了一个头，跟着赖大出去。到了没人的地方儿，又给赖大磕头。赖大说：“我的小爷，你太闹的不像了。不知得罪了谁，闹出这个乱儿。你想想，谁和你不对罢？”贾芹想了一想，忽然想起一个人来，话说赖大带了贾芹出来，一宿无话，静候贾政回来。单是那些女尼女道重进园来，都喜欢的了不得，欲要到各处逛逛，明日预备进宫。<br />
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You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one is around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this thing. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and monks went into the park, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.<br />
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You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one was around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this affair. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and female Buddhist monks went into the garden, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 14:58, 28 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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不料赖大便吩咐了看院的婆子并小厮看守，惟给了些饮食，却是一步不准走开。那些女孩子摸不着头脑，只得坐着，等到天亮。园里各处的丫头虽都知道拉进女尼们来，预备宫里使唤，却也不能深知原委。到了明日早起，贾政正要下班，因堂上发下两省城工估销册子，立刻要查核，一时不能回家，便叫人回来告诉贾琏说：“赖大回来，你务必查问明白。该如何办就如何办了，不必等我。”贾琏奉命，先替芹儿喜欢，又想道：“若是办得一点影儿都没有，又恐贾政生疑，不如回明二太太，讨个主意办去，便是不合老爷的心，我也不至甚担干系。”<br />
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Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those Buddhist nuns. Only provided with some drinks and foods, they were not allowed to step out of this garden. They didn’t have the least idea of what happened, but to stay here till next morning. The girls in the garden knew that those nuns were called in here to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to end the morning court, for he needed to re-check the evaluation booklet on city workers of two provinces at once, he couldn’t go back home for a short while. Thus he just sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just go forward according to the situation.” Receiving orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”<br />
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Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those nuns who were provided with some drinks and foods, but not allowed to step out of that garden. The nuns didn’t have the least idea of what happened and had to stay there till next morning. The girls in the garden knew that those nuns were called in to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to knock off, for he needed to re-check the evaluation booklet on city engineering of two provinces at once, he couldn’t go back home for a short while. Thus, he sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just deal with it according to the situation.” Receiving the orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 12:07, 29 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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主意定了，进内去见王夫人，陈说：“昨日老爷见了揭帖生气，把芹儿和女尼女道等都叫进府来查办。今日老爷没空问这种不成体统的事，叫我来回太太，该怎么便怎么样。我所以来请示太太，这件事如何办理？”王夫人听了咤异道：“这是怎么说！若是芹儿这么样起来，这还成咱们家的人了么？但只这个贴帖儿的也可恶！这些话可是混嚼说得的么？你到底问了芹儿有这件事没有呢？”贾琏道：“刚才也问过了。太太想，别说他干了没有，就是干了，一个人干了混帐事也肯应承么？但只我想芹儿也不敢行此事：知道那些女孩子都是娘娘一时要叫的，倘或闹出事来，怎么样呢？<br />
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With that in mind, Romance Merchant came into Lady King's room and reported to her, "Yesterday, being outraged by that letter, the master instructed that taking Celery Merchant and those Buddhist and Taoist nuns into the mansion to investigate them. Today he is too busy to bother about such a disgraceful matter, and then ordered me to report to you that dealing with it as you wish. So, I'm here to ask you how to cope with it." "Why! It's unreasonable to regard Celery Merchant as one of our family, let alone his disreputable behavior today. Moreover, the one who pasted that letter is detestable! How could they gossip about such things! Have you asked Celery Merchant this matter or not?" Lady King said with astonishment. "I asked him just now. Even if he did that, how could he admit such indecent behavior? Leave alone he might be innocent. Think about it. But I assume that he dared not to do such a thing, knowing the girls would be called by the imperial concubine someday. What will he do if something happens?" replied Romance Merchant.<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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依侄儿的主见，要问也不难，若问出来，太太怎么个办法呢？”王夫人道：“如今那些女孩子在那里？”贾琏道：“都在园里锁着呢。”王夫人道：“姑娘们知道不知道？”贾琏道：“大约姑娘们也都知道是预备宫里头的话，外头并没提起别的来。”王夫人道：“狠是。这些东西一刻也是留不得的。头里我原要打发他们去来着，都是你们说留着好，如今不是弄出事来了么？你竟叫赖大那些人带去细细的问他的本家有人没有，将文书查出，花上几十两银子，雇只船，派个妥当人，送到本地，一概连文书发还了，也落得无事。若是为着一两个不好，个个都押着他们还俗，那又太造孽了；<br />
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To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort,to where they came from. When they’ve all been manumitted that will be the end of that.If we were to force them all to go back to secular life just because one or two of them have gone to the bad, that would be too heartless.<br />
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To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort, to where they came from. When they’ve all been manumitted that will be the end of that. Even if one or two of them have been up to some mischief, I don't think it would be fair to punish them indiscriminately, by making them all return to lay-life.--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 14:21, 29 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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若在这里发给官媒，虽然我们不要身价，他们弄去卖钱，那里顾人的死活呢？芹儿呢，你便狠狠的说他一顿，除了祭祀喜庆，无事叫他不用到这里来。看仔细碰在老爷气头儿上，那可就吃不了兜着走了。并说与帐房儿里，把这一项钱粮档子销了。还打发个人到水月庵说：老爷的谕：除了上坟烧纸，若有本家爷们到他那里去，不许接待。若再有一点不好风声，连老姑子一并撵出去。”贾琏一一答应了出去，将王夫人的话告诉赖大，说：“是太太主意，叫你这么办去。办完了，告诉我去回太太。你快办去罢。回来老爷来，你也按着太太的话回去。”<br />
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And if we made them over to official brokers here, even though we didn't ask for any money they'd still sell them, not caring at all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send word to Water Moon Convent that, on the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.<br />
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And if we made them over to officials here, even though we didn't ask for money they'd still sell them, not caring about all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send words to Water Moon Convent that, according to the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 10:24, 30 May 2022 (UTC)<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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赖大听说，便道：“我们太太真正是个佛心，这班东西着人送回去。既是太太好心，不得不挑个好人。芹哥儿竟交给二爷开发了罢。那个贴帖儿的，奴才想法儿查出来，重重的收拾他才好。”贾琏点头说：“是了。”即刻将贾芹发落。赖大也赶着把女尼等领出，按着主意办去了。晚上贾政回家，贾琏赖大回明贾政。贾政本是省事的人，听了也便撂开手了。独有那些无赖之徒，听得贾府发出二十四个女孩子出来，那个不想？究竟那些人能彀回家不能，未知着落，亦难虚拟。且说紫鹃因黛玉渐好，园中无事，听见女尼等预备宫内使唤，不知何事，便到贾母那边打听打听。<br />
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When Lai Da heard this, he said, "Our ladyship is really a Buddha," and this class of things was sent back." Both are too kind to have to pick a good person. Brother Qin actually handed it over to Precious Jade to develop. The one who posted it, the slave thought about finding out, and it was good to clean up after him. Jia Lian nodded and said, "Yes." "Immediately send Jia Qin down." Lai Da also hurried to lead the nuns out and did as he was told. In the evening, Jia Zheng went home, and Jia Lianlai returned to Ming Jia Zheng. Jia Zheng was originally a convenient person, and when he heard it, he opened his hand. Only those rogues, I heard the Jia send out twenty-four girls out, that doesn't want to? In the end, those people can go home and can't, the unknown location, and it is difficult to be virtual. Moreover, it is said that the Purple Crane is getting better because of , and there is nothing to do in the garden, so when he heard the nuns and other nuns preparing for the palace, they did not know what to do, so they went to Lady Wang's house to inquire.<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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恰遇着鸳鸯下来闲着，坐下说闲话儿，提起女尼的事，鸳鸯咤异道：“我并没有听见，回来问问二奶奶就知道了。”正说着，只见傅试家两个女人过来请贾母的安，鸳鸯要陪了上去。那两个女人因贾母正睡晌觉，就与鸳鸯说了一声儿，回去了。紫鹃问：“这是谁家差来的？”鸳鸯道：“好讨人嫌！家里有了一个女孩儿，生得好些，便献宝的是的，常常在老太太面前夸他家姑娘长得怎么好，心地怎么好，礼貌上又能，说话儿又简绝，做活计儿手儿又巧，会写会算，尊长上头最孝敬的，就是待下人也是极和平的，来了就编这么一大套，常常说给老太太听。我听着狠烦。<br />
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Happen to meet Mandarin Duck’s leisure, they sat chatting. The mention of Buddhist nun surprises Mandarin Duck:“I didn’t hear it and we will know after second grandma come.” Whiling saying, Mandarin Duck planned to welcome two women in Testing Assist’s family coming to visit Grandma Merchant. Because Mother Merchant was sleeping at noon, the two women spoke to the Mandarin Duck and went back. Purple Cuckoo asked, "Whose family sent this?" Mandarin Duck said: "What a nuisance! They praised their beautiful daughter as treasures in the presence of Mother Merchant by boasting her good nature, appearance ,politeness and eloquence. The girl was skillful at writing and calculating, and the most dutiful of her superiors was very peaceful to servants. When she came, she would make up such a talk and often told the old lady. I'm sick of hearing it. <br />
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She happened to find Mandarin Duck free too, and sitting down to chat she asked her about the nuns. “This is news to me,” said Mandarin Duck in surprise. “I’ll find out later on from Madam Phoenix.” As they were talking, two serving-women from Test Assist’s family arrived to pay their respects to the Lady Dowager. Mandarin Duck was taking them there when they heard that the old lady was having a nap, so the women delivered their message to her and left. “Where are they from?” asked Nightingale. “They’re perfect pests!”Mandarin Duck told her. “The Assists have a daughter who is not bad-looking, so they keep coming to praise her to the old lady for her good looks, good heart and good manners. They say she’s no chatter-box but a skilled needlewoman, who can write and keep accounts too, most dutiful to her elders and kind to the servants. Each time they come they reel all this off, as if offering the old lady some rare treasure. I can’t bear listening to them!--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 02:39, 29 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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这几个老婆子真讨人嫌。我们老太太偏爱听那些个话。老太太也罢了，还有宝玉，素常见了老婆子，便狠厌烦的，偏见了他们家的老婆子便不厌烦，你说奇不奇？前儿还来说：他们姑娘现有多少人家儿来求亲，他们老爷总不肯应，心里只要和咱们这种人家作亲才肯。一回夸奖，一回奉承，把老太太的心都说活了。”紫鹃听了一呆，便假意道：“若老太太喜欢，为什么不就给宝玉定了呢？”鸳鸯正要说出原故，听见上头说：“老太太醒了。”鸳鸯赶着上去，紫鹃只得起身出来。回到园里，一头走，一头想道：“天下莫非只有一个宝玉？你也想他，我也想他。<br />
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But although they’re such a nuisance, our old lady loves that kind of talk. She isn’t the only one either. Even Precious Jade who can’t abide most old women doesn’t mind these from the Assist family. Odd, isn’t it? Only the other day they came to say that lots of people are asking for their young lady, but her father won’t give his consent hinting that only a family like ours would be good enough for her. All their praise and flattery are having some effect on the old lady.” Though taken aback, Nightingale asked with a show of indifference, “If she thinks it a good match for Precious Jade, then why not fix it up?” Before Mandarin Duck could explain someone inside called Out, “The old lady’s woken!” Mandarin Duck hurried in then and Nightingale got up to leave. On her way back to the Garden she ruminated, “Is there only one Precious Jade in the world that everybody should want him?<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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我们家的那一位，越发痴心起来了。看他的那个神情儿，是一定在宝玉身上的了。三番五次的病，可不是为着这个是什么！这家里‘金’的‘银’的还闹不清，若添了一个什么傅姑娘，更了不得了。我看宝玉的心也在我们那一位的身上；听着鸳鸯的说话，竟是见一个爱一个的。这不是我们姑娘白操了心了吗？”紫鹃本是想着黛玉，往下一想，连自己也不得主意了，不免掉下泪来。要想叫黛玉不用瞎操心呢，又恐怕他烦恼；若是看着他这样，又可怜见儿的。左思右想，一时烦躁起来，自己啐自己道： <br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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“你替人耽什么忧！就是林姑娘真配了宝玉，他的那性情儿也是难伏侍的。宝玉性情虽好，又是贪多嚼不烂的。我倒劝人不必瞎操心，我自己才是瞎操心呢！从今已后，我尽我的心伏侍姑娘，其余的事全不管。”这么一想，心里倒觉清净。回到潇湘馆来，见黛玉独自一人，坐在炕上理从前做过的诗文词稿，抬头见紫鹃来，便问：“你到那里去了？”紫鹃道：“我今儿睄了睄姐妹们去。”黛玉道：“敢是找袭人姐姐去么？”紫鹃道：“我找他做什么？”黛玉一想，这话怎么顺嘴说了出来？反觉不好意思，便啐道：“你找谁与我什么相干！倒茶去罢。”<br />
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“Why worry about someone else? Even if she really marries, the way she is it won’t be easy to please her; and Precious Jade, for all he’s good-natured, is too much of a flirt. But here I am hoping she’ll stop worrying yet worrying myself for nothing! From now on I’ll look after her as best I can and not care about anything else.” This conclusion helped to calm her down by the time she reached Bamboo Lodge, where she found Mascara Jade sitting all by herself on the kang sorting out her old poems and essays. She looked up when Nightingale came in. “Where have you been?” she asked. “To call on some other girls.” “Did you see Sister Aroma?” “Why should I go to see her?” Mascara Jade wondered how she had come to blurt out such a question, and in embarrassment she answered curtly, “I don’t care where you go. Fetch me some tea.”<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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紫鹃也心里暗笑，出来倒茶。只听见园里的一叠声乱嚷，不知何故。一面倒茶，一面叫人去打听。回来说道：“怡红院里的海棠本来萎了几棵，也没人去浇灌他。昨日宝玉走去瞧，见枝头上好像有了蓇朵儿是的。人都不信，没有理他。忽然今日开得狠好的海棠花，众人咤异，都争着去看，连老太太、太太都哄动了，来瞧花儿呢。所以大奶奶叫人收拾园里败叶枯枝，这些人在那里传唤。”黛玉也听见了，知道老太太来，便更了衣，叫雪雁去打听：“若是老太太来了，即来告诉我。”雪雁去不多时，便跑来说：“老太太、太太好些人都来了，请姑娘就去罢。”<br />
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Laughing in her heart, Nightingale went out to prepare the tea and heard a clamour of voices in the Garden. When she poured the tea she sent someone to find out what had happened.The girl sent came back and told her, “Some crab-apple trees in Happy Red Court had withered, and nobody watered them; but yesterday when Precious Jade had a look he said he saw buds on the branches. No one believed him or paid any attention to it. Today, suddenly, they burst into bloom with lovely crab-apple flowers! People were so amazed that they rushed over there to look, It’s caused such a sensation that even the old lady and Her Ladyship are coming to see the flowers. So Madam Zhu’s given orders to have the leaves in the Garden swept up, and they were calling servants just now to do this.”Mascara Jade, overhearing that the old lady was coming, at once changed her clothes and sent Snowgoose out to keep watch.“Tell me as soon as the old lady comes,” she said.It was not long before Snowgoose came running back. “The old lady and the mistress have come with quite a party,” she replied.” You’d better go right away, miss.”<br />
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==英语笔译 颜媛 Yan Yuan 202170081603==<br />
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黛玉略自照了一照镜子，掠了一掠鬓发，便扶着紫鹃到怡红院来，已见老太太坐在宝玉常卧的榻上。黛玉便说道：“请老太太安。”退后便见了邢王二夫人，回来与李纨、探春、惜春、邢岫烟彼此问了好。只有凤姐因病未来；史湘云因他叔叔调任回京，接了家去；薛宝琴跟他姐姐家去住了；李家姐妹因见园内多事，李婶娘带了在外居住：所以黛玉今日见的只有数人。大家说笑了一回，讲究这花开得古怪。贾母道：“这花儿应在三月里开的，如今虽是十一月，因节气迟，还算十月，应着小阳春的天气，因为和暖，开花也是有的。”王夫人道：“老太太见的多，说得是，也不为奇。”<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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邢夫人道：“我听见这花已经萎了一年，怎么这回不应时候儿开了？必有个原故。”李纨笑道：“老太太与太太说得都是。据我的糊涂想头，必是宝玉有喜事来了，此花先来报信。”探春虽不言语，心内想：“此花必非好兆。大凡顺者昌，逆者亡；草木知运，不时而发，必是妖孽。”只不好说出来。独有黛玉听说是喜事，心里触动，便高兴说道：“当初田家有荆树一棵，三个弟兄因分了家，那荆树便枯了；后来感动了他弟兄们，仍旧归在一处，那荆树也就荣了。可知草木也随人的。如今二哥哥认真念书，舅舅喜欢，那棵树也就发了。”贾母王夫人听了喜欢，便说：“林姑娘比方得有理，狠有意思。”<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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正说着，贾赦、贾政、贾环、贾兰都进来看花。贾赦便说：“据我的主意，把他砍去。必是花妖作怪。”贾政道：“‘见怪不怪，其怪自败。’不用砍他，随他去就是了。”贾母听见，便说：“谁在这里混说？人家有喜事好处，什么怪不怪的！若有好事，你们享去；若是不好，我一个人当去。你们不许混说。”贾政听了，不敢言语，赸赸的同贾赦等走了出来。那贾母高兴，叫人传话到厨房里，快快预备酒席，大家赏花。叫：“宝玉、环儿、兰儿各人做一首诗志喜。林姑娘的病才好，不要他费心；若高兴，给你们改改。”对着李纨道：“你们都陪我喝酒。”李纨答应了“是”便笑对探春笑道：“都是你闹的。”<br />
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Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all came in to see the flowers. Pardon Merchant said, "In my opinion, just cut it down. It must be flower demons which make trouble." Master Merchant added: "' If you are inured to the strange, it will not be strange. ' Don't cut it down, just let it be." When Grandma Merchant heard this, she said, "Who is talking nonsense here? There is something auspicious in store for us. If there be good things, you enjoy yourselves; If not, I will go alone. You shouldn’t fool around." Mater Merchant dare not speak when heard this, and he walked out with Pardon Merchant embarrassingly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said in a high voice: “Precious Jade, Ring and Blue, each of you to write a poem to express congratulations. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you." "You'll all drink with me," she said to Silk Plum. Silk Plum replied "yes" and then smiled at Seeking-Spring and said, "It's all your fault."<br />
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Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all arrived to see the flowers. Pardon Merchant said, “In my opinion, just cut it down. It must be flower demons which make trouble.” Master Merchant added: “On the contrary, just let them alone. Evil manifestations thrive on such superstition. Just ignore them and they will disappear.” When Grandma Merchant heard this, she said, “Who is talking nonsense here? There is something auspicious in store for us. When there’s good luck, then enjoy it while you can. If not, I will take care of any bad luck. Do not say any other word of such nonsense.” This silenced Master Merchant and he walked out with Pardon Merchant awkwardly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said: “I should like Precious Jade, Ring and Blue, each to write a poem to celebrate this occasion. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you.” “You and the others come up and drink some wine with me,” she said to Silk Plum. Silk Plum replied “yes” and then, smiling, turned to Seeking-Spring and said, “This is all your fault.”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 04:40, 29 May 2022 (UTC)<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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探春道：“饶不叫我们做诗，怎么我们闹的？”李纨道：“海棠社不是你起的么？如今那棵海棠也要来入社了。”大家听着，都笑了。一时，摆上酒菜，一面喝着。彼此都要讨老太太的欢喜，大家说些兴头话。宝玉上来斟了酒，便立成了四句诗，写出来念与贾母听，道：海棠何事忽摧隤，今日繁花为底开？应是北堂增寿考，一阳旋复占先梅。贾环也写了来，念道：草木逢春当茁芽，海棠未发候偏差。人间奇事知多少，冬月开花独我家。贾兰恭楷誊正，呈与贾母。贾母命李纨念道：烟凝媚色春前萎，霜浥微红雪后开。莫道此花知识浅，欣荣预佐合欢杯。<br />
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Seeking-Spring protested, “What do you mean? We are not allowed to write poems. And what’s my fault?” “Aren’t you the founder of crab-flower club?”, replied Silk Plum. “Now the real crab-flower is going to join in this club too.” Everyone laughed after what Silk Plum had said. Food and wine now were served and they all drank. They tried their best to amuse Grandma Merchant with some humorous conversations. Precious Jade came up to pour himself some wine, then thought for a while and wrote a poem. Then he read it to his grandma. The poem said: I asked the crab-tree why it failed to blossom at the blossom-time, now you bloomed so profusely so long before the spring? The tree said: ‘At this time, it means new birth.’, Glad tidings to the Mistress of this House I bring. Then Ring Merchant also wrote out his poem and began to recite: Plants should begin to grow up in spring, our crab-tree blossomed at a wrong time. Of all the wonders in the world, it is the first time for trees to blossom in winter in our home. Then Cymbidium Merchant made a careful copy of his poem in Kai-shu calligraphy and gave it to Grandma Merchant. Grandma Merchant asked Silk Plum to read it out: Your beauty blighted in spring, but you blossom in winter now. Don not say this tree is not wise, it adds luster to our family prosperity.<br />
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“We’ve not even been allowed to write poems,” retorted Seeking-Spring. “So surely this has nothing to do with us?” “Didn’t you start the Begonia Society? Now these crab-apples’ want to join your club too.” At that everybody laughed. Presently wine and dishes were served. And as they drank they all tried to please the old lady by cheerful talk. Precious Jade poured wine for the others, then made tip and wrote out a quatrain which he read to his grandmother. It was as follows: What made the crab-apple wither away? And today why have fresh blossoms come? To foretell a long life for our Old Ancestress It is flowering anew, ahead of the plum. Ring Merchant also wrote and read out this poem: Crab-apples should burgeon in the spring, But ours were bare this year. The world is full of strange phenomena, Yet only here do winter blooms appear. Cymbidium Merchant wrote out his verse neatly and presented it to the old lady, who made Silk Plum read it out as follows: Its misty charm had faded by last spring, But after snow and frost pink blooms unfold. Do not accuse this flower of ignorance— Good fortune at this feast it has foretold.--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 01:55, 29 May 2022 (UTC)<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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贾母听毕，便说：“我不大懂诗，听去倒是兰儿的好，环儿做得不好。都上来吃饭罢。”宝玉看见贾母喜欢，更是兴头，因想起：“晴雯死的那年，海棠死的；今日海棠复荣，我们院内这些人，自然都好，但是晴雯不能像花的死而复生了。”顿觉转喜为悲。忽又想起前日巧姐提凤姐要把五儿补入，或此花为他而开，也未可知。却又转悲为喜，依旧说笑。贾母还坐了半天，然后扶了珍珠回去了，王夫人等跟着过来。只见平儿笑嘻嘻的迎上来，说：“我们奶奶知道老太太在这里赏花，自己不得来，叫奴才来伏侍老太太、太太们。还有两匹红送给宝二爷包裹这花，当作贺礼。”<br />
The old lady said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”<br />
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Grandma Merchant said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:37, 30 May 2022 (UTC)<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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袭人过来接了，呈与贾母看。贾母笑道：“偏是凤丫头行出点事儿来，叫人看着又体面，又新鲜，狠有趣儿！”袭人笑着向平儿道：“回去替宝二爷给二奶奶道谢：要有喜，大家喜。”贾母听了，笑道：“嗳哟，我还忘了呢！凤丫头虽病着，还是他想得到，送得也巧。”一面说着，众人就随着去了。平儿私与袭人道：“奶奶说，这花开得奇怪，叫你铰块红绸子挂挂，便应在喜事上去了。以后也不必只管当作奇事混说。”袭人点头答应，送了平儿出去不题。且说那日宝玉本来穿着一裹圆的皮袄在家歇息，因见花开，只管出来看一回、赏一回、叹一回、爱一回的，心中无数悲喜离合，都弄到这株花上去了。<br />
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Aroma came to pick it up and presented it to Grandma Merchant to see. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come.In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Ping'er out without a question. Moreover,on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart all got to this flower.<br />
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Aroma came to pick it up and presented it to Grandma Merchant. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come. In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Patience out. Moreover, on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart were intrigued by this flower.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 08:05, 30 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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忽然听说贾母要来，便去换了一件狐腋箭袖，罩一件玄狐腿外褂，出来迎接贾母。匆匆穿换，未将”通灵宝玉“挂上。及至后来贾母去了，仍旧换衣。袭人见宝玉脖子上没有挂着，便问：“那块玉呢？”宝玉道：“才刚忙乱换衣，摘下来放在炕桌上，我没有带。”袭人回看桌上，并没有玉，便向各处找寻，踪影全无，吓得袭人满身冷汗。宝玉道：“不用着急，少不得在屋里的。问他们就知道了。”袭人当作麝月等藏起吓他顽，便向麝月等笑着说道：“小蹄子们！顽呢，到底有个顽法。把这件东西藏在那里了？别真弄丢了，那可就大家活不成了。”<br />
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Suddenly Precious Jade heard that Grandma Merchant was coming. He went to change a Jianxiu(a kind of clothes with tight sleeves) made of fox's armpit hair and put on a garment made of the hair from black fox's legs, then he went out to welcome Grandma Merchant. He was in such a hurry to change his clothes that he forgot to wear his jade pendant of "Tong Ling Bao Yu". When Grandma Merchant left and Precious Jade went to change clothes, Aroma found that and asked him, "Where is that jade pendant?" Precious Jade answered, "I was hurrying to change my clothes. And I didn't wear it since I took it off and put it on the table." Aroma then found that the jade pendant was not on the table and looked around the room. The jade pendant was still missing, which scared Aroma to be in cold sweat. Precious Jade said, "Don't be anxious, it must stay somewhere in the room. You can ask the others." Aroma thought that it was Dusk Moon and other maids who hid the jade pendant to play tricks on her. She said to them, laughing, "You stupid girls! Are you playing the treasure haunting game? Where do you hide the jade pendant? If you really lose it, we all will be punished!"<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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麝月等都正色道：“这是那里的话？顽是顽，笑是笑，这个事非同儿戏，你可别混说！你自己昏了心了，想想罢，想想搁在那里了？这会子又混赖人了。”袭人见他这般光景，不像是顽话，便着急道：“皇天菩萨，小祖宗！到底你摆在那里去了？”宝玉道：“我记得明明放在炕桌上的，你们到底找啊。”袭人麝月秋纹等也不敢叫人知道，大家偷偷儿的各处搜寻。闹了大半天，毫无影响，甚至翻箱倒笼，实在没处去找，便疑到方才这些人进来，不知谁捡了去了。袭人说道：“进来的，谁不知道这玉是性命是的东西呢？谁敢捡了去呢！你们好歹先别声张，快到各处问去。“What are you talking about?” they answered seriously. “Joking is all very well, but this is no joking matter. Don’t talk nonsense. You must be crazy! Better think back to where you put it instead of accusing us.”“Heavens!” cried Aroma anxiously, seeing them so much in earnest. “Where exactly did you put it, Master Precious Jade Merchant?”“I remember quite clearly putting it on that table,” he assured her. “Make a good search for it.”Not daring to let outsiders know, Aroma, Musk Deer Month, Autumn Vein and the other girls quietly searched the whole place. They hunted around for hours, even turning out cases and crates — but all in vain. When the jade was nowhere to be found, they wondered if one of their visitors that day could have taken it.But Aroma said, “All of them know how precious this jade is. Who’d dare take it? You mustn’t, for goodness’ sake, let word of this get out, but go and make inquiries at different households.<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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若有姐妹们捡着吓我们顽呢，你们给他磕头，要了回来；若是小丫头偷了去，问出来，也不回上头，不论把什么送给他换了出来，都使得的。这可不是小事，真要丢了这个，比丢了宝二爷的还利害呢。”麝月秋纹刚要往外走，袭人又赶出来嘱咐道：“头里在这里吃饭的倒别先问去。找不成，再惹出些风波来，更不好了。”麝月等依言，分头各处追问。人人不晓，个个惊疑。麝月等回来，俱目瞪口呆，面面相窥，宝玉也吓怔了，袭人急的只是干哭。找是没处找，回又不敢回：怡红院里的人吓得个个像木雕泥塑一般。大家正在发呆，只见各处知道的都来了。<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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探春叫把园门关上，先命个老婆子带着两个丫头，再往各处去寻去；一面又叫告诉众人：“若谁找出来，重重的赏银。”大家头宗要脱干系，二宗听见重赏，不顾命的混找了一遍，甚至于茅厮里都找到。谁知那块玉竟像绣花针儿一般，找了一天，总无影响。李纨急了，说：“这件事不是顽的，我要说句无礼的话了。”众人道：“什么呢？”李纨道：“事情到了这里，也顾不得了。现在园里，除了宝玉都是女人。要求各位姐姐、妹妹、姑娘都要叫跟来的丫头脱了衣服，大家搜一搜。若没有，再叫丫头们去搜那些老婆子并粗使的丫头。”<br />
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Seeing-Spring asked servants to close the yard gate. She then asked an old female servant to bring two girl servants to search around. At the same time, she told the rest, "A bonus for anyone who find it." Everyone wanted to prove their innocence and also wanted the bonus. Therefore, all were searching for the jade. Even the toilets were searched. However, it was seen nowhere after one day. Silk Plum was worried, saying, "It is no joke. I am going to be rude." Everyone was confused. She continued, "As for now, I think there is no other options. Now, except Precious Jade, everyone in the yard is female. So I beg every one of you to take off your clothes and let's search it again. If still no result, then I'll ask girl servants to search the old lady servants and manual servants."<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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大家说道：“这话也说的有理。现在人多手乱，鱼龙混杂，到是这么一来，你们也洗洗清。”探春独不言语。那些丫头们也都愿意洗净自己。先是平儿起。平儿说道：“打我先搜起。”于是各人自己解怀。李纨一气儿混搜。探春嗔着李纨道：“大嫂子，你也学那起不成材料的样子来了。那个人既偷了去还肯藏在身上？况且这件东西，在家里是宝，到了外头不知道的是废物，偷他做什么？我想来必是有人使促狭。”众人听说，又见环儿不在这里，昨儿是他满屋里乱跑，都疑到他身上，只是不肯说出来。<br />
"That's an idea, "they agreed." With such a crowd of us here we're a mixed lot, and this would be a way to clear ourselves."<br />
Only Seeking Spring made no comment.<br />
As the maids also wanted to clear themselves of suspicion, Pinger volunteered to be the first to be searched. Then the others stripped too, and Li Wan searched them in turn.<br />
"Sister-in-law!?"snapped Seeking Spring. "Where did you learn to behave in this scandalous way? If anyone stole it she wouldn't keep it on her, would she? Besides, this jade may be treasured here but to outsiders not in the know it's quite useless, so why should anyone steal it? I'm sure that someone is up to monkey tricks."<br />
When they heard this and noticed Huan's absence— though earlier on he had been running all over the place— they suspected him but were unwilling to say so.<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
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探春又道：“使促狭的只有环儿。你们叫个人去悄悄的叫了他来，背地里哄着他，叫他拿出来，然后吓着他，叫他不要声张。这就完了。”大家点头称是。李纨便向平儿道：“这件事还是得你去才弄得明白。”平儿答应，就赶着去了。不多时，同了环儿来了。众人假意装出没事的样子，叫人沏了碗茶，搁在里间屋里。众人故意搭赸走开，原叫平儿哄他。平儿便笑着向环儿道：“你二哥哥的玉丢了，你瞧见了没有？”贾环便急得紫涨了脸，瞪着眼，说道：“人家丢了东西，你怎么又叫我来查问疑我，我是犯过案的贼么？”<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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平儿见这样子，到不敢再问，便又陪笑道：“不是这么说。怕三爷要拿了去吓他们，所以白问问瞧见了没有，好叫他们找。”贾环道：“他的玉在他身上，看见不看见该问他，怎么问我？捧着他的人多着咧！得了什么不来问我，丢了东西就来问我！”说着，起身就走。众人不好拦他。这里宝玉倒急了，说道：“都是这劳什子闹事！我也不要他了，你们也不用闹了。环儿一去，必是嚷得满院里都知道了，这可不是闹事了么？”袭人等急得又哭道：“小祖宗，你看这玉丢了没要紧；若是上头知道了，我们这些人就要粉身碎骨了！”说着，便嚎啕大哭起来。<br />
She explained with a smile.“I thought you might have taken it to scare them; that's why I simply asked if you'd seen it or not to help them find it." "He was the one wearing the jade so he's the one you should ask instead of me. You all make so much of him! When there's something good going,you don't ask me to share it; but when anythings lost,I'm the one you ask about it!" He got up and marched out and they could not stop him. "All this trouble's due to that silly thing! " burst out Precious Jade. "I don't want it,so you needn't make such a fuss. When Ring gets back,he's bound to tell everyone and raise a fearful rumpus." Weeping in desperation,Aroma said,"You may not care that the jade's lost,Little Ancestor,but if this comes to the mistresses'ears,it'll be the death of us!" She broke down and sobbed.<br />
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==英语口译 方楚晗 Fang Chuhan 202170081616==<br />
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众人更加伤感，明知此事掩饰不来，只得要商议定了话，回来好回贾母诸人。宝玉道：“你们竟也不用商议，硬说我砸了就完了。”平儿道：“我的爷，好轻巧话儿！上头要问为什么砸的呢？他们也是个死啊！倘或要起砸破的碴儿来，那又怎么样呢？”宝玉道：“不然，便说我前日出门丢了。”众人一想，这句话倒还混得过去，但只这两天又没上学，又没往别处去。宝玉道：“怎么没有？大前儿还到南安王府里听戏去了呢。便说那日丢的。”探春道：“那也不妥。既是前儿丢的，为什么当日不来回。”<br />
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==英语口译 胡雯雯 Hu Wenwen 202170081617==<br />
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众人正在胡思乱想要装点撒谎，只听得赵姨娘的声儿，哭着喊着走来，说：“你们丢了东西，自己不找，怎么叫人背地里拷问环儿！我把环儿带了来，索性交给你们这一起洑上水的。该杀该剐，随你们罢。”说着，将环儿一推说：“你是个贼，快快的招罢！”气得环儿也哭喊起来。李纨正要劝解，丫头来说：“太太来了。”袭人等此时无地可容。宝玉等赶忙出来迎接。赵姨娘暂且也不敢作声，跟了出来。王夫人见众人都有惊惶之色，才信方才听见的话，便道：“那块玉真丢了么？”众人都不敢作声。<br />
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==英语口译 黄天琪 Huang Tianqi 202170081618==<br />
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王夫人走进屋里坐下，便叫袭人，慌得袭人连忙跪下，含泪要禀。王夫人道：“你起来，快快叫人细细找去，一忙乱倒不好了。”袭人哽咽难言。宝玉生恐袭人直告诉出来，便说道：“太太，这事不与袭人相干，是我前日到南安王府那里听戏在路上丢了。”王夫人道：“为什么那日不找？”宝玉道：“我怕他们知道，没有告诉他们。我叫焙茗等在外头各处找过的。”王夫人道：“胡说！如今脱换衣服，不是袭人他们伏侍的么？大凡哥儿出门回来，手巾荷包短了，还要问个明白，何况这块玉不见了，便不问的么？”宝玉无言可答。<br />
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==英语口译 李丹 Li Dan 202170081620==<br />
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赵姨娘听见，便得意了，忙接过口道：“外头丢了东西，也赖环儿……”话未说完，被王夫人喝道：“这里说这个，你且说那些没要紧的话！”赵姨娘便不敢言语了。还是李纨探春从实的告诉了王夫人一遍。王夫人也急得泪如雨下，索性要回明贾母，去问邢夫人那边跟来的这些人去。凤姐病中，也听见宝玉失玉，知道王夫人过来，料躲不住，便扶了丰儿来到园里。正值王夫人起身要走，凤姐娇怯怯的说：“请太太安。”宝玉等过来问了凤姐好。王夫人因说道：“你也听见了么？这可不是奇事吗？刚才眼错不见就丢了，再找不着。<br />
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==英语口译 李立飞 Li Lifei 202170081621==<br />
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你去想想：打老太太那边丫头起，至你们平儿，谁的手不稳，谁的心促狭；我要回了老太太，认真的查出来才好。不然，是断了宝玉的命根子了。”凤姐回道：“咱们家人多手杂，自古说的，‘知人知面不知心’，那里保得住谁是好的？但是一吵嚷，已经都知道了，偷玉的人，若叫太太查出来，明知是死无葬身之地，他着了急，反要毁坏了灭口，那时可怎么处呢？据我的糊涂想头，只说宝玉本不爱他，撂丢了，也没有什么要紧，只要大家严密些，别叫老太太老爷知道；这么说了，暗暗的派人去各处察访，哄骗出来，那时玉也可得，罪名也好定：不知太太心里怎么样？”<br />
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==英语口译 莫雨婷 Mo Yuting 202170081622==<br />
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王夫人迟了半日，才说道：“你这话虽也有理，但只是老爷跟前怎么瞒的过呢？”便叫环儿过来道：“你二哥哥的玉丢了，白问了你一句，怎么你就乱嚷？若是嚷破了，人家把那个毁坏了，我看你活得活不得！”贾环吓得哭道：“我再不敢嚷了。”赵姨娘听了，那里还敢言语。王夫人便吩咐众人道：“想来自然有没找到的地方儿。好端端的在家里的，还怕他飞到那里去不成？只是不许声张。限袭人三天内给我找出来。要是三天找不着，只怕也瞒不住，大家那就不用过安静日子了。”说着，便叫凤姐儿跟到邢夫人那边，商议踩缉不题。<br />
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After a long pause Lady Wang replied:"It’s all very well, but will we ever succeed in keeping this from Sir Zheng?" She called Jia Huan to her. "It was very silly of you to go shouting your head off about Bao-yu’s jade, just because they asked you about it. If the thief has heard and destroys the jade, you will pay for it with your life!" "I promise never to mention it again!" wailed Jia Huan in terror. This time Aunt Zhao held her tongue. "There must be some places left where you haven’t looked," Lady Wang continued, addressing the assembled maids. "It must be somewhere here. It’s hardly going to fly away, is it? But when you look, be as quiet as possible. Aroma, I give you three days to find it. If we still haven’t found it by then, we shan’t be able to keep it from Her Old Ladyship and Sir Zheng any longer. And everyone knows what that will mean!" Bidding Xi-feng accompany her, Lady Wang set off for Lady Xing’s apartment, for further consultations on how to apprehend the thief.<br />
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==英语口译 彭慧璇 Peng Huixuan 202170081623==<br />
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这里李纨等纷纷议论，便传唤看园子的一干人来，叫把园门锁上，快传林之孝家的来，悄悄儿的告诉了他，叫他：“吩咐前后门上，三天之内，不论男女下人，从里头可以走动，要出时，一概去不许放出。只说里头丢了东西，待这件东西有了着落，然后放人出来。”林之孝家的答应了“是”，因说：“前儿奴才家里也丢了一件不要紧的东西，林之孝必要明白，上街去找了一个测字的。那人叫做什么刘铁嘴，测了一个字，说的狠明白，回来依旧一找，便找着了。”袭人听见，便央及林家的道：“好林奶奶！出去快求林大爷替我们问问去。”那林之孝家的答应着出去了。<br />
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==英语口译 时友洁 Shi Youjie 202170081624==<br />
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邢岫烟道：“若说那外头测字打卦的，是不中用的。我在南边闻妙玉能扶乩，何不烦他问一问？况且我听见说，这块玉原有仙机，想来问得出来。”众人都咤异道：“咱们常见的，从没有听他说起。”麝月便忙问岫烟道：“想来别人求他是不肯的，好姑娘，我给姑娘磕个头，求姑娘就去，若问出来了，我一辈子总不忘你的恩！”说着，赶忙就要磕下头去，岫烟连忙拦住。黛玉等也都怂恿着岫烟速往栊翠庵去。一面林之孝家的进来说道：“姑娘们大喜！林之孝测了字回来，说这玉是丢不了的，将来横竖有人送还来的。”众人听了，也都半信半疑。惟有袭人麝月喜欢的了不得。<br />
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==英语口译 伍佳惠 Wu Jiahui 202170081625==<br />
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探春便问：“测的是什么字？”林之孝家的道：“他的话多，奴才也学不上来，记得是拈了个赏人东西的‘赏’字。那刘铁嘴也不问，便说：‘丢了东西不是？’“李纨道：“这就算好。”林之孝家的道：“他还说：‘“赏”字上头一个“小”字，底下一个“口”字，这件东西，狠可嘴里放得，必是个珠子宝石。’”众人听了，夸赞道：“真是神仙！往下怎么说？”林之孝家的道：“他说：‘底下“贝”字拆开，不成一个“见”字，可不是“不见”了？’因上头拆了‘当’字，叫快到当铺里找去。‘“赏”字加一“人”字，可不是“偿”字？只要找着当铺就有人，有了人便赎了来，可不是偿还了吗。’”<br />
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“What character did he analyze?” Seeking-Spring Merchant asked. “He said a lot, but it is too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was Shang meaning ‘gift.’ Then, without asking any question, Iron Mouth Liu said, “You’ve lost something, I take it.” “A good guess!” Silk Plum exclaimed. Filial Piety Forest's Wife continued, “He said the upper part of the character is the xiao for ‘small’ with the Kou for ‘mouth’ below. Therefore, the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of Jian meaning ‘see’, so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn’, we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to Shang, it gives Chang meaning to ‘redeem’. So once we hit on the right pawn shop, we’ll find whoever pawned it and then we can redeem it.”<br />
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“What character did he analyze?” Seeking-Spring Merchant asked. “He said a whole lot, too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was shang meaning ‘gift.’ Then, without asking any questions, that Iron Mouth Liu said, ‘You’ve lost something, I take it. “A good guess!” exclaimed Silk Plum. Filial Piety Forest's Wife continued, “Then he said the upper part of the character is the xiao for ‘small’ with the kou for ‘mouth’ below; so the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of jian meaning ‘see,’ so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn,’ we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to shang, it gives chang meaning to ‘redeem.’ So once we hit on the right pawn¬shop, we’ll find whoever pawned it and then we can redeem it.”--[[User:Xia Jing|Xia Jing]] ([[User talk:Xia Jing|talk]]) 10:12, 28 May 2022 (UTC)<br />
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==英语口译 夏晶 Xia Jing 202170081626==<br />
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众人道：“既这么着，就先往左近找起。横竖几个当铺都找遍了，少不得就有了。咱们有了东西，再问人就容易了。”李纨道：“只要东西，那怕不问人都使得。林嫂子，烦你就把测字的话快去告诉二奶奶，回了太太，先叫太太放心。就叫二奶奶快派人查去。”林家的答应了便走。众人略安了一点儿神，呆呆的等岫烟回来。正呆等，只见跟宝玉的焙茗在门外招手儿，叫小丫头子快出来。那小丫头赶忙的出去了。焙茗便说道：“你快进去告诉我们二爷和里头太太、奶奶、姑娘们，天大喜事。”那小丫头子道：“你快说罢，怎么这么累赘？”<br />
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“In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”<br />
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Revision: “In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”--[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 03:18, 30 May 2022 (UTC)<br />
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==英语口译 向师琦 Xiang Shiqi 202170081627==<br />
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焙茗笑着拍手道：“我告诉姑娘，姑娘进去回了，咱们两个人都得赏钱呢！你打量什么，宝二爷的那块玉呀，我得了准信来了。” 话说焙茗在门口和小丫头子说宝玉的玉有了，那小丫头急忙回来告诉宝玉。众人听了，都推着宝玉出去问他。众人在廊下听着。宝玉也觉放心，便走到门口，问道：“你那里得了？快拿来。”焙茗道：“拿是拿不来的，还得托人做保去呢。”宝玉道：“你快说是怎么得的，我好叫人取去。”焙茗道：“我在外头，知道林爷爷去测字，我就跟了去。我听见说在当铺里找，我没等他说完，便跑到几个当铺里去。我比给他们瞧，有一家便说‘有’。<br />
Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page, and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked:“Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”“Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.<br />
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Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked: “Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.--[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 15:46, 30 May 2022 (UTC)<br />
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==英语口译 向望 Xiang Wang 202170081628==<br />
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我说：‘给我罢。’那铺子里要票子。我说：‘当多少钱？’他说：‘三百钱的也有，五百钱的也有。前儿有一个人拿这么一块玉，当了三百钱去；今儿又有人也拿了一块玉，当了五百钱去。’”宝玉不等说完，便道：“你快拿三百五百钱去取了来，我们挑着看是不是。”里头袭人便啐道：“二爷不用理他！我小时候儿听见我哥哥常说，有些人卖那些小玉儿，没钱用，便去当。想来是家家当铺里有的。”众人正在听得咤异，被袭人一说，想了一想，倒大家笑起来，说：“快叫二爷进来罢，不用理那糊涂东西了。他说的那些玉，想来不是正经东西。”宝玉正笑着，只见岫烟来了。<br />
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When I asked for it, though, they wanted the pawn-ticket. ‘How much was it hocked for?’ I asked. They said, ‘We give from three hundred to five hundred cash. The other day someone brought in a jade like that and pawned it for three hundred. Today another man came with a piece and pawned it for five hundred.”’Baoyu cut him short with the order, “Go at once, taking money to redeem both; then we’ll see whether one is the right piece or not.”“Don’t listen to him, Master Bao!” scoffed Xiren from inside. “When I was small my brother often told me that hawkers of small pieces of jade pawn them when they need cash. Every single pawnshop must have some.”The others had been surprised by Beiming’s report. Now, thinking over Xiren’s comment, they laughed.“Tell Master Bao to come in,” they cried. “Pay no attention to that simpleton. The jade he’s talking about can’t be the right one.”Baoyu was laughing too when Xiuyan came back.<br />
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==英语口译 徐舞 Xu Wu 202170081629==<br />
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原来岫烟走到栊翠庵，见了妙玉，不及闲话，便求妙玉扶乩。妙玉冷笑几声，说道：“我与姑娘来往，为的是姑娘不是势利场中的人。今日怎么听了那里的谣言，过来缠我？况且我并不晓得什么叫‘扶乩’。”说着，将要不理。岫烟懊悔此来：知他脾气是这么着的，“一时我已说出，不好白回去。”又不好与他质证他会扶乩的话，只得陪着笑将袭人等性命关系的话说了一遍。见妙玉略有活动，便起身拜了几拜。妙玉叹道：“何必为人作嫁？但是我进京以来，素无人知，今日你来破例，恐将来缠绕不休。”<br />
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==英语口译 张静芝 Zhang Jingzhi 202170081630==<br />
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岫烟道：“我也一时不忍。知你必是慈悲的。便是将来他人求你，愿不愿在你，谁敢相强？”妙玉笑了一笑，叫道婆焚香，在箱子里找出沙盘乩架，书了符，命岫烟行礼祝告毕，起来同妙玉扶着乩。不多时，只见那仙乩疾书道：噫！来无迹，去无踪，青埂峰下倚古松。欲追寻，山万重，入我门来一笑逢。书毕，停了乩。岫烟便问：“请是何仙？”妙玉道：“请的是拐仙。”岫烟录了出来，请教妙玉解识。妙玉道：“这个可不能，连我也不懂。你快拿去，他们的聪明人多着哩。”岫烟只得回来。进入院中，各人都问：“怎么样了？”<br />
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==日语笔译 曹梦然 Cao Mengran 202170081632==<br />
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岫烟不及细说，便将所录乩语递与李纨，众姊妹及宝玉争看，都解的是：“一时要找是找不着的，然而丢是丢不了的，不知几时不找便出来了。但是青埂峰不知在那里？”李纨道：“这是仙机隐语。咱们家里那里跑出青埂峰来？必是谁怕查出，撂在有松树的山子石底下，也未可定。独是‘入我门来’这句，到底是入谁的门呢？”黛玉道：“不知请的是谁？”岫烟道：“拐仙。”探春道：“若是仙家的门，便难入了。”袭人心里着忙，便捕风捉影的混找，没一块石底下不找到，只是没有。回到院中，宝玉也不问有无，只管傻笑。<br />
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Xiuyan went back, and as soon as she entered the courtyard the others all wanted to know how she had fared. Without giving them the details, she handed Silk Plum the oracle she had transcribed. The girls and Precious Jade crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking. “But where is this Blue Ridge Peak?” they asked. “That must be some divine riddle,” said Silk Plum. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?” Mascara Jade remarked, “I wonder whom she invoked.” “Saint Li the Cripple,” Xiuyan told her. “If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed seeking-spring. Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Precious Jade smiled foolishly instead of asking whether she had found it<br />
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Xiuyan went back, and as soon as she entered the courtyard the oth¬ers all wanted to know how she had fared. Without giving them the de¬tails, she handed Li Wan the oracle she had transcribed. The girls and Baoyu crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking.<br />
“But where is this Blue Ridge Peak?” they asked.<br />
“That must be some divine riddle,” said Li Wan. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?”<br />
Daiyu remarked, “I wonder whom she invoked.”<br />
“Saint Li the Cripple,” Xiuyan told her.<br />
“If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed Tanchun.<br />
Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Baoyu smiled foolishly instead of asking whether she had found it.--[[User:Hu Mengqi|Hu Mengqi]] ([[User talk:Hu Mengqi|talk]]) 12:37, 29 May 2022 (UTC)<br />
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==日语笔译 胡梦琪 Hu Mengqi 202170081633==<br />
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麝月着急道：“小祖宗！你到底是那里丢的？说明了，我们就是受罪，也在明处啊。”宝玉笑道：“我说外头丢的，你们又不依。你如今问我，我知道么？”李纨探春道：“今儿从早起闹起，已到三更来的天了。你瞧林妹妹已经掌不住，各自去了。我们也该歇歇儿了，明儿再闹罢。”说着，大家散去。宝玉即便睡下。可怜袭人等哭一回，想一回，一夜无眠，暂且不题。且说黛玉先自回去，想起“金”“石”的旧话来，反自喜欢；心里说道：“和尚道士的话真个信不得。果真‘金’‘玉’有缘，宝玉如何能把这玉丢了呢？或者因我之事，拆散他们的‘金玉’，也未可知。”<br />
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“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”<br />
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”<br />
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin’s already left — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”<br />
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night, unable to sleep.<br />
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.<br />
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“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”<br />
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”<br />
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin was already leave — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”<br />
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night and unable to sleep.<br />
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 14:38, 29 May 2022 (UTC)<br />
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==日语笔译 张白鹭 Zhang Bailu 202170081634==<br />
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想了半天，更觉安心，把这一天的劳乏，竟不理会，重新倒看起书来。紫鹃倒觉身倦，连催黛玉睡下。黛玉虽躺下，又想到海棠花上，说“这块玉原是胎里带来的，非比寻常之物，来去自有关系。若是这花主好事呢，不该失了这玉呀。看来此花开的不祥，莫非他有不吉之事？”不觉又伤起心来。又转想到喜事上头，此花又似应开，此玉又似应失；如此一悲一喜，直想到五更方睡着。次日，王夫人等早派人到当铺里去查问，凤姐暗中设法找寻。一连闹了几天，总无下落。还喜贾母贾政未知。袭人等每日提心吊胆。宝玉也好几天不上学，只是怔怔的，不言不语，没心没绪的。<br />
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Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.<br />
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Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.--[[User:Liu Anli|Liu Anli]] ([[User talk:Liu Anli|talk]]) 14:35, 29 May 2022 (UTC)<br />
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==朝鲜语笔译 刘安莉 Liu Anli 202170081635==<br />
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王夫人只知他因失玉而起，也不大着意。那日正在纳闷，忽见贾琏进来请安，嘻嘻的笑道：“今日听得军机贾雨村打发人来告诉二老爷，说：‘舅太爷升了内阁大学士，奉旨来京，已定明年正月二十日宣麻，有三百里的文书去了。’想舅太爷昼夜趱行，半个多月就要到了。侄儿特来回太太知道。”王夫人听说，便欢喜非常。正想娘家人少，薛姨妈家又衰败了；兄弟又在外任，照应不着。今日忽听兄弟拜相回京，王家荣耀，将来宝玉都有倚靠。便把失玉的心又略放开些了，天天专望兄弟来京。忽一天，贾政进来，满脸泪痕，喘吁吁的说道：<br />
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His mother did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam.<br />
Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now as Grand Secretary would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival.<br />
Then one day Master Merchant burst in, tears streaming down his cheeks.<br />
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Lady King did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam. Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now and it would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival. Then one day Master Merchant burst in, tears streaming down his cheeks.--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 03:18, 30 May 2022 (UTC)<br />
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==朝鲜语笔译 王思佳 Wang Sijia 202170081636==<br />
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“你快去禀知老太太，即刻进宫！不用多人的，是你伏侍进去。因娘娘忽得暴病，现在太监在外立等。他说：‘太医院已经奏明痰厥，不能医治。’”王夫人听说，便大哭起来。贾政道：“这不是哭的时候，快快去请老太太。说得宽缓些，不要吓坏了老人家。”贾政说着，出来吩咐家人伺候。王夫人收了泪，去请贾母，只说元妃有病，进去请安。贾母念佛道：“怎么又病了？前番吓的我了不得，后来又打听错了。这回情愿再错了也罢。”王夫人一面回答，一面催鸳鸯等开箱取衣饰穿戴起来。王夫人赶着回到自己房中也穿戴好了，过来伺候。一时出厅，上轿进宫不题。<br />
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"Go to the old lady and enter the palace at once!" It doesn't take many people, it's you who ambush in. Because Princess Merchant suddenly fell ill violently, the eunuch is now waiting outside. He said: 'The hospital has made it clear that it cannot be cured.' When Lady King heard this, she burst into tears. Master Merchant said, "This is not the time to cry, go and ask the old lady quickly." Speak more gently, don't frighten the old man. Master Merchant said, and came out to order his family to serve. Lady King collected her tears and went to ask Grandma Merchant, only to say that Princess Merchant was ill and went in to ask for peace. Grandma Merchant chanted the Buddha, "Why are you sick again?" I was terrified of it before, and then I was wrong. This time I'm willing to be wrong. Lady King replied while urging mandarin ducks to open the box and take clothes and put them on. Lady King hurried back to her room and dressed herself, and came to serve. When I went out of the hall for a while, I went to the palace and entered the palace without a title.<br />
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==朝鲜语笔译 徐盖 Xu Gai 202170081638==<br />
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且说元春自选了凤藻宫后，圣眷隆重，身体发福，未免举动费力。每日起居劳乏，时发痰疾。因前日侍宴回宫，偶沾寒气，勾起旧病。不料此回甚属利害，竟至痰气壅塞，四肢厥冷。一面奏明，即召太医调治。岂知汤药不进，连用通关之剂，并不见效。内官忧虑，奏请预办后事，所以传旨命贾氏椒房进见。贾母王夫人遵旨进宫，见元妃痰塞口涎，不能言语。见了贾母，只有悲泣之状，却少眼泪。贾母进前请安，奏些宽慰的话。少时贾政等职名递进，宫嫔传奏，元妃目不能顾，渐渐脸色改变。内宫太监即要奏闻，恐派各妃看视，椒房姻戚未便久羁，请在外宫伺候。<br />
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==朝鲜语笔译 徐文慧 Xu Wenhui 202170081639==<br />
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贾母王夫人怎忍便离，无奈国家制度，只得下来，又不敢啼哭，惟有心内悲感。朝门内官员有信。不多时，只见太监出来，立传钦天监。贾母便知不好，尚未敢动。稍刻，小太监传谕出来，说：“贾娘娘薨逝。”是年甲寅年十二月十八日立春；元妃薨日，是十二月十九日，已交卯年寅月，存年四十三岁。贾母含悲起身，只得出宫上轿回家。贾政等亦已得信，一路悲戚。到家中，邢夫人、李纨、凤姐、宝玉等出厅，分东西迎着贾母，请了安，并贾政王夫人请安，大家哭泣不题。次日早起，凡有品级的，按贵妃丧礼进内请安哭临。<br />
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Grandma Merchant and Lady King could not bear to leave, but had no choice but to come down from the state system. She did not dare to cry, but she felt sad inside. The official inside the door has a letter. Before long, the eunuch came out to preach The Imperial Board of Astronomy. Grandma Merchant knew it was not good and had not dared to move. A moment later, the little eunuch sent an oracle, saying: "Empress died." It is December 18, the beginning of spring; Concubine Yuan died and died on December 19. He was forty-three years old. Grandma Merchant sad up, only the palace on the sedan home. Master Merchant and so on have also got the letter, all the way sad. When they got home, Lady City, Silk Plum, Splendid Phoenix King, Precious Jade Merchant went out to greet Grandma Merchant with their belongings and pay their respects to Master Merchant and Lady King. Early the next morning, all who have grade, according to the funeral ceremony of the imperial concubine into the room to ask for peace and cry.<br />
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==比较文学与跨文化研究 Mahzad Heydarian 202021080004==<br />
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贾政又是工部，虽按照仪注办理，未免堂上又要周旋他些，同事又要请教他，所以两头更忙，非比从前太后与周妃的丧事了。但元妃并无所出，惟谥曰贤淑贵妃。此是王家制度，不必多赘。只讲贾府中男女，天天进宫，忙的了不得。幸喜凤姐儿近日身子好些，还得出来照应家事；又要预备王子腾进京，接风贺喜。凤姐胞兄王仁，知道叔叔入了内阁，仍带家眷来京。凤姐心里喜欢，便有些心病，有这些娘家的人，也便撂开，所以身子倒觉比前好了些。王夫人看见凤姐照旧办事，又把担子卸了一半；又眼见兄弟来京，诸事放心，倒觉安静些。<br />
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Master Merchant is also in the Ministry of Works. Although it was handled by the ceremonies, it was necessary to deal with him in the court, and his colleagues had to ask him for advice, so the two sides were busier, not compared with the funeral of the Queen Mother and Concubine Zhou in the past. But Concubine Yuan did not come out, but she was given the posthumous title of Concubine Xianshu. This is the royal family system, so there is no need to repeat it. It only talks about men and women in Merchant's house, who go to the palace every day and are very busy. Fortunately, Sister Phoenix is in better health recently, and she has to come out to take care of the housework. She also has to prepare Soar King to come to Beijing to welcome the wind and congratulate her. Sister Phoenix's elder brother Wang Ren brought his family to Beijing when he knew that his uncle had joined the cabinet. Sister Phoenix liked it in her heart, and she felt a little sick. She also gave up with these family members, so her body felt better than before. Lady King saw that Sister Phoenix was doing things as usual, and half of the burden was unloaded; and when she saw her brother come to Beijing, everything was relieved, and she felt quieter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:26, 30 May 2022 (UTC)<br />
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==外国语言文学 Akira 202121080009==<br />
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独有宝玉原是无职之人，又不念书，代儒学里知他家里有事，也不来管他；贾政正忙，自然没有空儿查他：想来宝玉趁此机会竟可与姊妹们天天畅乐。不料他自失了玉后，终日懒怠走动，说话也糊涂了。并贾母等出门回来，有人叫他去请安，便去；没人叫他，他也不动。袭人等怀着鬼胎，又不敢去招惹他，恐他生气。每天茶饭，端到面前便吃，不来也不要。袭人看这光景，不像是有气，竟像是有病的。袭人偷着空儿到潇湘馆告诉紫鹃，说是：“二爷这么着，求姑娘给他开导开导。”<br />
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Unique Precious Jade was a jobless person and didn't study. Confucianism knew that he had something to do at home, so he didn't care about him; Master Merchant was busy and naturally didn't have time to check him: I wanted to come to Precious Jade to take this opportunity to meet him. Sisters are happy every day. Unexpectedly, after he lost his jade, he walked around lazy all day, and his speech was confused. And when Grandma Merchant came back from going out, someone called him to greet him, so he went; no one called him, and he didn't move. Aroma and others were pregnant, but they didn't dare to provoke him, for fear that he would get angry. Everyday tea and rice, bring it to the front and eat it, don't come if you don't come. Aroma looked at this scene, and it didn't look like she was angry, but she looked like she was sick. Aroma stole the air to Bamboo Lodge and told Nightingale, saying, "Second Master is like this, I beg the girl to enlighten him."<br />
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==英语语言文学 Mariam Tourse 2020GBJ002301==<br />
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紫鹃虽即告诉黛玉，只因黛玉想着亲事上头，一定是自己了，如今见了他，反觉不好意思，“若是他来呢，原是小时在一处的，也难不理他；若说我去找他，断断使不得。”所以黛玉不肯过来。袭人又背地里去告诉探春。那知探春心里明明知道海棠开得怪异，“宝玉”失的更奇，接连着元妃姐姐薨逝，谅家道不祥，日日愁闷，那有心肠去劝宝玉？况兄妹们男女有别，只好过来一两次，宝玉又终是懒懒的，所以也不大常来。宝钗也知失玉。因薛姨妈那日应了宝玉的亲事，回去便告诉了宝钗。薛姨妈还说：“虽是你姨妈说了，我还没有应准，说等你哥哥回来再定。你愿意不愿意？”</div>Li Yuanhttps://bou.de/u/index.php?title=20220526_culture&diff=14382120220526 culture2022-05-31T03:52:45Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
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<div>Quicklinks:[[Chinese Language and Culture 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Joint_translation_terms]]<br />
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[[20220526_culture|culture of session 14 for session 15 May.26]]<br />
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'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is <br />
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27 Globalization: The Westernization Movement 54% 黄天琪 Huang Tianqi<br />
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31 Globalization: The Eastward Spread of Western Learning 53% 莫雨婷Mo Yuting<br />
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'''Assignment 2''': '''Click here''' to answer the questions of the topics below <br />
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27 Globalization: The Westernization Movement <br />
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31 Globalization: The Eastward Spread of Western Learning <br />
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Due before 4:30 pm Jun.2<br />
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'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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Due before 6:00 pm Jun.1<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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因又笑说道：“几年间，门子也会钻了，由知府推升转了御史，不过几年，升了吏部侍郎，署兵部尚书。为着一件事降了三级。如今又要升了。”冯紫英道：“人世的荣枯，仕途的得失，终属难定。”贾政道：“像雨村算便宜的了。还有我们差不多的人家，就是甄家，从前一样功勋，一样的世袭，一样的起居，我们也是时常往来。不多几年，他们进京来，差人到我这里请安，狠还热闹。一回儿抄了原籍的家财，至今杳无音信。不知他近况若何，心下也着实惦记，看了这样，你想做官的怕不怕？”贾赦道：“咱们家是最没有事的。”<br />
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Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The rise and fall of one’s fate and the gain and loss of one’s official career are unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years ago, when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious with his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant didn’t care.<br />
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Thank you for your correction work this semester.(*￣︶￣)<br />
（Reply: My enjoyment,sweetie~ (づ￣︶￣)づ）<br />
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Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The ups and downs of one’s fate and the gain and loss of one’s official career are both unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once as illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years later when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious about his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant replied disapprovingly.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:05, 30 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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冯紫英道：“果然尊府是不怕的：一则里头有贵妃照应；二则故旧好，亲戚多；三则你家自老太太起，至于少爷们，没有一个刁钻刻薄的。”贾政道：“虽无刁钻刻薄，却没有德行才情。白白的衣租食税，那里当得起？”贾赦道：“咱们不用说这些话，大家吃酒罢。”大家又喝了几杯，摆上饭来。吃毕喝茶。冯家的小厮走来，轻轻的向紫英说了一句。冯紫英便要告辞了。贾赦贾政道：“你说什么？”小厮道：“外面下雪，早已下了梆子了。”贾政叫人看时，已是雪深一寸多了。贾政道：“那两件东西，你收拾好了么？”<br />
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“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.<br />
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“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 11:19, 30 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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冯紫英道：“收好了。若尊府要用，价钱还自然让些。”贾政道：“我留神就是了。”冯紫英道：“我再听信罢。天气冷，请罢，别送了。”贾赦贾政便命贾琏送了出去。却说冯紫英去后，贾政叫门上的人来吩咐道：“今儿临安伯那里来请吃酒，知道是什么事？”门上的人道：“奴才曾问过，并没有什么喜庆事，不过南安王府里到了一班小戏子，都说是个名班，伯爷高兴，唱两天戏，请相好的老爷们瞧瞧，热闹热闹。大约不用送礼的。”说着，贾赦过来问道：“明儿二老爷去不去？”贾政道：“承他亲热，怎么好不去的？”<br />
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“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.<br />
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“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.--[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 13:14, 28 May 2022 (UTC)<br />
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==英语笔译 崔晓凡 Cui Xiaofan 202170081566==<br />
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说着，门上进来回道：“衙门里书办来请老爷明日上衙门。有堂派的事，必得早些去。”贾政道：“知道了。”说着，只见两个管屯里地租子的家人走来，请了安，磕了头，旁边站着。贾政道：“你们是郝家庄的？”两个答应了一声。贾政也不往下问，竟与贾赦各自说了一回话儿散了。家人等秉着手灯，送过贾赦去。这里贾琏便叫那管租的人道：“说你的。”那人说道：“十月里的租子，奴才已经赶上来了。原是明儿可到。谁知京外拿车，把车上的东西，不由分说，都掀在地下。奴才告诉他，说是府里收租子的车，不是买卖车，他更不管这些。<br />
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Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.<br />
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Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 12:43, 30 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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奴才叫车夫只管拉着走，几个衙役就把车夫混打了一顿，硬扯了两辆车去了。奴才所以先来回报。求爷打发个人到衙门里去要了来才好。再者，也整治整治这些无法无天的差役才好。爷还不知道呢，更可怜的是那买卖车，客商的东西全不顾，掀下来，赶着就走。那些赶车的但说句话，打的头破血出的。”贾琏听了，骂道：“这个还了得！”立刻写了一个帖儿，叫家人：“拿去向拿车的衙门里要车去，并车上东西。若少了一件，是不依的！快叫周瑞。”周瑞不在家。又叫旺儿。旺儿晌午出去了，还没有回来。贾琏道：“这些忘八羔子，一个都不在家！他们终年家吃粮不管事。”<br />
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The slave told the coachman to pull it away, but some government soldiers beat up the coachman and drove off with two carts. The minion returns the favor first. Please send someone to the Yamen for it. Moreover, it is good to punish these lawless servants. Ye still don't know, more pitiful is that the business car, the merchant's things all disregard, lift down, hurried away. Those who drive the wagons say nothing and bleed from the head." Romance Merchant, hearing this, cursed: "This is remarkable!" Immediately she wrote a post, telling her family: "Go to the government office where the cart is taken and ask for the cart and its contents. If one is missing, it will not depend on! Call Zhou Rui quickly." Zhou Rui is not at home. Also known as Wanger. Prosperous went out at noon and did not return. Romance Merchant said, "None of these forgetful kids are at home! They don't care what they eat all year round."<br />
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==英语笔译 高智慧 Gao Zhihui 202170081568==<br />
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因吩咐小厮们：“快给我找去。”说着，也回到自己屋里，睡下不提。且说临安伯第二天又打发人来请。贾政告诉贾赦道：“我是衙门里有事。琏儿要在家等候拿车的事情，也不能去。倒是大老爷带宝玉应酬一天也罢了了。”贾赦点头道：“也使得。”贾政遣人去叫宝玉，说“今儿跟大爷到临安伯那里听戏去。”宝玉喜欢的了不得，便换上衣服，带了焙茗、扫红、锄药三个小子，出来见了贾赦，请了安，上了车，来到临安伯府里。门上人回进去，一会子出来说：“老爷请。”<br />
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Shouting to his pages to find them both at once, Romance Merchant retired to his apartment for the night. Next morning brought a reminder from the Earl of Linan. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent word to Precious Jade that he was to accompany his uncle to the Earl of Lin-an’s theatre party. Precious Jade was thrilled. He changed, and choosing three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him, came out to pay his morning respects to Jia She. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in. Pardon Merchant led Precious Jade into the main courtyard, which was packed with a noisy throng. They paid their respects to the Earl and exchanged civilities with the other guests before sitting down and joining in the flow of light-hearted conversation. Before long the manager of the troupe came forward with two playbills, an ordinary one and a fancy one in the form of an ivory tablet, and saluting his patrons by dropping one knee to the ground in Manchu-style, announced: ‘Will the gentlemen please select their favourite plays?’<br />
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Shouting to his pages to find them at once, Romance Merchant retired to his apartment for the night. Next morning came a reminder from the Earl Temporary Settlement. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent words to Precious Jade that he was to accompany his uncle to the Earl Temporary Settlement’s theatre party. Precious Jade was thrilled with joy. He got himself dressed, chose three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him,and came out to pay his morning respects to Pardon Merchant. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in.<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 13:55, 28 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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于是贾赦带着宝玉走入院内，只见宾客喧阗。贾赦宝玉见了临安伯，又与众宾客都见过了礼，大家坐着，说笑了一回。只见一个掌班的拿着一本戏单，一个牙笏，向上打了一个千儿，说道：“求各位老爷赏戏。”先从尊位点起，挨至贾赦，也点了一出。那人回头见了宝玉，便不向别处去，竟抢步上来，打个千儿道：“求二爷赏两出。”宝玉一见那人，面如傅粉，唇若涂朱；鲜润如出水芙渠，飘扬似临风玉树：原来不是别人，就是蒋玉菡。前日听得他带了小戏儿进京，也没有到自己那里；此时见了，又不好站起来，只得笑道：“你多早晚来的？”<br />
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Then Pardon Merchant took Precious Jade into the courtyard which was fraught with the hustle and bustle. After the two paid their respects to Count Temporary Settlement and greeted the other guests, they sat down to talk . Then the one in charge of the troupe with a playlist and a ivory tablet stepped up and fell down on one kneel, saying, "Beg your lords to choose one and enjoy the play." In the order of seniority,they choose the operas. When it came to Pardon Merchant's turn, he also chose one. At that moment, turning around and catching sight of Precious Jade, that person unexpectedly come over to him and fell on one of his kneel, "Beg master to choose one." When Precious Jade saw the man whose face seemed powdered and his lips looked scarlet, it occurred to him that he was Jade Lotus Chiang. The day before yesterday, Precious Jade heard that he had brought a group of young actors with him to Peking, but he did not come to visit him. On such an occasion, Precious Jade could not just stand up to greet him, so he had to smile instead and asked, "When did you come?"<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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蒋玉菡把手在自己身子上一指，笑道：“怎么二爷不知道么？”宝玉因众人在坐，也难说话，只得胡乱点了一出。蒋玉菡去了，便有几个议论道：“此人是谁？”有的说：“他向来是唱小旦的，如今不肯唱小旦，年纪也大了，就在府里掌班。头里也改过小生。他也攒了好几个钱，家里已经有两三个铺子，只是不肯放下本业，原旧领班。”有的说：“想必成了家了。”有的说：“亲还没有定。他倒掌定一个主意，说是人生配偶，关系一生一世的事，不是混闹得的，不论尊卑贵贱，总要配的上他的才能。所以到如今还并没娶亲。”<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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宝玉暗忖度道：“不知日后谁家的女孩儿嫁他？要嫁着这样的人材儿，也算是不辜负了。”那时开了戏，也有昆腔，也有高腔，也有弋腔，梆子腔：做得热闹。到了晌午，便摆开桌子吃酒。又看了一回，贾赦便欲起身。临安伯过来留道：“天色尚早。听见说蒋玉菡还有一出《占花魁》，他们顶好的首戏。”宝玉听了，巴不得贾赦不走；于是贾赦又坐了一会。果然蒋玉菡扮着秦小官，伏侍花魁醉后神情，把这一种怜香惜玉的意思，做得极情尽致。以后对饮对唱，缠绵缱绻。宝玉这时不看花魁，只把两支眼睛独射在秦小官身上。<br />
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Precious Jade wondered who the lucky girl would be to marry such an intelligent man. Then the performance started with Kun opera, Yi Opera, Gao Opera and Ban Zi operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave.“It’s early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.”Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the woman, but staring at the male role.<br />
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Precious Jade wondered who the lucky girl would be to marry such a man of his ability. Then the performance started with Kun opera, High-pitched Tunes, Yi-qiang and Pangtse operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave. “It’s still early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.” Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the heroine, but staring at the male role.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 14:58, 29 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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更加蒋玉菡声音响亮，口齿清楚，按腔落板，宝玉的神魂都唱了进去了。直等这出戏进场后，更知蒋玉菡极是情种，非寻常戏子可比。因想着：“《乐记》上说的是：‘情动于中，故形于声；声成文，谓之音。’所以知声，知音，知乐，有许多讲究。声音之原，不可不察。诗词一道，但能传情，不能入骨，自后想要讲究讲究音律。”宝玉想出了神，忽见贾赦起身，主人不及相留。宝玉没法，只得跟了回来。到了家中，贾赦自回那边去了。宝玉来见贾政。贾政才下衙门，正向贾琏问起拿车之事。贾琏道：“今儿叫人拿帖儿去，知县不在家。<br />
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Precious Jade was quite enraptured by his singing, for Jade Lotus had a resonant voice, clear enunciation and good sense of rhythm. By the end of the performance, he was firmly convinced that Jade Lotus was a romantic, completely unique artist, and not to be compared with the common actors. He thought, "The Book of Music rightly says, 'Stirred feelings find expression in sound, and when the sound follows a pattern we call it music.' So sounds, notes and music take some understanding, and a study has to be made of their origin. Poetry can convey emotions, but it can't thrill us to the marrow. In future I really must make a study of music." His reverie was interrupted by Pardon Merchant rising to leave. As their host could not prevail on him to stay, Precious Jade had no choice but to go back with him. On their return Pardon Merchant went straight to his own home. And Precious Jade, paying his duty call on his father, found him just back from the ministry questioning Romance Merchant about the seizure of their carts. Romance Merchant said, "I sent servants there today with my card, but the local mandarin was out.<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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他的门上说了：‘这是本官不知道的，并无牌票出去拿车，都是那些混帐东西在外头撒野挤讹头。既是老爷府里的，我便立刻叫人去追办，包管明儿连车连东西一并送来。如有半点差迟，再行禀过本官，重重处治。此刻本官不在家，求这里老爷看破些，可以不用本官知道更好。”贾政道：“既无官票，到底是何等样人在那里作怪？”贾琏道：“老爷不知，外头都是这样。想来明儿必定送来的。”贾琏说完下来。宝玉上去见了。贾政问了几句，便叫他往老太太那里去。贾琏因为昨夜叫空了家人，出来传唤，那起人多已伺候齐全。<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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贾琏骂了一顿，叫大管家赖升：“将各行档的花名册子拿来，你去查点查点，写一张谕帖，叫那些人知道。若有并未告假，私自出去，传唤不到，贻误公事的，立刻给我打了撵出去！”赖升连忙答应了几个“是”，出来吩咐了一回，家人各自留意。过不几时，忽见有一个人，头上载着毡帽，身上穿着一身青布衣裳，脚下穿着一双撒鞋，走到门上，向众人作了个揖。众人拿眼上上下下打谅了他一番，便问他：“是那里来的？”那人道：“我自南边甄府中来的。并有家老爷手书一封，求这里的爷们呈上尊老爷。”众人听见他是甄府来的，才站起来让他坐下，道：“你乏了，且坐坐。我们给你回就是了。”<br />
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Romance Merchant scolded and asked Advancement, the major housekeeper, "bring me the roster of various lines of business, and you go and check them out, and write an oracle post to let those people know. If anyone goes out without asking for leave and cannot be summoned, he will be beaten and kicked out immediately! "Advancement hurriedly agreed with a few "yes" and came out to give orders, letting servants pay attention to it. After a while, a man came into sight with a felt hat on his head, dressed in blue cloth and a pair of slippers under his feet, he went to the door of the room and made a bow to the crowd. The crowd look at him up and down to and asked, "where did you come from?" The man said, "I'm from the Zhen House in the south. And there is a letter from the master of the Zhen family, Please give the letter to your master. " When they heard that he was from the Zhen House, they stood up and asked him to sit down and said, "you must be tired, sit down, please. We'll give it to our master. "--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 13:36, 28 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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门上一面进来回明贾政，呈上来书。贾政拆书看时，上写着：世交夙好，气谊素敦，遥仰襜帷，不胜依切。弟因菲材获谴，自分万死难偿，幸邀宽宥，待罪边隅。迄今门户雕零，家人星散。所有奴子包勇，向曾使用，虽无奇技，人尚悫实。倘使得备奔走，糊口有资，屋乌之爱，感佩无涯矣！专此奉达，余容再叙。不宣。贾政看完，笑道：“这里正因人多，甄家倒荐人来。又不好却的。”吩咐门上：“叫他见我，且留他住下，因材使用便了。”门上出去，带进人来，见贾政，便磕了三个头，起来道：“家老爷请老爷安。”自己又打个千儿，说：“包勇请老爷安。”<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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贾政回问了甄老爷的好，便把他上下一瞧，但见包勇身长五尺有零，肩背宽肥，浓眉爆眼，磕额长髯，气色粗黑，垂着手站着。便问道：“你是向来在甄家的，还是住过几年的？”包勇道：“小的向在甄家的。”贾政道：“你如今为什么要出来呢？”包勇道：“小的原不肯出来，只是家爷再四叫小的出来，说是别处你不肯去，这里老爷家里只当原在自己家里一样的，所以小的来的。”贾政道：“你们老爷不该有这事情，弄到这样的田地。”包勇道：“小的本不敢说：我们老爷只是太好了，一味的真心待人，反倒招出事来。”贾政道：“真心是最好的了。”<br />
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Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. Bag Valiant said, "I didn’t want to, but my master insisted. He said, ‘You wouldn’t agree to going anywhere else, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."<br />
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Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. "I didn’t want to, " Bag Valiant said,"but my master insisted again and he told me that other place you didn't want to go, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 03:40, 29 May 2022 (UTC)Li Ying<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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包勇道：“因为太真了，人人都不喜欢，讨人厌烦是有的。”贾政笑了一笑道：“既这样，皇天自然不负他的。”包勇还要说时，贾政又问道：“我听见说你们家的哥儿不是也叫宝玉么？”包勇道：“是。”贾政道：“他还肯向上巴结么？”包勇道：“老爷若问我们哥儿，倒是一段奇事。哥儿的脾气也和我家老爷一个样子，也是一味的诚实，从小儿只管和那些姐妹们在一处顽。老爷太太也狠打过几次，他只是不改。那一年太太进京的时候儿，哥儿大病了一场，已经死了半日，把老爷几乎急死，装裹都预备了。<br />
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Bag Valiant said:"Because he was too honest,nobody liked him and he offended some people.Master Merchant laughed:" Well, in that case, the God will give him due deserts."Bag Valiant were plant to reply, Master Merchant continued to say that:"I heard that your younger master's name is Precious Jade, is that true?"Bag Valiant said:" That is right, sir."Master Merchant said:" Is he still willing to flatter on the top?"Bag Valiant said:Your majesty asked me about my younger master, there were something strange about him. His temper is the same as our master's. Both of them were too honest, when he was a kid, he only played with those sisters. My masters also beat him severely,but there's no change in my younger master. That year our mistress came to the capital, younger master fell very ill.He lost his consciousness for so long that his father was frantic and had all the funeral preparations made."<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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幸喜后来好了，嘴里说道：走到一座牌楼那里，见了一个姑娘，领着他到了一座庙里，见了好些柜子，里头见了好些册子；又到屋里，见了无数女子，说是多变了鬼怪似的，也有变做骷髅儿的；他吓急了，便哭喊起来。老爷知他醒过来了，连忙调治，渐渐的好了。老爷仍叫他在姐妹们一处顽去，他竟改了脾气了：好着时候的玩意儿一概都不要了，惟有念书为事。就有什么人来引诱他，他也全不动心。如今渐渐的能彀帮着老爷料理些家务了。”贾政默然想了一回，道：“你去歇歇去罢。等这里用着你时，自然派你一个行次儿。”包勇答应着，退下来，跟着这里人出去歇息不提。<br />
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“Fortunately, he recovered in the end. He talked that he saw a girl at a memorial arch, who led him to a temple, where there were a great number of cabinets with many volumes of books inside. Walking inside, he saw many girls, who became ghosts and skeletons. He was so scared that he yelled and cried. When the Master knew he had woken, he set some doctors to give him a treatment. After that, he became well gradually. The Master then still allowed him to play with his sisters, but his character changed a lot. He threw away all the gadgets that he liked before and focused on books. Also, he would not be tempted to do other things by anyone. Now, he was able to help the Master with some family affairs.” Master Merchant pondered for a while after hearing what he said. “You can leave now. You will have your task when we need you,” Master Merchant said. Courage Bag showed his gratitude and left the room with other servants. His part ended.<br />
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==英语笔译 李梓婕 Li Zijie 202170081580==<br />
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一日贾政早起，刚要上衙门，看见门上那些人在那里交头接耳，好像要使贾政知道的是的，又不好明回，只管咕咕唧唧的说话。贾政叫上来问道：“你们有什么事这么鬼鬼祟祟的？”门上的人回道：“奴才们不敢说。”贾政道：“有什么事不敢说的？”门上的人道：“奴才今儿起来，开门出去，见门上贴着一张白纸，上写着许多不成事体的字。”贾政道：“那里有这样的事！写的是什么？”门上的人道：“是水月庵里的腌臜话。”贾政道：“拿给我瞧。”门上的人道：“奴才本要揭下来，谁知他贴得结实，揭不下来，只得一面抄，一面洗。<br />
One morning,Master Merchant rose early and was setting off to his yamen when he noticed the servants at the gate whispering and muttering among themselves as if they had some news for him which they dared not report outright. He called them over.“What is this hole-and-corner business’?” he demanded.“We hardly dare tell you, sir,” one of them answered.“Why not? Out with it!”“This morning when we got up and opened the gate, we found a sheet of paper pasted on it, covered with scurrilous writing.”“The idea!” exclaimed Master Merchant. “What was it?”“Dirty talk about Water Moon Convent, sir.”“Bring me the paper,” he ordered.“We tried to take it down, but it was glued on too firmly; so we copied it out, then soaked the paper to get it off.<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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刚才李德揭了一张给奴才瞧，就是那门上贴的话。奴才们不敢隐瞒。”说着，呈上那帖儿。贾政接来看时，上面写着：“西贝草斤”年纪轻，水月庵里管尼僧。一个男人多少女，窝娼聚赌是陶情。不肖子弟来办事，荣国府内出新闻。贾政看了，气得头昏目晕，赶着叫门上的人不许声张，悄悄叫人往宁荣两府靠近的夹道子墙壁上再去找寻。随即叫人去唤贾琏出来。贾琏即忙赶至。贾政忙问道：“水月庵中寄居的那些女尼女道，向来你也查考查考过没有？”贾琏道：“没有，一向都是芹儿在那里照管。”贾政道：“你知道芹儿照管得来，照管不来？”<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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贾琏道：“老爷既这么说，想来芹儿必有不妥当的地方儿。”贾政叹道：“你瞧瞧这个帖儿写的是什么。”贾琏一看道：“有这样事么。”正说着，只见贾蓉走来，拿着一封书子，写着“二老爷密启”。打开看时，也是无头榜一张，与门上所贴的话相同。贾政道：“快叫赖大带了三四辆车子到水月庵里去，把那些女尼女道士一齐拉回来。不许泄漏，只说里头传唤。”赖大领命去了。且说水月庵中小女尼女道士等，初到庵中，沙弥与道士原系老尼收管，日间教他些经忏。以后元妃不用，也便习学得懒怠了。那些女孩子们年纪渐渐的大了，都也有个知觉了。<br />
Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.<br />
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Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:02, 30 May 2022 (UTC)<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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更兼贾芹也是风流人物，打量芳官等出家，只是小孩子性儿，便去招惹他们。那知芳官竟是真心，不能上手，便把这心肠移到女尼女道士身上。因那小沙弥中有个名叫沁香的，和女道士中有个叫做鹤仙的，长得都甚妖娆，贾芹便和这两个人勾搭上了，闲时便学些丝弦，唱个曲儿。那时正当十月中旬，贾芹给庵中那些人领了月例银子，便想起法儿来，告诉众人道：“我为你们领月钱，不能进城，又只得在这里歇着。怪冷的，怎么样？我今儿带些果子酒，大家吃着乐一夜，好不好？”那些女孩子都高兴，便摆起桌子，连本庵的女尼也叫了来，惟有芳官不来。<br />
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Moreover, Celery Merchant was a also a play boy, he saw the nuns including Fagrant Official and flirted with them for the sake of his curiosity.However, Fragrant Official was serious about love affairs so that he could’t get anything from her and just targeted at other nuns and women Taoist priest, There were a little monk named Aroma and a woman Taoist priest named Crane Fairy. They both had a pretty appearance so that Celery Merchant made friends with them. He spent his spare time learning instruments and singing opera. It was the middle of Octorber, and Celery Merchant got the salary fort the people in the convent. Then a thought occurred in his mind. He told the people that:”I got the salary for you so that I can’t get into the town and I have to stay at such a cold place. I brought some fruit wine and we can have a feast tonight, how about it?” The girls were happy about it and set the tables. They even invited the nuns in the convent, however, Fragrant Official refused it.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:01, 30 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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贾芹喝了几杯，便说道要行令。沁香等道：“我们都不会，到不如搳拳罢。谁输了喝一杯，岂不爽快？”本庵的女尼道：“这天刚过晌午，混嚷混喝的不像，且先喝几盅，爱散的先散去。谁爱陪芹大爷的，回来晚上尽子喝去，我也不管。”正说着，只见道婆急忙进来说：“快散了罢，府里赖大爷来了。”众女尼忙乱收拾，便叫贾芹躲开。贾芹因多喝了几杯，便道：“我是送月钱来的，怕什么！”话犹未完，已见赖大进来。见这般样子，心里大怒。为的是贾政吩咐不许声张，只得含糊装笑道：“芹大爷也在这里呢么？”贾芹连忙站起来道：“赖大爷，你来作什么？”<br />
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After a few drinks, Celery Merchant proposed to play a drinking game. Pleasure Fragrance and the others said that they didn’t know the game so it would be better if they play finger-guess which is easy and fun: losers drink.“it’s inappropriate to drink and game since it’s only past midday. We can drink a little and return. For those who want to game with Mr. Merchant, just come here at night and I would say nothing about it.”A nun objected. As they spoke, a nun rushed in and said, “Stop it right now! Mr.Rely is here.”All the nuns started to clean it up and advised Celery Merchant to hide. “No need to panic. I’m here to deliver you the month allowance.”Celery Merchant bragged since he got loaded. He didn’t finish his words when Big rely came in, who was infuriated at the scene, but had to follow Master Merchant’s instruction to keep it down and so he smiled, “Didn’t expect to see you here, Mr.Celery Merchant. Celery Merchant stood up immediately, “Mr.Rely, what brings you here?”--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 12:35, 29 May 2022 (UTC)<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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赖大说：“大爷在这里更好。快快叫沙弥道士收拾，上车进城，宫里传呢。”贾芹等不知原故，还要细问。赖大说：“天已不早了，快快的，好赶进城。”众女孩子只得一齐上车。赖大骑着大走骡，押着赶进城，不提。却说贾政知道这事，气得衙门也不能上了，独坐在内书房叹气。贾琏也不敢走开。忽见门上的进来禀道：“衙门里今夜该班是张老爷。因张老爷病了，有知会来请老爷补一班。”贾政正等赖大回来要办贾芹，此时又要该班，心里纳闷，也不言语。贾琏走上去说道：“赖大是饭后出去的，水月庵离城二十来里，就赶进城，也得二更天。今日又是老爷的帮班，请老爷只管去。<br />
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Big Rely replied:“I’m glad you’re here, sir. Tell these novices to get ready at once to drive to town. They’re wanted in the palace.”This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.<br />
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“Pleased to find you here, sir,” said Lai Da, ”We must get the young ladies ready as quickly as possible, and take them back to town. They're wanted at the Palace.” This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 11:20, 30 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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赖大来了，叫他押着，也别声张，等明儿老爷回来再发落。倘或芹儿来了，也不用说明，看他明儿见了老爷怎么样说。”贾政听来有理，只得上班去了。贾琏抽空才要回到自己房中，一面走着，心里抱怨凤姐出的主意，欲要埋怨，因他病着，只得隐忍，慢慢的走着。且说那些下人，一人传十，传到里头，先是平儿知道，即忙告诉凤姐。凤姐因那一夜不好，恹恹的总没精神，正是惦记铁槛寺的事情。听说“外头贴了匿名揭帖”的一句话，吓了一跳，忙问：“贴的是什么？”平儿随口答应，不留神，就错说了，道：“没要紧，是馒头庵里的事情。”<br />
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When Lai Da gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Qin comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Jia Zheng left with some reluctance for the Board. As soon as he had gone Jia Lian set off back to his own apartment, brooding as he went on what he was going to say to Xi-feng. He held her to blame for having given Qin this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Xi-feng had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”<br />
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When Big Rely gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Celery comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Master Merchant left with some reluctance for the Board. As soon as he had gone Romance Merchant set off back to his own apartment, brooding as he went on what he was going to say to Sister Phoenix. He held her to blame for having given Celery this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Sister Phoenix had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 14:50, 30 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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凤姐本是心虚，听见“馒头庵的事情”，这一唬直唬怔了，一句话没说出来，急火上攻，眼前发晕，咳嗽了一阵，哇的一声，吐出一口血来。平儿慌了，说道：“水月庵里，不过是女沙弥女道士的事，奶奶着什么急？”凤姐听是水月庵，才定了定神，说道：“呸，糊涂东西！到底是水月庵呢，是馒头庵？”平儿笑道：“是我头里错听了，是馒头庵，后来听见不是馒头庵，是水月庵。我刚才也就说溜了嘴，说成馒头庵了。”凤姐道：“我就知道是水月庵。那馒头庵与我什么相干！原是这水月庵是我叫芹儿管的。大约刻扣了月钱。”平儿道：“我听着不像月钱的事，还有些腌臜话呢。”<br />
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Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.<br />
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Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 12:41, 30 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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凤姐道：“我更不管那个。你二爷那里去了？”平儿说：“听见老爷生气，他不敢走开。我听见事情不好，我吩咐这些人不许吵嚷，不知太太们知道了么。但听见说，老爷叫赖大拿这些女孩子去了。且叫个人前头打听打听。奶奶现在病着，依我竟先别管他们的闲事。”正说着，只见贾琏进来。凤姐欲待问他，见贾琏一脸的怒气，暂且装作不知。贾琏饭没吃完，旺儿来说：“外头请爷呢，赖大回来了。”贾琏道：“芹儿来了没有？”旺儿道：“也来了。”贾琏便道：“你去告诉赖大，说：老爷上班儿去了，把这些个女孩子暂且收在园里，明日等老爷回来，送进宫去。只叫芹儿在内书房等着我。”<br />
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"Well, I care even less about that.Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Lai Da to bring all the girls back from the Temple. I'll send someone out to see what's happened.Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance.ia Lian had not finished eating his dinner when Brightie came in.‘Lai Da's back, sir.”“Is Celery with him?”"Yes, sir.”‘Tell Lai Da the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace.Tell Celery to wait for me in the inner library.”<br />
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"Well, I care even less about that. Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Big Lie to bring all the girls back from the Temple. I'll send someone out to see what's happened. Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance. Romance Merchant had not finished eating his dinner when Brightie came in.‘Big Lie's back, sir." "Is Celery with him?" "Yes, sir." "Tell Big Lie the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace. Tell Celery to wait for me in the inner library."--[[User:Long Hanliang|Long Hanliang]] ([[User talk:Long Hanliang|talk]]) 01:46, 31 May 2022 (UTC)<br />
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==英语笔译 龙翰良 Long Hanliang 202170081589==<br />
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旺儿去了。贾芹走进书房，只见那些下人指指点点不知说什么，看起这个样儿来，不像宫里要人。想着问人，又问不出来。正在心里疑惑，只见贾琏走出来，贾芹便请了安，垂手侍立，说道：“不知道娘娘宫里即刻传那些孩子们做什么？叫侄儿好赶！幸喜侄儿今儿送月钱去，还没有走，便同着赖大来了。二叔想来是知道的。”贾琏道：“我知道什么？你才是明白的呢！”贾芹摸不着头脑儿，也不敢再问。贾琏道：“你干得好事！把老爷都气坏了。”贾芹道：“侄儿没有干什么。庵里月钱是月月给的，孩子们经忏是不忘记的。”<br />
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Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.<br />
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Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.--[[User:Luo Yaolin|Luo Yaolin]] ([[User talk:Luo Yaolin|talk]]) 05:13, 30 May 2022 (UTC)<br />
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==英语笔译 罗姚林 Luo Yaolin 202170081590==<br />
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贾琏见他不知，又是平素常在一处顽笑的，便叹口气道：“打嘴的东西！你各自去瞧瞧罢！”便从靴掖儿里头拿出那个揭帖来，扔与他瞧。贾芹拾来一看，吓的面如土色，说道：“这是谁干的！我并没得罪人，为什么这么坑我？我一月送钱去，只走一趟，并没有这些事。若是老爷回来，打着问我，侄儿便该死了。我母亲知道，更要打死。”说着，见没人在旁边，便跪下去说道：“好叔叔，救我一救儿罢！”说着，只管磕头，满眼流泪。贾琏想道：“老爷最恼这些，要是问准了有这些事，这场气也不小。闹出去也不好听，又长那个贴帖儿的人的志气了。将来咱们的事多着呢。Having noticed that he indeed had no idea about it, and they themselves privately were on speaking terms, Romance Merchant sighed," You bastard.! Take and see it carefully!" as putting out a notice from his shoes and throwing it to Celery Merchant. At the sight of the notice, Celery Merchant said questioningly with his face ashy gray," Who made it? I never gave offence to anybody, why should I be ensnared like this? I merely went there once a month for sending money and never did such things. I would be sunk if the master asked me about it after his back, and the consequence would be even worse if my mom knew it." Seeing no other people around here, Celery Merchant knelt down to implore him,"my dear uncle, please help me, please!" followed kowtowing and tearing constantly. "Master is very vexed with such things and must be extremely angry with this if he knew it's true." Romance Merchant thought to himself, "And the family's reputation would be blemished for the spreading of it, which, on the contrary, the notice maker would be therefore more arrogant. There are many other concerns in the future."<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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倒不如趁着老爷上班儿，和赖大商量着，若混过去，就可以没事了。现在没有对证。”想定主意，便说：“你别瞒我，你干的鬼鬼祟祟的事，你打谅我都不知道呢。若要完事，就是老爷打着问你，你一口咬定没有才好。没脸的，起去罢！”叫人去唤赖大。不多时，赖大来了，贾琏便与他商量。赖大说：“这芹大爷本来闹的不像了。奴才今儿到庵里的时候，他们正在那里喝酒呢。帖儿上的话，是一定有的。”贾琏道：“芹儿，你听！赖大还赖你不成？”贾芹此时红涨了脸，一句也不敢言语。还是贾琏拉着赖大，央他：“护庇护庇罢，只说贾芹哥儿在家里找来的。<br />
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It would be better to take advantage of the master to go to work and discuss with Big Lie. If you muddle through, you will be all right. There is no counterevidence now. " When he made up his mind, he said, "Don't lie to me. You think I don't know about the furtive things you've done." In the worst-case scenario, if your lordship tortures you, you must insist that you don't have it. Shameless, go away! "He sent someone to call Big Lie. After a while, when Big Lie came, Romance Merchant discussed it with him. Big Lie said, "Uncle Qin didn't look like it anymore." When the lackeys came to the nunnery today, they were drinking there. There must be some words on the post. " Romance Merchant said, " Celery, listen! Can Big Lie still put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and told him, "Please protect him, only say that Celery took it at home."<br />
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It would be better to discuss with Big Rely to come up with an excuse to get ride of the trouble while Master is away for work. If you muddle through, you will be all right. Now no one can verify this." When he made up his mind, he said, "Don't you lie to me. You think I don't know about the furtive things you've done? In the worst-case scenario, even if your lordship tortures you, you must insist that you didn’t make it. You the shameless guy, just go away! "He sent someone to call Big Rely. After a while, when he came, Romance Merchant discussed it with him. Then Big Rely said, "Master Celery really did a shameful thing. When I came to the nunnery today, they were drinking there. The things depicted on the post must have happened." Romance Merchant said, " Celery, listen! Can Big Rely put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and begged him, "Please protect him, and just say that Celery found it at home."--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 02:50, 30 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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你带了他去，只说没有见我。明日你求老爷，也不用问那些女孩子了。竟是叫了媒人来，领了去，一卖完事。果然娘娘再要的时候儿，咱们再买。”赖大想来，闹也无益，且名声不好，就应了。贾琏叫贾芹：“跟了赖大爷去罢！听着他教你，你就跟着他。”说罢，贾芹又磕了一个头，跟着赖大出去。到了没人的地方儿，又给赖大磕头。赖大说：“我的小爷，你太闹的不像了。不知得罪了谁，闹出这个乱儿。你想想，谁和你不对罢？”贾芹想了一想，忽然想起一个人来，话说赖大带了贾芹出来，一宿无话，静候贾政回来。单是那些女尼女道重进园来，都喜欢的了不得，欲要到各处逛逛，明日预备进宫。<br />
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You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one is around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this thing. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and monks went into the park, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.<br />
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You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one was around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this affair. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and female Buddhist monks went into the garden, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 14:58, 28 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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不料赖大便吩咐了看院的婆子并小厮看守，惟给了些饮食，却是一步不准走开。那些女孩子摸不着头脑，只得坐着，等到天亮。园里各处的丫头虽都知道拉进女尼们来，预备宫里使唤，却也不能深知原委。到了明日早起，贾政正要下班，因堂上发下两省城工估销册子，立刻要查核，一时不能回家，便叫人回来告诉贾琏说：“赖大回来，你务必查问明白。该如何办就如何办了，不必等我。”贾琏奉命，先替芹儿喜欢，又想道：“若是办得一点影儿都没有，又恐贾政生疑，不如回明二太太，讨个主意办去，便是不合老爷的心，我也不至甚担干系。”<br />
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Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those Buddhist nuns. Only provided with some drinks and foods, they were not allowed to step out of this garden. They didn’t have the least idea of what happened, but to stay here till next morning. The girls in the garden knew that those nuns were called in here to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to end the morning court, for he needed to re-check the evaluation booklet on city workers of two provinces at once, he couldn’t go back home for a short while. Thus he just sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just go forward according to the situation.” Receiving orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”<br />
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Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those nuns who were provided with some drinks and foods, but not allowed to step out of that garden. The nuns didn’t have the least idea of what happened and had to stay there till next morning. The girls in the garden knew that those nuns were called in to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to knock off, for he needed to re-check the evaluation booklet on city engineering of two provinces at once, he couldn’t go back home for a short while. Thus, he sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just deal with it according to the situation.” Receiving the orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 12:07, 29 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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主意定了，进内去见王夫人，陈说：“昨日老爷见了揭帖生气，把芹儿和女尼女道等都叫进府来查办。今日老爷没空问这种不成体统的事，叫我来回太太，该怎么便怎么样。我所以来请示太太，这件事如何办理？”王夫人听了咤异道：“这是怎么说！若是芹儿这么样起来，这还成咱们家的人了么？但只这个贴帖儿的也可恶！这些话可是混嚼说得的么？你到底问了芹儿有这件事没有呢？”贾琏道：“刚才也问过了。太太想，别说他干了没有，就是干了，一个人干了混帐事也肯应承么？但只我想芹儿也不敢行此事：知道那些女孩子都是娘娘一时要叫的，倘或闹出事来，怎么样呢？<br />
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With that in mind, Romance Merchant came into Lady King's room and reported to her, "Yesterday, being outraged by that letter, the master instructed that taking Celery Merchant and those Buddhist and Taoist nuns into the mansion to investigate them. Today he is too busy to bother about such a disgraceful matter, and then ordered me to report to you that dealing with it as you wish. So, I'm here to ask you how to cope with it." "Why! It's unreasonable to regard Celery Merchant as one of our family, let alone his disreputable behavior today. Moreover, the one who pasted that letter is detestable! How could they gossip about such things! Have you asked Celery Merchant this matter or not?" Lady King said with astonishment. "I asked him just now. Even if he did that, how could he admit such indecent behavior? Leave alone he might be innocent. Think about it. But I assume that he dared not to do such a thing, knowing the girls would be called by the imperial concubine someday. What will he do if something happens?" replied Romance Merchant.<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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依侄儿的主见，要问也不难，若问出来，太太怎么个办法呢？”王夫人道：“如今那些女孩子在那里？”贾琏道：“都在园里锁着呢。”王夫人道：“姑娘们知道不知道？”贾琏道：“大约姑娘们也都知道是预备宫里头的话，外头并没提起别的来。”王夫人道：“狠是。这些东西一刻也是留不得的。头里我原要打发他们去来着，都是你们说留着好，如今不是弄出事来了么？你竟叫赖大那些人带去细细的问他的本家有人没有，将文书查出，花上几十两银子，雇只船，派个妥当人，送到本地，一概连文书发还了，也落得无事。若是为着一两个不好，个个都押着他们还俗，那又太造孽了；<br />
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To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort,to where they came from. When they’ve all been manumitted that will be the end of that.If we were to force them all to go back to secular life just because one or two of them have gone to the bad, that would be too heartless.<br />
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To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort, to where they came from. When they’ve all been manumitted that will be the end of that. Even if one or two of them have been up to some mischief, I don't think it would be fair to punish them indiscriminately, by making them all return to lay-life.--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 14:21, 29 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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若在这里发给官媒，虽然我们不要身价，他们弄去卖钱，那里顾人的死活呢？芹儿呢，你便狠狠的说他一顿，除了祭祀喜庆，无事叫他不用到这里来。看仔细碰在老爷气头儿上，那可就吃不了兜着走了。并说与帐房儿里，把这一项钱粮档子销了。还打发个人到水月庵说：老爷的谕：除了上坟烧纸，若有本家爷们到他那里去，不许接待。若再有一点不好风声，连老姑子一并撵出去。”贾琏一一答应了出去，将王夫人的话告诉赖大，说：“是太太主意，叫你这么办去。办完了，告诉我去回太太。你快办去罢。回来老爷来，你也按着太太的话回去。”<br />
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And if we made them over to official brokers here, even though we didn't ask for any money they'd still sell them, not caring at all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send word to Water Moon Convent that, on the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.<br />
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And if we made them over to officials here, even though we didn't ask for money they'd still sell them, not caring about all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send words to Water Moon Convent that, according to the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 10:24, 30 May 2022 (UTC)<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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赖大听说，便道：“我们太太真正是个佛心，这班东西着人送回去。既是太太好心，不得不挑个好人。芹哥儿竟交给二爷开发了罢。那个贴帖儿的，奴才想法儿查出来，重重的收拾他才好。”贾琏点头说：“是了。”即刻将贾芹发落。赖大也赶着把女尼等领出，按着主意办去了。晚上贾政回家，贾琏赖大回明贾政。贾政本是省事的人，听了也便撂开手了。独有那些无赖之徒，听得贾府发出二十四个女孩子出来，那个不想？究竟那些人能彀回家不能，未知着落，亦难虚拟。且说紫鹃因黛玉渐好，园中无事，听见女尼等预备宫内使唤，不知何事，便到贾母那边打听打听。<br />
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When Lai Da heard this, he said, "Our ladyship is really a Buddha," and this class of things was sent back." Both are too kind to have to pick a good person. Brother Qin actually handed it over to Precious Jade to develop. The one who posted it, the slave thought about finding out, and it was good to clean up after him. Jia Lian nodded and said, "Yes." "Immediately send Jia Qin down." Lai Da also hurried to lead the nuns out and did as he was told. In the evening, Jia Zheng went home, and Jia Lianlai returned to Ming Jia Zheng. Jia Zheng was originally a convenient person, and when he heard it, he opened his hand. Only those rogues, I heard the Jia send out twenty-four girls out, that doesn't want to? In the end, those people can go home and can't, the unknown location, and it is difficult to be virtual. Moreover, it is said that the Purple Crane is getting better because of , and there is nothing to do in the garden, so when he heard the nuns and other nuns preparing for the palace, they did not know what to do, so they went to Lady Wang's house to inquire.<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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恰遇着鸳鸯下来闲着，坐下说闲话儿，提起女尼的事，鸳鸯咤异道：“我并没有听见，回来问问二奶奶就知道了。”正说着，只见傅试家两个女人过来请贾母的安，鸳鸯要陪了上去。那两个女人因贾母正睡晌觉，就与鸳鸯说了一声儿，回去了。紫鹃问：“这是谁家差来的？”鸳鸯道：“好讨人嫌！家里有了一个女孩儿，生得好些，便献宝的是的，常常在老太太面前夸他家姑娘长得怎么好，心地怎么好，礼貌上又能，说话儿又简绝，做活计儿手儿又巧，会写会算，尊长上头最孝敬的，就是待下人也是极和平的，来了就编这么一大套，常常说给老太太听。我听着狠烦。<br />
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Happen to meet Mandarin Duck’s leisure, they sat chatting. The mention of Buddhist nun surprises Mandarin Duck:“I didn’t hear it and we will know after second grandma come.” Whiling saying, Mandarin Duck planned to welcome two women in Testing Assist’s family coming to visit Grandma Merchant. Because Mother Merchant was sleeping at noon, the two women spoke to the Mandarin Duck and went back. Purple Cuckoo asked, "Whose family sent this?" Mandarin Duck said: "What a nuisance! They praised their beautiful daughter as treasures in the presence of Mother Merchant by boasting her good nature, appearance ,politeness and eloquence. The girl was skillful at writing and calculating, and the most dutiful of her superiors was very peaceful to servants. When she came, she would make up such a talk and often told the old lady. I'm sick of hearing it. <br />
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She happened to find Mandarin Duck free too, and sitting down to chat she asked her about the nuns. “This is news to me,” said Mandarin Duck in surprise. “I’ll find out later on from Madam Phoenix.” As they were talking, two serving-women from Test Assist’s family arrived to pay their respects to the Lady Dowager. Mandarin Duck was taking them there when they heard that the old lady was having a nap, so the women delivered their message to her and left. “Where are they from?” asked Nightingale. “They’re perfect pests!”Mandarin Duck told her. “The Assists have a daughter who is not bad-looking, so they keep coming to praise her to the old lady for her good looks, good heart and good manners. They say she’s no chatter-box but a skilled needlewoman, who can write and keep accounts too, most dutiful to her elders and kind to the servants. Each time they come they reel all this off, as if offering the old lady some rare treasure. I can’t bear listening to them!--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 02:39, 29 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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这几个老婆子真讨人嫌。我们老太太偏爱听那些个话。老太太也罢了，还有宝玉，素常见了老婆子，便狠厌烦的，偏见了他们家的老婆子便不厌烦，你说奇不奇？前儿还来说：他们姑娘现有多少人家儿来求亲，他们老爷总不肯应，心里只要和咱们这种人家作亲才肯。一回夸奖，一回奉承，把老太太的心都说活了。”紫鹃听了一呆，便假意道：“若老太太喜欢，为什么不就给宝玉定了呢？”鸳鸯正要说出原故，听见上头说：“老太太醒了。”鸳鸯赶着上去，紫鹃只得起身出来。回到园里，一头走，一头想道：“天下莫非只有一个宝玉？你也想他，我也想他。<br />
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But although they’re such a nuisance, our old lady loves that kind of talk. She isn’t the only one either. Even Precious Jade who can’t abide most old women doesn’t mind these from the Assist family. Odd, isn’t it? Only the other day they came to say that lots of people are asking for their young lady, but her father won’t give his consent hinting that only a family like ours would be good enough for her. All their praise and flattery are having some effect on the old lady.” Though taken aback, Nightingale asked with a show of indifference, “If she thinks it a good match for Precious Jade, then why not fix it up?” Before Mandarin Duck could explain someone inside called Out, “The old lady’s woken!” Mandarin Duck hurried in then and Nightingale got up to leave. On her way back to the Garden she ruminated, “Is there only one Precious Jade in the world that everybody should want him?<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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我们家的那一位，越发痴心起来了。看他的那个神情儿，是一定在宝玉身上的了。三番五次的病，可不是为着这个是什么！这家里‘金’的‘银’的还闹不清，若添了一个什么傅姑娘，更了不得了。我看宝玉的心也在我们那一位的身上；听着鸳鸯的说话，竟是见一个爱一个的。这不是我们姑娘白操了心了吗？”紫鹃本是想着黛玉，往下一想，连自己也不得主意了，不免掉下泪来。要想叫黛玉不用瞎操心呢，又恐怕他烦恼；若是看着他这样，又可怜见儿的。左思右想，一时烦躁起来，自己啐自己道： <br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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“你替人耽什么忧！就是林姑娘真配了宝玉，他的那性情儿也是难伏侍的。宝玉性情虽好，又是贪多嚼不烂的。我倒劝人不必瞎操心，我自己才是瞎操心呢！从今已后，我尽我的心伏侍姑娘，其余的事全不管。”这么一想，心里倒觉清净。回到潇湘馆来，见黛玉独自一人，坐在炕上理从前做过的诗文词稿，抬头见紫鹃来，便问：“你到那里去了？”紫鹃道：“我今儿睄了睄姐妹们去。”黛玉道：“敢是找袭人姐姐去么？”紫鹃道：“我找他做什么？”黛玉一想，这话怎么顺嘴说了出来？反觉不好意思，便啐道：“你找谁与我什么相干！倒茶去罢。”<br />
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“Why worry about someone else? Even if she really marries, the way she is it won’t be easy to please her; and Precious Jade, for all he’s good-natured, is too much of a flirt. But here I am hoping she’ll stop worrying yet worrying myself for nothing! From now on I’ll look after her as best I can and not care about anything else.” This conclusion helped to calm her down by the time she reached Bamboo Lodge, where she found Mascara Jade sitting all by herself on the kang sorting out her old poems and essays. She looked up when Nightingale came in. “Where have you been?” she asked. “To call on some other girls.” “Did you see Sister Aroma?” “Why should I go to see her?” Mascara Jade wondered how she had come to blurt out such a question, and in embarrassment she answered curtly, “I don’t care where you go. Fetch me some tea.”<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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紫鹃也心里暗笑，出来倒茶。只听见园里的一叠声乱嚷，不知何故。一面倒茶，一面叫人去打听。回来说道：“怡红院里的海棠本来萎了几棵，也没人去浇灌他。昨日宝玉走去瞧，见枝头上好像有了蓇朵儿是的。人都不信，没有理他。忽然今日开得狠好的海棠花，众人咤异，都争着去看，连老太太、太太都哄动了，来瞧花儿呢。所以大奶奶叫人收拾园里败叶枯枝，这些人在那里传唤。”黛玉也听见了，知道老太太来，便更了衣，叫雪雁去打听：“若是老太太来了，即来告诉我。”雪雁去不多时，便跑来说：“老太太、太太好些人都来了，请姑娘就去罢。”<br />
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Laughing in her heart, Nightingale went out to prepare the tea and heard a clamour of voices in the Garden. When she poured the tea she sent someone to find out what had happened.The girl sent came back and told her, “Some crab-apple trees in Happy Red Court had withered, and nobody watered them; but yesterday when Precious Jade had a look he said he saw buds on the branches. No one believed him or paid any attention to it. Today, suddenly, they burst into bloom with lovely crab-apple flowers! People were so amazed that they rushed over there to look, It’s caused such a sensation that even the old lady and Her Ladyship are coming to see the flowers. So Madam Zhu’s given orders to have the leaves in the Garden swept up, and they were calling servants just now to do this.”Mascara Jade, overhearing that the old lady was coming, at once changed her clothes and sent Snowgoose out to keep watch.“Tell me as soon as the old lady comes,” she said.It was not long before Snowgoose came running back. “The old lady and the mistress have come with quite a party,” she replied.” You’d better go right away, miss.”<br />
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==英语笔译 颜媛 Yan Yuan 202170081603==<br />
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黛玉略自照了一照镜子，掠了一掠鬓发，便扶着紫鹃到怡红院来，已见老太太坐在宝玉常卧的榻上。黛玉便说道：“请老太太安。”退后便见了邢王二夫人，回来与李纨、探春、惜春、邢岫烟彼此问了好。只有凤姐因病未来；史湘云因他叔叔调任回京，接了家去；薛宝琴跟他姐姐家去住了；李家姐妹因见园内多事，李婶娘带了在外居住：所以黛玉今日见的只有数人。大家说笑了一回，讲究这花开得古怪。贾母道：“这花儿应在三月里开的，如今虽是十一月，因节气迟，还算十月，应着小阳春的天气，因为和暖，开花也是有的。”王夫人道：“老太太见的多，说得是，也不为奇。”<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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邢夫人道：“我听见这花已经萎了一年，怎么这回不应时候儿开了？必有个原故。”李纨笑道：“老太太与太太说得都是。据我的糊涂想头，必是宝玉有喜事来了，此花先来报信。”探春虽不言语，心内想：“此花必非好兆。大凡顺者昌，逆者亡；草木知运，不时而发，必是妖孽。”只不好说出来。独有黛玉听说是喜事，心里触动，便高兴说道：“当初田家有荆树一棵，三个弟兄因分了家，那荆树便枯了；后来感动了他弟兄们，仍旧归在一处，那荆树也就荣了。可知草木也随人的。如今二哥哥认真念书，舅舅喜欢，那棵树也就发了。”贾母王夫人听了喜欢，便说：“林姑娘比方得有理，狠有意思。”<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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正说着，贾赦、贾政、贾环、贾兰都进来看花。贾赦便说：“据我的主意，把他砍去。必是花妖作怪。”贾政道：“‘见怪不怪，其怪自败。’不用砍他，随他去就是了。”贾母听见，便说：“谁在这里混说？人家有喜事好处，什么怪不怪的！若有好事，你们享去；若是不好，我一个人当去。你们不许混说。”贾政听了，不敢言语，赸赸的同贾赦等走了出来。那贾母高兴，叫人传话到厨房里，快快预备酒席，大家赏花。叫：“宝玉、环儿、兰儿各人做一首诗志喜。林姑娘的病才好，不要他费心；若高兴，给你们改改。”对着李纨道：“你们都陪我喝酒。”李纨答应了“是”便笑对探春笑道：“都是你闹的。”<br />
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Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all came in to see the flowers. Pardon Merchant said, "In my opinion, just cut it down. It must be flower demons which make trouble." Master Merchant added: "' If you are inured to the strange, it will not be strange. ' Don't cut it down, just let it be." When Grandma Merchant heard this, she said, "Who is talking nonsense here? There is something auspicious in store for us. If there be good things, you enjoy yourselves; If not, I will go alone. You shouldn’t fool around." Mater Merchant dare not speak when heard this, and he walked out with Pardon Merchant embarrassingly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said in a high voice: “Precious Jade, Ring and Blue, each of you to write a poem to express congratulations. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you." "You'll all drink with me," she said to Silk Plum. Silk Plum replied "yes" and then smiled at Seeking-Spring and said, "It's all your fault."<br />
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Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all arrived to see the flowers. Pardon Merchant said, “In my opinion, just cut it down. It must be flower demons which make trouble.” Master Merchant added: “On the contrary, just let them alone. Evil manifestations thrive on such superstition. Just ignore them and they will disappear.” When Grandma Merchant heard this, she said, “Who is talking nonsense here? There is something auspicious in store for us. When there’s good luck, then enjoy it while you can. If not, I will take care of any bad luck. Do not say any other word of such nonsense.” This silenced Master Merchant and he walked out with Pardon Merchant awkwardly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said: “I should like Precious Jade, Ring and Blue, each to write a poem to celebrate this occasion. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you.” “You and the others come up and drink some wine with me,” she said to Silk Plum. Silk Plum replied “yes” and then, smiling, turned to Seeking-Spring and said, “This is all your fault.”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 04:40, 29 May 2022 (UTC)<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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探春道：“饶不叫我们做诗，怎么我们闹的？”李纨道：“海棠社不是你起的么？如今那棵海棠也要来入社了。”大家听着，都笑了。一时，摆上酒菜，一面喝着。彼此都要讨老太太的欢喜，大家说些兴头话。宝玉上来斟了酒，便立成了四句诗，写出来念与贾母听，道：海棠何事忽摧隤，今日繁花为底开？应是北堂增寿考，一阳旋复占先梅。贾环也写了来，念道：草木逢春当茁芽，海棠未发候偏差。人间奇事知多少，冬月开花独我家。贾兰恭楷誊正，呈与贾母。贾母命李纨念道：烟凝媚色春前萎，霜浥微红雪后开。莫道此花知识浅，欣荣预佐合欢杯。<br />
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Seeking-Spring protested, “What do you mean? We are not allowed to write poems. And what’s my fault?” “Aren’t you the founder of crab-flower club?”, replied Silk Plum. “Now the real crab-flower is going to join in this club too.” Everyone laughed after what Silk Plum had said. Food and wine now were served and they all drank. They tried their best to amuse Grandma Merchant with some humorous conversations. Precious Jade came up to pour himself some wine, then thought for a while and wrote a poem. Then he read it to his grandma. The poem said: I asked the crab-tree why it failed to blossom at the blossom-time, now you bloomed so profusely so long before the spring? The tree said: ‘At this time, it means new birth.’, Glad tidings to the Mistress of this House I bring. Then Ring Merchant also wrote out his poem and began to recite: Plants should begin to grow up in spring, our crab-tree blossomed at a wrong time. Of all the wonders in the world, it is the first time for trees to blossom in winter in our home. Then Cymbidium Merchant made a careful copy of his poem in Kai-shu calligraphy and gave it to Grandma Merchant. Grandma Merchant asked Silk Plum to read it out: Your beauty blighted in spring, but you blossom in winter now. Don not say this tree is not wise, it adds luster to our family prosperity.<br />
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“We’ve not even been allowed to write poems,” retorted Seeking-Spring. “So surely this has nothing to do with us?” “Didn’t you start the Begonia Society? Now these crab-apples’ want to join your club too.” At that everybody laughed. Presently wine and dishes were served. And as they drank they all tried to please the old lady by cheerful talk. Precious Jade poured wine for the others, then made tip and wrote out a quatrain which he read to his grandmother. It was as follows: What made the crab-apple wither away? And today why have fresh blossoms come? To foretell a long life for our Old Ancestress It is flowering anew, ahead of the plum. Ring Merchant also wrote and read out this poem: Crab-apples should burgeon in the spring, But ours were bare this year. The world is full of strange phenomena, Yet only here do winter blooms appear. Cymbidium Merchant wrote out his verse neatly and presented it to the old lady, who made Silk Plum read it out as follows: Its misty charm had faded by last spring, But after snow and frost pink blooms unfold. Do not accuse this flower of ignorance— Good fortune at this feast it has foretold.--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 01:55, 29 May 2022 (UTC)<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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贾母听毕，便说：“我不大懂诗，听去倒是兰儿的好，环儿做得不好。都上来吃饭罢。”宝玉看见贾母喜欢，更是兴头，因想起：“晴雯死的那年，海棠死的；今日海棠复荣，我们院内这些人，自然都好，但是晴雯不能像花的死而复生了。”顿觉转喜为悲。忽又想起前日巧姐提凤姐要把五儿补入，或此花为他而开，也未可知。却又转悲为喜，依旧说笑。贾母还坐了半天，然后扶了珍珠回去了，王夫人等跟着过来。只见平儿笑嘻嘻的迎上来，说：“我们奶奶知道老太太在这里赏花，自己不得来，叫奴才来伏侍老太太、太太们。还有两匹红送给宝二爷包裹这花，当作贺礼。”<br />
The old lady said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”<br />
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Grandma Merchant said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:37, 30 May 2022 (UTC)<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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袭人过来接了，呈与贾母看。贾母笑道：“偏是凤丫头行出点事儿来，叫人看着又体面，又新鲜，狠有趣儿！”袭人笑着向平儿道：“回去替宝二爷给二奶奶道谢：要有喜，大家喜。”贾母听了，笑道：“嗳哟，我还忘了呢！凤丫头虽病着，还是他想得到，送得也巧。”一面说着，众人就随着去了。平儿私与袭人道：“奶奶说，这花开得奇怪，叫你铰块红绸子挂挂，便应在喜事上去了。以后也不必只管当作奇事混说。”袭人点头答应，送了平儿出去不题。且说那日宝玉本来穿着一裹圆的皮袄在家歇息，因见花开，只管出来看一回、赏一回、叹一回、爱一回的，心中无数悲喜离合，都弄到这株花上去了。<br />
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Aroma came to pick it up and presented it to Grandma Merchant to see. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come.In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Ping'er out without a question. Moreover,on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart all got to this flower.<br />
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Aroma came to pick it up and presented it to Grandma Merchant. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come. In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Patience out. Moreover, on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart were intrigued by this flower.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 08:05, 30 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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忽然听说贾母要来，便去换了一件狐腋箭袖，罩一件玄狐腿外褂，出来迎接贾母。匆匆穿换，未将”通灵宝玉“挂上。及至后来贾母去了，仍旧换衣。袭人见宝玉脖子上没有挂着，便问：“那块玉呢？”宝玉道：“才刚忙乱换衣，摘下来放在炕桌上，我没有带。”袭人回看桌上，并没有玉，便向各处找寻，踪影全无，吓得袭人满身冷汗。宝玉道：“不用着急，少不得在屋里的。问他们就知道了。”袭人当作麝月等藏起吓他顽，便向麝月等笑着说道：“小蹄子们！顽呢，到底有个顽法。把这件东西藏在那里了？别真弄丢了，那可就大家活不成了。”<br />
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Suddenly Precious Jade heard that Grandma Merchant was coming. He went to change a Jianxiu(a kind of clothes with tight sleeves) made of fox's armpit hair and put on a garment made of the hair from black fox's legs, then he went out to welcome Grandma Merchant. He was in such a hurry to change his clothes that he forgot to wear his jade pendant of "Tong Ling Bao Yu". When Grandma Merchant left and Precious Jade went to change clothes, Aroma found that and asked him, "Where is that jade pendant?" Precious Jade answered, "I was hurrying to change my clothes. And I didn't wear it since I took it off and put it on the table." Aroma then found that the jade pendant was not on the table and looked around the room. The jade pendant was still missing, which scared Aroma to be in cold sweat. Precious Jade said, "Don't be anxious, it must stay somewhere in the room. You can ask the others." Aroma thought that it was Dusk Moon and other maids who hid the jade pendant to play tricks on her. She said to them, laughing, "You stupid girls! Are you playing the treasure haunting game? Where do you hide the jade pendant? If you really lose it, we all will be punished!"<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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麝月等都正色道：“这是那里的话？顽是顽，笑是笑，这个事非同儿戏，你可别混说！你自己昏了心了，想想罢，想想搁在那里了？这会子又混赖人了。”袭人见他这般光景，不像是顽话，便着急道：“皇天菩萨，小祖宗！到底你摆在那里去了？”宝玉道：“我记得明明放在炕桌上的，你们到底找啊。”袭人麝月秋纹等也不敢叫人知道，大家偷偷儿的各处搜寻。闹了大半天，毫无影响，甚至翻箱倒笼，实在没处去找，便疑到方才这些人进来，不知谁捡了去了。袭人说道：“进来的，谁不知道这玉是性命是的东西呢？谁敢捡了去呢！你们好歹先别声张，快到各处问去。“What are you talking about?” they answered seriously. “Joking is all very well, but this is no joking matter. Don’t talk nonsense. You must be crazy! Better think back to where you put it instead of accusing us.”“Heavens!” cried Aroma anxiously, seeing them so much in earnest. “Where exactly did you put it, Master Precious Jade Merchant?”“I remember quite clearly putting it on that table,” he assured her. “Make a good search for it.”Not daring to let outsiders know, Aroma, Musk Deer Month, Autumn Vein and the other girls quietly searched the whole place. They hunted around for hours, even turning out cases and crates — but all in vain. When the jade was nowhere to be found, they wondered if one of their visitors that day could have taken it.But Aroma said, “All of them know how precious this jade is. Who’d dare take it? You mustn’t, for goodness’ sake, let word of this get out, but go and make inquiries at different households.<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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若有姐妹们捡着吓我们顽呢，你们给他磕头，要了回来；若是小丫头偷了去，问出来，也不回上头，不论把什么送给他换了出来，都使得的。这可不是小事，真要丢了这个，比丢了宝二爷的还利害呢。”麝月秋纹刚要往外走，袭人又赶出来嘱咐道：“头里在这里吃饭的倒别先问去。找不成，再惹出些风波来，更不好了。”麝月等依言，分头各处追问。人人不晓，个个惊疑。麝月等回来，俱目瞪口呆，面面相窥，宝玉也吓怔了，袭人急的只是干哭。找是没处找，回又不敢回：怡红院里的人吓得个个像木雕泥塑一般。大家正在发呆，只见各处知道的都来了。<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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探春叫把园门关上，先命个老婆子带着两个丫头，再往各处去寻去；一面又叫告诉众人：“若谁找出来，重重的赏银。”大家头宗要脱干系，二宗听见重赏，不顾命的混找了一遍，甚至于茅厮里都找到。谁知那块玉竟像绣花针儿一般，找了一天，总无影响。李纨急了，说：“这件事不是顽的，我要说句无礼的话了。”众人道：“什么呢？”李纨道：“事情到了这里，也顾不得了。现在园里，除了宝玉都是女人。要求各位姐姐、妹妹、姑娘都要叫跟来的丫头脱了衣服，大家搜一搜。若没有，再叫丫头们去搜那些老婆子并粗使的丫头。”<br />
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Seeing-Spring asked servants to close the yard gate. She then asked an old female servant to bring two girl servants to search around. At the same time, she told the rest, "A bonus for anyone who find it." Everyone wanted to prove their innocence and also wanted the bonus. Therefore, all were searching for the jade. Even the toilets were searched. However, it was seen nowhere after one day. Silk Plum was worried, saying, "It is no joke. I am going to be rude." Everyone was confused. She continued, "As for now, I think there is no other options. Now, except Precious Jade, everyone in the yard is female. So I beg every one of you to take off your clothes and let's search it again. If still no result, then I'll ask girl servants to search the old lady servants and manual servants."<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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大家说道：“这话也说的有理。现在人多手乱，鱼龙混杂，到是这么一来，你们也洗洗清。”探春独不言语。那些丫头们也都愿意洗净自己。先是平儿起。平儿说道：“打我先搜起。”于是各人自己解怀。李纨一气儿混搜。探春嗔着李纨道：“大嫂子，你也学那起不成材料的样子来了。那个人既偷了去还肯藏在身上？况且这件东西，在家里是宝，到了外头不知道的是废物，偷他做什么？我想来必是有人使促狭。”众人听说，又见环儿不在这里，昨儿是他满屋里乱跑，都疑到他身上，只是不肯说出来。<br />
"That's an idea, "they agreed." With such a crowd of us here we're a mixed lot, and this would be a way to clear ourselves."<br />
Only Seeking Spring made no comment.<br />
As the maids also wanted to clear themselves of suspicion, Pinger volunteered to be the first to be searched. Then the others stripped too, and Li Wan searched them in turn.<br />
"Sister-in-law!?"snapped Seeking Spring. "Where did you learn to behave in this scandalous way? If anyone stole it she wouldn't keep it on her, would she? Besides, this jade may be treasured here but to outsiders not in the know it's quite useless, so why should anyone steal it? I'm sure that someone is up to monkey tricks."<br />
When they heard this and noticed Huan's absence— though earlier on he had been running all over the place— they suspected him but were unwilling to say so.<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
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探春又道：“使促狭的只有环儿。你们叫个人去悄悄的叫了他来，背地里哄着他，叫他拿出来，然后吓着他，叫他不要声张。这就完了。”大家点头称是。李纨便向平儿道：“这件事还是得你去才弄得明白。”平儿答应，就赶着去了。不多时，同了环儿来了。众人假意装出没事的样子，叫人沏了碗茶，搁在里间屋里。众人故意搭赸走开，原叫平儿哄他。平儿便笑着向环儿道：“你二哥哥的玉丢了，你瞧见了没有？”贾环便急得紫涨了脸，瞪着眼，说道：“人家丢了东西，你怎么又叫我来查问疑我，我是犯过案的贼么？”<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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平儿见这样子，到不敢再问，便又陪笑道：“不是这么说。怕三爷要拿了去吓他们，所以白问问瞧见了没有，好叫他们找。”贾环道：“他的玉在他身上，看见不看见该问他，怎么问我？捧着他的人多着咧！得了什么不来问我，丢了东西就来问我！”说着，起身就走。众人不好拦他。这里宝玉倒急了，说道：“都是这劳什子闹事！我也不要他了，你们也不用闹了。环儿一去，必是嚷得满院里都知道了，这可不是闹事了么？”袭人等急得又哭道：“小祖宗，你看这玉丢了没要紧；若是上头知道了，我们这些人就要粉身碎骨了！”说着，便嚎啕大哭起来。<br />
She explained with a smile.“I thought you might have taken it to scare them; that's why I simply asked if you'd seen it or not to help them find it." "He was the one wearing the jade so he's the one you should ask instead of me. You all make so much of him! When there's something good going,you don't ask me to share it; but when anythings lost,I'm the one you ask about it!" He got up and marched out and they could not stop him. "All this trouble's due to that silly thing! " burst out Precious Jade. "I don't want it,so you needn't make such a fuss. When Ring gets back,he's bound to tell everyone and raise a fearful rumpus." Weeping in desperation,Aroma said,"You may not care that the jade's lost,Little Ancestor,but if this comes to the mistresses'ears,it'll be the death of us!" She broke down and sobbed.<br />
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==英语口译 方楚晗 Fang Chuhan 202170081616==<br />
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众人更加伤感，明知此事掩饰不来，只得要商议定了话，回来好回贾母诸人。宝玉道：“你们竟也不用商议，硬说我砸了就完了。”平儿道：“我的爷，好轻巧话儿！上头要问为什么砸的呢？他们也是个死啊！倘或要起砸破的碴儿来，那又怎么样呢？”宝玉道：“不然，便说我前日出门丢了。”众人一想，这句话倒还混得过去，但只这两天又没上学，又没往别处去。宝玉道：“怎么没有？大前儿还到南安王府里听戏去了呢。便说那日丢的。”探春道：“那也不妥。既是前儿丢的，为什么当日不来回。”<br />
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==英语口译 胡雯雯 Hu Wenwen 202170081617==<br />
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众人正在胡思乱想要装点撒谎，只听得赵姨娘的声儿，哭着喊着走来，说：“你们丢了东西，自己不找，怎么叫人背地里拷问环儿！我把环儿带了来，索性交给你们这一起洑上水的。该杀该剐，随你们罢。”说着，将环儿一推说：“你是个贼，快快的招罢！”气得环儿也哭喊起来。李纨正要劝解，丫头来说：“太太来了。”袭人等此时无地可容。宝玉等赶忙出来迎接。赵姨娘暂且也不敢作声，跟了出来。王夫人见众人都有惊惶之色，才信方才听见的话，便道：“那块玉真丢了么？”众人都不敢作声。<br />
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==英语口译 黄天琪 Huang Tianqi 202170081618==<br />
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王夫人走进屋里坐下，便叫袭人，慌得袭人连忙跪下，含泪要禀。王夫人道：“你起来，快快叫人细细找去，一忙乱倒不好了。”袭人哽咽难言。宝玉生恐袭人直告诉出来，便说道：“太太，这事不与袭人相干，是我前日到南安王府那里听戏在路上丢了。”王夫人道：“为什么那日不找？”宝玉道：“我怕他们知道，没有告诉他们。我叫焙茗等在外头各处找过的。”王夫人道：“胡说！如今脱换衣服，不是袭人他们伏侍的么？大凡哥儿出门回来，手巾荷包短了，还要问个明白，何况这块玉不见了，便不问的么？”宝玉无言可答。<br />
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==英语口译 李丹 Li Dan 202170081620==<br />
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赵姨娘听见，便得意了，忙接过口道：“外头丢了东西，也赖环儿……”话未说完，被王夫人喝道：“这里说这个，你且说那些没要紧的话！”赵姨娘便不敢言语了。还是李纨探春从实的告诉了王夫人一遍。王夫人也急得泪如雨下，索性要回明贾母，去问邢夫人那边跟来的这些人去。凤姐病中，也听见宝玉失玉，知道王夫人过来，料躲不住，便扶了丰儿来到园里。正值王夫人起身要走，凤姐娇怯怯的说：“请太太安。”宝玉等过来问了凤姐好。王夫人因说道：“你也听见了么？这可不是奇事吗？刚才眼错不见就丢了，再找不着。<br />
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==英语口译 李立飞 Li Lifei 202170081621==<br />
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你去想想：打老太太那边丫头起，至你们平儿，谁的手不稳，谁的心促狭；我要回了老太太，认真的查出来才好。不然，是断了宝玉的命根子了。”凤姐回道：“咱们家人多手杂，自古说的，‘知人知面不知心’，那里保得住谁是好的？但是一吵嚷，已经都知道了，偷玉的人，若叫太太查出来，明知是死无葬身之地，他着了急，反要毁坏了灭口，那时可怎么处呢？据我的糊涂想头，只说宝玉本不爱他，撂丢了，也没有什么要紧，只要大家严密些，别叫老太太老爷知道；这么说了，暗暗的派人去各处察访，哄骗出来，那时玉也可得，罪名也好定：不知太太心里怎么样？”<br />
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==英语口译 莫雨婷 Mo Yuting 202170081622==<br />
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王夫人迟了半日，才说道：“你这话虽也有理，但只是老爷跟前怎么瞒的过呢？”便叫环儿过来道：“你二哥哥的玉丢了，白问了你一句，怎么你就乱嚷？若是嚷破了，人家把那个毁坏了，我看你活得活不得！”贾环吓得哭道：“我再不敢嚷了。”赵姨娘听了，那里还敢言语。王夫人便吩咐众人道：“想来自然有没找到的地方儿。好端端的在家里的，还怕他飞到那里去不成？只是不许声张。限袭人三天内给我找出来。要是三天找不着，只怕也瞒不住，大家那就不用过安静日子了。”说着，便叫凤姐儿跟到邢夫人那边，商议踩缉不题。<br />
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After a long pause Lady Wang replied:"It’s all very well, but will we ever succeed in keeping this from Sir Zheng?" She called Jia Huan to her. "It was very silly of you to go shouting your head off about Bao-yu’s jade, just because they asked you about it. If the thief has heard and destroys the jade, you will pay for it with your life!" "I promise never to mention it again!" wailed Jia Huan in terror. This time Aunt Zhao held her tongue. "There must be some places left where you haven’t looked," Lady Wang continued, addressing the assembled maids. "It must be somewhere here. It’s hardly going to fly away, is it? But when you look, be as quiet as possible. Aroma, I give you three days to find it. If we still haven’t found it by then, we shan’t be able to keep it from Her Old Ladyship and Sir Zheng any longer. And everyone knows what that will mean!" Bidding Xi-feng accompany her, Lady Wang set off for Lady Xing’s apartment, for further consultations on how to apprehend the thief.<br />
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==英语口译 彭慧璇 Peng Huixuan 202170081623==<br />
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这里李纨等纷纷议论，便传唤看园子的一干人来，叫把园门锁上，快传林之孝家的来，悄悄儿的告诉了他，叫他：“吩咐前后门上，三天之内，不论男女下人，从里头可以走动，要出时，一概去不许放出。只说里头丢了东西，待这件东西有了着落，然后放人出来。”林之孝家的答应了“是”，因说：“前儿奴才家里也丢了一件不要紧的东西，林之孝必要明白，上街去找了一个测字的。那人叫做什么刘铁嘴，测了一个字，说的狠明白，回来依旧一找，便找着了。”袭人听见，便央及林家的道：“好林奶奶！出去快求林大爷替我们问问去。”那林之孝家的答应着出去了。<br />
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==英语口译 时友洁 Shi Youjie 202170081624==<br />
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邢岫烟道：“若说那外头测字打卦的，是不中用的。我在南边闻妙玉能扶乩，何不烦他问一问？况且我听见说，这块玉原有仙机，想来问得出来。”众人都咤异道：“咱们常见的，从没有听他说起。”麝月便忙问岫烟道：“想来别人求他是不肯的，好姑娘，我给姑娘磕个头，求姑娘就去，若问出来了，我一辈子总不忘你的恩！”说着，赶忙就要磕下头去，岫烟连忙拦住。黛玉等也都怂恿着岫烟速往栊翠庵去。一面林之孝家的进来说道：“姑娘们大喜！林之孝测了字回来，说这玉是丢不了的，将来横竖有人送还来的。”众人听了，也都半信半疑。惟有袭人麝月喜欢的了不得。<br />
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==英语口译 伍佳惠 Wu Jiahui 202170081625==<br />
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探春便问：“测的是什么字？”林之孝家的道：“他的话多，奴才也学不上来，记得是拈了个赏人东西的‘赏’字。那刘铁嘴也不问，便说：‘丢了东西不是？’“李纨道：“这就算好。”林之孝家的道：“他还说：‘“赏”字上头一个“小”字，底下一个“口”字，这件东西，狠可嘴里放得，必是个珠子宝石。’”众人听了，夸赞道：“真是神仙！往下怎么说？”林之孝家的道：“他说：‘底下“贝”字拆开，不成一个“见”字，可不是“不见”了？’因上头拆了‘当’字，叫快到当铺里找去。‘“赏”字加一“人”字，可不是“偿”字？只要找着当铺就有人，有了人便赎了来，可不是偿还了吗。’”<br />
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“What character did he analyze?” Seeking-Spring Merchant asked. “He said a lot, but it is too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was Shang meaning ‘gift.’ Then, without asking any question, Iron Mouth Liu said, “You’ve lost something, I take it.” “A good guess!” Silk Plum exclaimed. Filial Piety Forest's Wife continued, “He said the upper part of the character is the xiao for ‘small’ with the Kou for ‘mouth’ below. Therefore, the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of Jian meaning ‘see’, so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn’, we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to Shang, it gives Chang meaning to ‘redeem’. So once we hit on the right pawn shop, we’ll find whoever pawned it and then we can redeem it.”<br />
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“What character did he analyze?” Seeking-Spring Merchant asked. “He said a whole lot, too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was shang meaning ‘gift.’ Then, without asking any questions, that Iron Mouth Liu said, ‘You’ve lost something, I take it. “A good guess!” exclaimed Silk Plum. Filial Piety Forest's Wife continued, “Then he said the upper part of the character is the xiao for ‘small’ with the kou for ‘mouth’ below; so the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of jian meaning ‘see,’ so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn,’ we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to shang, it gives chang meaning to ‘redeem.’ So once we hit on the right pawn¬shop, we’ll find whoever pawned it and then we can redeem it.”--[[User:Xia Jing|Xia Jing]] ([[User talk:Xia Jing|talk]]) 10:12, 28 May 2022 (UTC)<br />
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==英语口译 夏晶 Xia Jing 202170081626==<br />
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众人道：“既这么着，就先往左近找起。横竖几个当铺都找遍了，少不得就有了。咱们有了东西，再问人就容易了。”李纨道：“只要东西，那怕不问人都使得。林嫂子，烦你就把测字的话快去告诉二奶奶，回了太太，先叫太太放心。就叫二奶奶快派人查去。”林家的答应了便走。众人略安了一点儿神，呆呆的等岫烟回来。正呆等，只见跟宝玉的焙茗在门外招手儿，叫小丫头子快出来。那小丫头赶忙的出去了。焙茗便说道：“你快进去告诉我们二爷和里头太太、奶奶、姑娘们，天大喜事。”那小丫头子道：“你快说罢，怎么这么累赘？”<br />
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“In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”<br />
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Revision: “In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”--[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 03:18, 30 May 2022 (UTC)<br />
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==英语口译 向师琦 Xiang Shiqi 202170081627==<br />
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焙茗笑着拍手道：“我告诉姑娘，姑娘进去回了，咱们两个人都得赏钱呢！你打量什么，宝二爷的那块玉呀，我得了准信来了。” 话说焙茗在门口和小丫头子说宝玉的玉有了，那小丫头急忙回来告诉宝玉。众人听了，都推着宝玉出去问他。众人在廊下听着。宝玉也觉放心，便走到门口，问道：“你那里得了？快拿来。”焙茗道：“拿是拿不来的，还得托人做保去呢。”宝玉道：“你快说是怎么得的，我好叫人取去。”焙茗道：“我在外头，知道林爷爷去测字，我就跟了去。我听见说在当铺里找，我没等他说完，便跑到几个当铺里去。我比给他们瞧，有一家便说‘有’。<br />
Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page, and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked:“Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”“Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.<br />
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Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked: “Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.--[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 15:46, 30 May 2022 (UTC)<br />
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==英语口译 向望 Xiang Wang 202170081628==<br />
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我说：‘给我罢。’那铺子里要票子。我说：‘当多少钱？’他说：‘三百钱的也有，五百钱的也有。前儿有一个人拿这么一块玉，当了三百钱去；今儿又有人也拿了一块玉，当了五百钱去。’”宝玉不等说完，便道：“你快拿三百五百钱去取了来，我们挑着看是不是。”里头袭人便啐道：“二爷不用理他！我小时候儿听见我哥哥常说，有些人卖那些小玉儿，没钱用，便去当。想来是家家当铺里有的。”众人正在听得咤异，被袭人一说，想了一想，倒大家笑起来，说：“快叫二爷进来罢，不用理那糊涂东西了。他说的那些玉，想来不是正经东西。”宝玉正笑着，只见岫烟来了。<br />
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When I asked for it, though, they wanted the pawn-ticket. ‘How much was it hocked for?’ I asked. They said, ‘We give from three hundred to five hundred cash. The other day someone brought in a jade like that and pawned it for three hundred. Today another man came with a piece and pawned it for five hundred.”’Baoyu cut him short with the order, “Go at once, taking money to redeem both; then we’ll see whether one is the right piece or not.”“Don’t listen to him, Master Bao!” scoffed Xiren from inside. “When I was small my brother often told me that hawkers of small pieces of jade pawn them when they need cash. Every single pawnshop must have some.”The others had been surprised by Beiming’s report. Now, thinking over Xiren’s comment, they laughed.“Tell Master Bao to come in,” they cried. “Pay no attention to that simpleton. The jade he’s talking about can’t be the right one.”Baoyu was laughing too when Xiuyan came back.<br />
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==英语口译 徐舞 Xu Wu 202170081629==<br />
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原来岫烟走到栊翠庵，见了妙玉，不及闲话，便求妙玉扶乩。妙玉冷笑几声，说道：“我与姑娘来往，为的是姑娘不是势利场中的人。今日怎么听了那里的谣言，过来缠我？况且我并不晓得什么叫‘扶乩’。”说着，将要不理。岫烟懊悔此来：知他脾气是这么着的，“一时我已说出，不好白回去。”又不好与他质证他会扶乩的话，只得陪着笑将袭人等性命关系的话说了一遍。见妙玉略有活动，便起身拜了几拜。妙玉叹道：“何必为人作嫁？但是我进京以来，素无人知，今日你来破例，恐将来缠绕不休。”<br />
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==英语口译 张静芝 Zhang Jingzhi 202170081630==<br />
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岫烟道：“我也一时不忍。知你必是慈悲的。便是将来他人求你，愿不愿在你，谁敢相强？”妙玉笑了一笑，叫道婆焚香，在箱子里找出沙盘乩架，书了符，命岫烟行礼祝告毕，起来同妙玉扶着乩。不多时，只见那仙乩疾书道：噫！来无迹，去无踪，青埂峰下倚古松。欲追寻，山万重，入我门来一笑逢。书毕，停了乩。岫烟便问：“请是何仙？”妙玉道：“请的是拐仙。”岫烟录了出来，请教妙玉解识。妙玉道：“这个可不能，连我也不懂。你快拿去，他们的聪明人多着哩。”岫烟只得回来。进入院中，各人都问：“怎么样了？”<br />
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==日语笔译 曹梦然 Cao Mengran 202170081632==<br />
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岫烟不及细说，便将所录乩语递与李纨，众姊妹及宝玉争看，都解的是：“一时要找是找不着的，然而丢是丢不了的，不知几时不找便出来了。但是青埂峰不知在那里？”李纨道：“这是仙机隐语。咱们家里那里跑出青埂峰来？必是谁怕查出，撂在有松树的山子石底下，也未可定。独是‘入我门来’这句，到底是入谁的门呢？”黛玉道：“不知请的是谁？”岫烟道：“拐仙。”探春道：“若是仙家的门，便难入了。”袭人心里着忙，便捕风捉影的混找，没一块石底下不找到，只是没有。回到院中，宝玉也不问有无，只管傻笑。<br />
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Xiuyan went back, and as soon as she entered the courtyard the others all wanted to know how she had fared. Without giving them the details, she handed Silk Plum the oracle she had transcribed. The girls and Precious Jade crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking. “But where is this Blue Ridge Peak?” they asked. “That must be some divine riddle,” said Silk Plum. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?” Mascara Jade remarked, “I wonder whom she invoked.” “Saint Li the Cripple,” Xiuyan told her. “If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed seeking-spring. Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Precious Jade smiled foolishly instead of asking whether she had found it<br />
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Xiuyan went back, and as soon as she entered the courtyard the oth¬ers all wanted to know how she had fared. Without giving them the de¬tails, she handed Li Wan the oracle she had transcribed. The girls and Baoyu crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking.<br />
“But where is this Blue Ridge Peak?” they asked.<br />
“That must be some divine riddle,” said Li Wan. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?”<br />
Daiyu remarked, “I wonder whom she invoked.”<br />
“Saint Li the Cripple,” Xiuyan told her.<br />
“If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed Tanchun.<br />
Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Baoyu smiled foolishly instead of asking whether she had found it.--[[User:Hu Mengqi|Hu Mengqi]] ([[User talk:Hu Mengqi|talk]]) 12:37, 29 May 2022 (UTC)<br />
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==日语笔译 胡梦琪 Hu Mengqi 202170081633==<br />
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麝月着急道：“小祖宗！你到底是那里丢的？说明了，我们就是受罪，也在明处啊。”宝玉笑道：“我说外头丢的，你们又不依。你如今问我，我知道么？”李纨探春道：“今儿从早起闹起，已到三更来的天了。你瞧林妹妹已经掌不住，各自去了。我们也该歇歇儿了，明儿再闹罢。”说着，大家散去。宝玉即便睡下。可怜袭人等哭一回，想一回，一夜无眠，暂且不题。且说黛玉先自回去，想起“金”“石”的旧话来，反自喜欢；心里说道：“和尚道士的话真个信不得。果真‘金’‘玉’有缘，宝玉如何能把这玉丢了呢？或者因我之事，拆散他们的‘金玉’，也未可知。”<br />
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“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”<br />
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”<br />
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin’s already left — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”<br />
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night, unable to sleep.<br />
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.<br />
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“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”<br />
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”<br />
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin was already leave — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”<br />
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night and unable to sleep.<br />
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 14:38, 29 May 2022 (UTC)<br />
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==日语笔译 张白鹭 Zhang Bailu 202170081634==<br />
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想了半天，更觉安心，把这一天的劳乏，竟不理会，重新倒看起书来。紫鹃倒觉身倦，连催黛玉睡下。黛玉虽躺下，又想到海棠花上，说“这块玉原是胎里带来的，非比寻常之物，来去自有关系。若是这花主好事呢，不该失了这玉呀。看来此花开的不祥，莫非他有不吉之事？”不觉又伤起心来。又转想到喜事上头，此花又似应开，此玉又似应失；如此一悲一喜，直想到五更方睡着。次日，王夫人等早派人到当铺里去查问，凤姐暗中设法找寻。一连闹了几天，总无下落。还喜贾母贾政未知。袭人等每日提心吊胆。宝玉也好几天不上学，只是怔怔的，不言不语，没心没绪的。<br />
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Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.<br />
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Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.--[[User:Liu Anli|Liu Anli]] ([[User talk:Liu Anli|talk]]) 14:35, 29 May 2022 (UTC)<br />
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==朝鲜语笔译 刘安莉 Liu Anli 202170081635==<br />
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王夫人只知他因失玉而起，也不大着意。那日正在纳闷，忽见贾琏进来请安，嘻嘻的笑道：“今日听得军机贾雨村打发人来告诉二老爷，说：‘舅太爷升了内阁大学士，奉旨来京，已定明年正月二十日宣麻，有三百里的文书去了。’想舅太爷昼夜趱行，半个多月就要到了。侄儿特来回太太知道。”王夫人听说，便欢喜非常。正想娘家人少，薛姨妈家又衰败了；兄弟又在外任，照应不着。今日忽听兄弟拜相回京，王家荣耀，将来宝玉都有倚靠。便把失玉的心又略放开些了，天天专望兄弟来京。忽一天，贾政进来，满脸泪痕，喘吁吁的说道：<br />
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His mother did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam.<br />
Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now as Grand Secretary would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival.<br />
Then one day Master Merchant burst in, tears streaming down his cheeks.<br />
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Lady King did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam. Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now and it would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival. Then one day Master Merchant burst in, tears streaming down his cheeks.--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 03:18, 30 May 2022 (UTC)<br />
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==朝鲜语笔译 王思佳 Wang Sijia 202170081636==<br />
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“你快去禀知老太太，即刻进宫！不用多人的，是你伏侍进去。因娘娘忽得暴病，现在太监在外立等。他说：‘太医院已经奏明痰厥，不能医治。’”王夫人听说，便大哭起来。贾政道：“这不是哭的时候，快快去请老太太。说得宽缓些，不要吓坏了老人家。”贾政说着，出来吩咐家人伺候。王夫人收了泪，去请贾母，只说元妃有病，进去请安。贾母念佛道：“怎么又病了？前番吓的我了不得，后来又打听错了。这回情愿再错了也罢。”王夫人一面回答，一面催鸳鸯等开箱取衣饰穿戴起来。王夫人赶着回到自己房中也穿戴好了，过来伺候。一时出厅，上轿进宫不题。<br />
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"Go to the old lady and enter the palace at once!" It doesn't take many people, it's you who ambush in. Because Princess Merchant suddenly fell ill violently, the eunuch is now waiting outside. He said: 'The hospital has made it clear that it cannot be cured.' When Lady King heard this, she burst into tears. Master Merchant said, "This is not the time to cry, go and ask the old lady quickly." Speak more gently, don't frighten the old man. Master Merchant said, and came out to order his family to serve. Lady King collected her tears and went to ask Grandma Merchant, only to say that Princess Merchant was ill and went in to ask for peace. Grandma Merchant chanted the Buddha, "Why are you sick again?" I was terrified of it before, and then I was wrong. This time I'm willing to be wrong. Lady King replied while urging mandarin ducks to open the box and take clothes and put them on. Lady King hurried back to her room and dressed herself, and came to serve. When I went out of the hall for a while, I went to the palace and entered the palace without a title.<br />
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==朝鲜语笔译 徐盖 Xu Gai 202170081638==<br />
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且说元春自选了凤藻宫后，圣眷隆重，身体发福，未免举动费力。每日起居劳乏，时发痰疾。因前日侍宴回宫，偶沾寒气，勾起旧病。不料此回甚属利害，竟至痰气壅塞，四肢厥冷。一面奏明，即召太医调治。岂知汤药不进，连用通关之剂，并不见效。内官忧虑，奏请预办后事，所以传旨命贾氏椒房进见。贾母王夫人遵旨进宫，见元妃痰塞口涎，不能言语。见了贾母，只有悲泣之状，却少眼泪。贾母进前请安，奏些宽慰的话。少时贾政等职名递进，宫嫔传奏，元妃目不能顾，渐渐脸色改变。内宫太监即要奏闻，恐派各妃看视，椒房姻戚未便久羁，请在外宫伺候。<br />
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==朝鲜语笔译 徐文慧 Xu Wenhui 202170081639==<br />
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贾母王夫人怎忍便离，无奈国家制度，只得下来，又不敢啼哭，惟有心内悲感。朝门内官员有信。不多时，只见太监出来，立传钦天监。贾母便知不好，尚未敢动。稍刻，小太监传谕出来，说：“贾娘娘薨逝。”是年甲寅年十二月十八日立春；元妃薨日，是十二月十九日，已交卯年寅月，存年四十三岁。贾母含悲起身，只得出宫上轿回家。贾政等亦已得信，一路悲戚。到家中，邢夫人、李纨、凤姐、宝玉等出厅，分东西迎着贾母，请了安，并贾政王夫人请安，大家哭泣不题。次日早起，凡有品级的，按贵妃丧礼进内请安哭临。<br />
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Grandma Merchant and Lady King could not bear to leave, but had no choice but to come down from the state system. She did not dare to cry, but she felt sad inside. The official inside the door has a letter. Before long, the eunuch came out to preach The Imperial Board of Astronomy. Grandma Merchant knew it was not good and had not dared to move. A moment later, the little eunuch sent an oracle, saying: "Empress died." It is December 18, the beginning of spring; Concubine Yuan died and died on December 19. He was forty-three years old. Grandma Merchant sad up, only the palace on the sedan home. Master Merchant and so on have also got the letter, all the way sad. When they got home, Lady City, Silk Plum, Splendid Phoenix King, Precious Jade Merchant went out to greet Grandma Merchant with their belongings and pay their respects to Master Merchant and Lady King. Early the next morning, all who have grade, according to the funeral ceremony of the imperial concubine into the room to ask for peace and cry.<br />
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==比较文学与跨文化研究 Mahzad Heydarian 202021080004==<br />
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贾政又是工部，虽按照仪注办理，未免堂上又要周旋他些，同事又要请教他，所以两头更忙，非比从前太后与周妃的丧事了。但元妃并无所出，惟谥曰贤淑贵妃。此是王家制度，不必多赘。只讲贾府中男女，天天进宫，忙的了不得。幸喜凤姐儿近日身子好些，还得出来照应家事；又要预备王子腾进京，接风贺喜。凤姐胞兄王仁，知道叔叔入了内阁，仍带家眷来京。凤姐心里喜欢，便有些心病，有这些娘家的人，也便撂开，所以身子倒觉比前好了些。王夫人看见凤姐照旧办事，又把担子卸了一半；又眼见兄弟来京，诸事放心，倒觉安静些。<br />
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Master Merchant is also in the Ministry of Works. Although it was handled by the ceremonies, it was necessary to deal with him in the court, and his colleagues had to ask him for advice, so the two sides were busier, not compared with the funeral of the Queen Mother and Concubine Zhou in the past. But Concubine Yuan did not come out, but she was given the posthumous title of Concubine Xianshu. This is the royal family system, so there is no need to repeat it. It only talks about men and women in Merchant's house, who go to the palace every day and are very busy. Fortunately, Sister Phoenix is in better health recently, and she has to come out to take care of the housework. She also has to prepare Soar King to come to Beijing to welcome the wind and congratulate her. Sister Phoenix's elder brother Wang Ren brought his family to Beijing when he knew that his uncle had joined the cabinet. Sister Phoenix liked it in her heart, and she felt a little sick. She also gave up with these family members, so her body felt better than before. Lady King saw that Sister Phoenix was doing things as usual, and half of the burden was unloaded; and when she saw her brother come to Beijing, everything was relieved, and she felt quieter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:26, 30 May 2022 (UTC)<br />
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==外国语言文学 Akira 202121080009==<br />
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独有宝玉原是无职之人，又不念书，代儒学里知他家里有事，也不来管他；贾政正忙，自然没有空儿查他：想来宝玉趁此机会竟可与姊妹们天天畅乐。不料他自失了玉后，终日懒怠走动，说话也糊涂了。并贾母等出门回来，有人叫他去请安，便去；没人叫他，他也不动。袭人等怀着鬼胎，又不敢去招惹他，恐他生气。每天茶饭，端到面前便吃，不来也不要。袭人看这光景，不像是有气，竟像是有病的。袭人偷着空儿到潇湘馆告诉紫鹃，说是：“二爷这么着，求姑娘给他开导开导。”<br />
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Unique Precious Jade was a jobless person and didn't study. Confucianism knew that he had something to do at home, so he didn't care about him; Master Merchant was busy and naturally didn't have time to check him: I wanted to come to Precious Jade to take this opportunity to meet him. Sisters are happy every day. Unexpectedly, after he lost his jade, he walked around lazy all day, and his speech was confused. And when Grandma Merchant came back from going out, someone called him to greet him, so he went; no one called him, and he didn't move. Aroma and others were pregnant, but they didn't dare to provoke him, for fear that he would get angry. Everyday tea and rice, bring it to the front and eat it, don't come if you don't come. Aroma looked at this scene, and it didn't look like she was angry, but she looked like she was sick. Aroma stole the air to Bamboo Lodge and told Nightingale, saying, "Second Master is like this, I beg the girl to enlighten him."<br />
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==英语语言文学 Mariam Tourse 2020GBJ002301==<br />
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紫鹃虽即告诉黛玉，只因黛玉想着亲事上头，一定是自己了，如今见了他，反觉不好意思，“若是他来呢，原是小时在一处的，也难不理他；若说我去找他，断断使不得。”所以黛玉不肯过来。袭人又背地里去告诉探春。那知探春心里明明知道海棠开得怪异，“宝玉”失的更奇，接连着元妃姐姐薨逝，谅家道不祥，日日愁闷，那有心肠去劝宝玉？况兄妹们男女有别，只好过来一两次，宝玉又终是懒懒的，所以也不大常来。宝钗也知失玉。因薛姨妈那日应了宝玉的亲事，回去便告诉了宝钗。薛姨妈还说：“虽是你姨妈说了，我还没有应准，说等你哥哥回来再定。你愿意不愿意？”</div>Li Yuanhttps://bou.de/u/index.php?title=20220526_culture&diff=14382020220526 culture2022-05-31T03:52:03Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
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<div>Quicklinks:[[Chinese Language and Culture 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Joint_translation_terms]]<br />
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[[20220526_culture|culture of session 14 for session 15 May.26]]<br />
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'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is <br />
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27 Globalization: The Westernization Movement 54% 黄天琪 Huang Tianqi<br />
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31 Globalization: The Eastward Spread of Western Learning 53% 莫雨婷Mo Yuting<br />
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'''Assignment 2''': '''Click here''' to answer the questions of the topics below <br />
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27 Globalization: The Westernization Movement <br />
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31 Globalization: The Eastward Spread of Western Learning <br />
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Due before 4:30 pm Jun.2<br />
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'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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Due before 6:00 pm Jun.1<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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因又笑说道：“几年间，门子也会钻了，由知府推升转了御史，不过几年，升了吏部侍郎，署兵部尚书。为着一件事降了三级。如今又要升了。”冯紫英道：“人世的荣枯，仕途的得失，终属难定。”贾政道：“像雨村算便宜的了。还有我们差不多的人家，就是甄家，从前一样功勋，一样的世袭，一样的起居，我们也是时常往来。不多几年，他们进京来，差人到我这里请安，狠还热闹。一回儿抄了原籍的家财，至今杳无音信。不知他近况若何，心下也着实惦记，看了这样，你想做官的怕不怕？”贾赦道：“咱们家是最没有事的。”<br />
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Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The rise and fall of one’s fate and the gain and loss of one’s official career are unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years ago, when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious with his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant didn’t care.<br />
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Thank you for your correction work this semester.(*￣︶￣)<br />
（Reply: My enjoyment,sweetie~ (づ￣︶￣)づ）<br />
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Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The ups and downs of one’s fate and the gain and loss of one’s official career are both unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once as illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years later when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious about his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant replied disapprovingly.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:05, 30 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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冯紫英道：“果然尊府是不怕的：一则里头有贵妃照应；二则故旧好，亲戚多；三则你家自老太太起，至于少爷们，没有一个刁钻刻薄的。”贾政道：“虽无刁钻刻薄，却没有德行才情。白白的衣租食税，那里当得起？”贾赦道：“咱们不用说这些话，大家吃酒罢。”大家又喝了几杯，摆上饭来。吃毕喝茶。冯家的小厮走来，轻轻的向紫英说了一句。冯紫英便要告辞了。贾赦贾政道：“你说什么？”小厮道：“外面下雪，早已下了梆子了。”贾政叫人看时，已是雪深一寸多了。贾政道：“那两件东西，你收拾好了么？”<br />
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“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.<br />
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“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 11:19, 30 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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冯紫英道：“收好了。若尊府要用，价钱还自然让些。”贾政道：“我留神就是了。”冯紫英道：“我再听信罢。天气冷，请罢，别送了。”贾赦贾政便命贾琏送了出去。却说冯紫英去后，贾政叫门上的人来吩咐道：“今儿临安伯那里来请吃酒，知道是什么事？”门上的人道：“奴才曾问过，并没有什么喜庆事，不过南安王府里到了一班小戏子，都说是个名班，伯爷高兴，唱两天戏，请相好的老爷们瞧瞧，热闹热闹。大约不用送礼的。”说着，贾赦过来问道：“明儿二老爷去不去？”贾政道：“承他亲热，怎么好不去的？”<br />
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“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.<br />
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“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.--[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 13:14, 28 May 2022 (UTC)<br />
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==英语笔译 崔晓凡 Cui Xiaofan 202170081566==<br />
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说着，门上进来回道：“衙门里书办来请老爷明日上衙门。有堂派的事，必得早些去。”贾政道：“知道了。”说着，只见两个管屯里地租子的家人走来，请了安，磕了头，旁边站着。贾政道：“你们是郝家庄的？”两个答应了一声。贾政也不往下问，竟与贾赦各自说了一回话儿散了。家人等秉着手灯，送过贾赦去。这里贾琏便叫那管租的人道：“说你的。”那人说道：“十月里的租子，奴才已经赶上来了。原是明儿可到。谁知京外拿车，把车上的东西，不由分说，都掀在地下。奴才告诉他，说是府里收租子的车，不是买卖车，他更不管这些。<br />
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Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.<br />
<br />
Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 12:43, 30 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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奴才叫车夫只管拉着走，几个衙役就把车夫混打了一顿，硬扯了两辆车去了。奴才所以先来回报。求爷打发个人到衙门里去要了来才好。再者，也整治整治这些无法无天的差役才好。爷还不知道呢，更可怜的是那买卖车，客商的东西全不顾，掀下来，赶着就走。那些赶车的但说句话，打的头破血出的。”贾琏听了，骂道：“这个还了得！”立刻写了一个帖儿，叫家人：“拿去向拿车的衙门里要车去，并车上东西。若少了一件，是不依的！快叫周瑞。”周瑞不在家。又叫旺儿。旺儿晌午出去了，还没有回来。贾琏道：“这些忘八羔子，一个都不在家！他们终年家吃粮不管事。”<br />
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The slave told the coachman to pull it away, but some government soldiers beat up the coachman and drove off with two carts. The minion returns the favor first. Please send someone to the Yamen for it. Moreover, it is good to punish these lawless servants. Ye still don't know, more pitiful is that the business car, the merchant's things all disregard, lift down, hurried away. Those who drive the wagons say nothing and bleed from the head." Romance Merchant, hearing this, cursed: "This is remarkable!" Immediately she wrote a post, telling her family: "Go to the government office where the cart is taken and ask for the cart and its contents. If one is missing, it will not depend on! Call Zhou Rui quickly." Zhou Rui is not at home. Also known as Wanger. Prosperous went out at noon and did not return. Romance Merchant said, "None of these forgetful kids are at home! They don't care what they eat all year round."<br />
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==英语笔译 高智慧 Gao Zhihui 202170081568==<br />
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因吩咐小厮们：“快给我找去。”说着，也回到自己屋里，睡下不提。且说临安伯第二天又打发人来请。贾政告诉贾赦道：“我是衙门里有事。琏儿要在家等候拿车的事情，也不能去。倒是大老爷带宝玉应酬一天也罢了了。”贾赦点头道：“也使得。”贾政遣人去叫宝玉，说“今儿跟大爷到临安伯那里听戏去。”宝玉喜欢的了不得，便换上衣服，带了焙茗、扫红、锄药三个小子，出来见了贾赦，请了安，上了车，来到临安伯府里。门上人回进去，一会子出来说：“老爷请。”<br />
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Shouting to his pages to find them both at once, Romance Merchant retired to his apartment for the night. Next morning brought a reminder from the Earl of Linan. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent word to Precious Jade that he was to accompany his uncle to the Earl of Lin-an’s theatre party. Precious Jade was thrilled. He changed, and choosing three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him, came out to pay his morning respects to Jia She. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in. Pardon Merchant led Precious Jade into the main courtyard, which was packed with a noisy throng. They paid their respects to the Earl and exchanged civilities with the other guests before sitting down and joining in the flow of light-hearted conversation. Before long the manager of the troupe came forward with two playbills, an ordinary one and a fancy one in the form of an ivory tablet, and saluting his patrons by dropping one knee to the ground in Manchu-style, announced: ‘Will the gentlemen please select their favourite plays?’<br />
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Shouting to his pages to find them at once, Romance Merchant retired to his apartment for the night. Next morning came a reminder from the Earl Temporary Settlement. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent words to Precious Jade that he was to accompany his uncle to the Earl Temporary Settlement’s theatre party. Precious Jade was thrilled with joy. He got himself dressed, chose three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him,and came out to pay his morning respects to Pardon Merchant. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in.<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 13:55, 28 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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于是贾赦带着宝玉走入院内，只见宾客喧阗。贾赦宝玉见了临安伯，又与众宾客都见过了礼，大家坐着，说笑了一回。只见一个掌班的拿着一本戏单，一个牙笏，向上打了一个千儿，说道：“求各位老爷赏戏。”先从尊位点起，挨至贾赦，也点了一出。那人回头见了宝玉，便不向别处去，竟抢步上来，打个千儿道：“求二爷赏两出。”宝玉一见那人，面如傅粉，唇若涂朱；鲜润如出水芙渠，飘扬似临风玉树：原来不是别人，就是蒋玉菡。前日听得他带了小戏儿进京，也没有到自己那里；此时见了，又不好站起来，只得笑道：“你多早晚来的？”<br />
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Then Pardon Merchant took Precious Jade into the courtyard which was fraught with the hustle and bustle. After the two paid their respects to Count Temporary Settlement and greeted the other guests, they sat down to talk . Then the one in charge of the troupe with a playlist and a ivory tablet stepped up and fell down on one kneel, saying, "Beg your lords to choose one and enjoy the play." In the order of seniority,they choose the operas. When it came to Pardon Merchant's turn, he also chose one. At that moment, turning around and catching sight of Precious Jade, that person unexpectedly come over to him and fell on one of his kneel, "Beg master to choose one." When Precious Jade saw the man whose face seemed powdered and his lips looked scarlet, it occurred to him that he was Jade Lotus Chiang. The day before yesterday, Precious Jade heard that he had brought a group of young actors with him to Peking, but he did not come to visit him. On such an occasion, Precious Jade could not just stand up to greet him, so he had to smile instead and asked, "When did you come?"<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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蒋玉菡把手在自己身子上一指，笑道：“怎么二爷不知道么？”宝玉因众人在坐，也难说话，只得胡乱点了一出。蒋玉菡去了，便有几个议论道：“此人是谁？”有的说：“他向来是唱小旦的，如今不肯唱小旦，年纪也大了，就在府里掌班。头里也改过小生。他也攒了好几个钱，家里已经有两三个铺子，只是不肯放下本业，原旧领班。”有的说：“想必成了家了。”有的说：“亲还没有定。他倒掌定一个主意，说是人生配偶，关系一生一世的事，不是混闹得的，不论尊卑贵贱，总要配的上他的才能。所以到如今还并没娶亲。”<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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宝玉暗忖度道：“不知日后谁家的女孩儿嫁他？要嫁着这样的人材儿，也算是不辜负了。”那时开了戏，也有昆腔，也有高腔，也有弋腔，梆子腔：做得热闹。到了晌午，便摆开桌子吃酒。又看了一回，贾赦便欲起身。临安伯过来留道：“天色尚早。听见说蒋玉菡还有一出《占花魁》，他们顶好的首戏。”宝玉听了，巴不得贾赦不走；于是贾赦又坐了一会。果然蒋玉菡扮着秦小官，伏侍花魁醉后神情，把这一种怜香惜玉的意思，做得极情尽致。以后对饮对唱，缠绵缱绻。宝玉这时不看花魁，只把两支眼睛独射在秦小官身上。<br />
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Precious Jade wondered who the lucky girl would be to marry such an intelligent man. Then the performance started with Kun opera, Yi Opera, Gao Opera and Ban Zi operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave.“It’s early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.”Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the woman, but staring at the male role.<br />
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<br />
Precious Jade wondered who the lucky girl would be to marry such a man of his ability. Then the performance started with Kun opera, High-pitched Tunes, Yi-qiang and Pangtse operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave. “It’s still early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.” Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the heroine, but staring at the male role.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 14:58, 29 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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更加蒋玉菡声音响亮，口齿清楚，按腔落板，宝玉的神魂都唱了进去了。直等这出戏进场后，更知蒋玉菡极是情种，非寻常戏子可比。因想着：“《乐记》上说的是：‘情动于中，故形于声；声成文，谓之音。’所以知声，知音，知乐，有许多讲究。声音之原，不可不察。诗词一道，但能传情，不能入骨，自后想要讲究讲究音律。”宝玉想出了神，忽见贾赦起身，主人不及相留。宝玉没法，只得跟了回来。到了家中，贾赦自回那边去了。宝玉来见贾政。贾政才下衙门，正向贾琏问起拿车之事。贾琏道：“今儿叫人拿帖儿去，知县不在家。<br />
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Precious Jade was quite enraptured by his singing, for Jade Lotus had a resonant voice, clear enunciation and good sense of rhythm. By the end of the performance, he was firmly convinced that Jade Lotus was a romantic, completely unique artist, and not to be compared with the common actors. He thought, "The Book of Music rightly says, 'Stirred feelings find expression in sound, and when the sound follows a pattern we call it music.' So sounds, notes and music take some understanding, and a study has to be made of their origin. Poetry can convey emotions, but it can't thrill us to the marrow. In future I really must make a study of music." His reverie was interrupted by Pardon Merchant rising to leave. As their host could not prevail on him to stay, Precious Jade had no choice but to go back with him. On their return Pardon Merchant went straight to his own home. And Precious Jade, paying his duty call on his father, found him just back from the ministry questioning Romance Merchant about the seizure of their carts. Romance Merchant said, "I sent servants there today with my card, but the local mandarin was out.<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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他的门上说了：‘这是本官不知道的，并无牌票出去拿车，都是那些混帐东西在外头撒野挤讹头。既是老爷府里的，我便立刻叫人去追办，包管明儿连车连东西一并送来。如有半点差迟，再行禀过本官，重重处治。此刻本官不在家，求这里老爷看破些，可以不用本官知道更好。”贾政道：“既无官票，到底是何等样人在那里作怪？”贾琏道：“老爷不知，外头都是这样。想来明儿必定送来的。”贾琏说完下来。宝玉上去见了。贾政问了几句，便叫他往老太太那里去。贾琏因为昨夜叫空了家人，出来传唤，那起人多已伺候齐全。<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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贾琏骂了一顿，叫大管家赖升：“将各行档的花名册子拿来，你去查点查点，写一张谕帖，叫那些人知道。若有并未告假，私自出去，传唤不到，贻误公事的，立刻给我打了撵出去！”赖升连忙答应了几个“是”，出来吩咐了一回，家人各自留意。过不几时，忽见有一个人，头上载着毡帽，身上穿着一身青布衣裳，脚下穿着一双撒鞋，走到门上，向众人作了个揖。众人拿眼上上下下打谅了他一番，便问他：“是那里来的？”那人道：“我自南边甄府中来的。并有家老爷手书一封，求这里的爷们呈上尊老爷。”众人听见他是甄府来的，才站起来让他坐下，道：“你乏了，且坐坐。我们给你回就是了。”<br />
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Romance Merchant scolded and asked Advancement, the major housekeeper, "bring me the roster of various lines of business, and you go and check them out, and write an oracle post to let those people know. If anyone goes out without asking for leave and cannot be summoned, he will be beaten and kicked out immediately! "Advancement hurriedly agreed with a few "yes" and came out to give orders, letting servants pay attention to it. After a while, a man came into sight with a felt hat on his head, dressed in blue cloth and a pair of slippers under his feet, he went to the door of the room and made a bow to the crowd. The crowd look at him up and down to and asked, "where did you come from?" The man said, "I'm from the Zhen House in the south. And there is a letter from the master of the Zhen family, Please give the letter to your master. " When they heard that he was from the Zhen House, they stood up and asked him to sit down and said, "you must be tired, sit down, please. We'll give it to our master. "--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 13:36, 28 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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门上一面进来回明贾政，呈上来书。贾政拆书看时，上写着：世交夙好，气谊素敦，遥仰襜帷，不胜依切。弟因菲材获谴，自分万死难偿，幸邀宽宥，待罪边隅。迄今门户雕零，家人星散。所有奴子包勇，向曾使用，虽无奇技，人尚悫实。倘使得备奔走，糊口有资，屋乌之爱，感佩无涯矣！专此奉达，余容再叙。不宣。贾政看完，笑道：“这里正因人多，甄家倒荐人来。又不好却的。”吩咐门上：“叫他见我，且留他住下，因材使用便了。”门上出去，带进人来，见贾政，便磕了三个头，起来道：“家老爷请老爷安。”自己又打个千儿，说：“包勇请老爷安。”<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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贾政回问了甄老爷的好，便把他上下一瞧，但见包勇身长五尺有零，肩背宽肥，浓眉爆眼，磕额长髯，气色粗黑，垂着手站着。便问道：“你是向来在甄家的，还是住过几年的？”包勇道：“小的向在甄家的。”贾政道：“你如今为什么要出来呢？”包勇道：“小的原不肯出来，只是家爷再四叫小的出来，说是别处你不肯去，这里老爷家里只当原在自己家里一样的，所以小的来的。”贾政道：“你们老爷不该有这事情，弄到这样的田地。”包勇道：“小的本不敢说：我们老爷只是太好了，一味的真心待人，反倒招出事来。”贾政道：“真心是最好的了。”<br />
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Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. Bag Valiant said, "I didn’t want to, but my master insisted. He said, ‘You wouldn’t agree to going anywhere else, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."<br />
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Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. "I didn’t want to, " Bag Valiant said,"but my master insisted again and he told me that other place you didn't want to go, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 03:40, 29 May 2022 (UTC)Li Ying<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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包勇道：“因为太真了，人人都不喜欢，讨人厌烦是有的。”贾政笑了一笑道：“既这样，皇天自然不负他的。”包勇还要说时，贾政又问道：“我听见说你们家的哥儿不是也叫宝玉么？”包勇道：“是。”贾政道：“他还肯向上巴结么？”包勇道：“老爷若问我们哥儿，倒是一段奇事。哥儿的脾气也和我家老爷一个样子，也是一味的诚实，从小儿只管和那些姐妹们在一处顽。老爷太太也狠打过几次，他只是不改。那一年太太进京的时候儿，哥儿大病了一场，已经死了半日，把老爷几乎急死，装裹都预备了。<br />
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Bag Valiant said:"Because he was too honest,nobody liked him and he offended some people.Master Merchant laughed:" Well, in that case, the God will give him due deserts."Bag Valiant were plant to reply, Master Merchant continued to say that:"I heard that your younger master's name is Precious Jade, is that true?"Bag Valiant said:" That is right, sir."Master Merchant said:" Is he still willing to flatter on the top?"Bag Valiant said:Your majesty asked me about my younger master, there were something strange about him. His temper is the same as our master's. Both of them were too honest, when he was a kid, he only played with those sisters. My masters also beat him severely,but there's no change in my younger master. That year our mistress came to the capital, younger master fell very ill.He lost his consciousness for so long that his father was frantic and had all the funeral preparations made."<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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幸喜后来好了，嘴里说道：走到一座牌楼那里，见了一个姑娘，领着他到了一座庙里，见了好些柜子，里头见了好些册子；又到屋里，见了无数女子，说是多变了鬼怪似的，也有变做骷髅儿的；他吓急了，便哭喊起来。老爷知他醒过来了，连忙调治，渐渐的好了。老爷仍叫他在姐妹们一处顽去，他竟改了脾气了：好着时候的玩意儿一概都不要了，惟有念书为事。就有什么人来引诱他，他也全不动心。如今渐渐的能彀帮着老爷料理些家务了。”贾政默然想了一回，道：“你去歇歇去罢。等这里用着你时，自然派你一个行次儿。”包勇答应着，退下来，跟着这里人出去歇息不提。<br />
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“Fortunately, he recovered in the end. He talked that he saw a girl at a memorial arch, who led him to a temple, where there were a great number of cabinets with many volumes of books inside. Walking inside, he saw many girls, who became ghosts and skeletons. He was so scared that he yelled and cried. When the Master knew he had woken, he set some doctors to give him a treatment. After that, he became well gradually. The Master then still allowed him to play with his sisters, but his character changed a lot. He threw away all the gadgets that he liked before and focused on books. Also, he would not be tempted to do other things by anyone. Now, he was able to help the Master with some family affairs.” Master Merchant pondered for a while after hearing what he said. “You can leave now. You will have your task when we need you,” Master Merchant said. Courage Bun showed his gratitude and left the room with other servants. His part ended.<br />
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==英语笔译 李梓婕 Li Zijie 202170081580==<br />
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一日贾政早起，刚要上衙门，看见门上那些人在那里交头接耳，好像要使贾政知道的是的，又不好明回，只管咕咕唧唧的说话。贾政叫上来问道：“你们有什么事这么鬼鬼祟祟的？”门上的人回道：“奴才们不敢说。”贾政道：“有什么事不敢说的？”门上的人道：“奴才今儿起来，开门出去，见门上贴着一张白纸，上写着许多不成事体的字。”贾政道：“那里有这样的事！写的是什么？”门上的人道：“是水月庵里的腌臜话。”贾政道：“拿给我瞧。”门上的人道：“奴才本要揭下来，谁知他贴得结实，揭不下来，只得一面抄，一面洗。<br />
One morning,Master Merchant rose early and was setting off to his yamen when he noticed the servants at the gate whispering and muttering among themselves as if they had some news for him which they dared not report outright. He called them over.“What is this hole-and-corner business’?” he demanded.“We hardly dare tell you, sir,” one of them answered.“Why not? Out with it!”“This morning when we got up and opened the gate, we found a sheet of paper pasted on it, covered with scurrilous writing.”“The idea!” exclaimed Master Merchant. “What was it?”“Dirty talk about Water Moon Convent, sir.”“Bring me the paper,” he ordered.“We tried to take it down, but it was glued on too firmly; so we copied it out, then soaked the paper to get it off.<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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刚才李德揭了一张给奴才瞧，就是那门上贴的话。奴才们不敢隐瞒。”说着，呈上那帖儿。贾政接来看时，上面写着：“西贝草斤”年纪轻，水月庵里管尼僧。一个男人多少女，窝娼聚赌是陶情。不肖子弟来办事，荣国府内出新闻。贾政看了，气得头昏目晕，赶着叫门上的人不许声张，悄悄叫人往宁荣两府靠近的夹道子墙壁上再去找寻。随即叫人去唤贾琏出来。贾琏即忙赶至。贾政忙问道：“水月庵中寄居的那些女尼女道，向来你也查考查考过没有？”贾琏道：“没有，一向都是芹儿在那里照管。”贾政道：“你知道芹儿照管得来，照管不来？”<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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贾琏道：“老爷既这么说，想来芹儿必有不妥当的地方儿。”贾政叹道：“你瞧瞧这个帖儿写的是什么。”贾琏一看道：“有这样事么。”正说着，只见贾蓉走来，拿着一封书子，写着“二老爷密启”。打开看时，也是无头榜一张，与门上所贴的话相同。贾政道：“快叫赖大带了三四辆车子到水月庵里去，把那些女尼女道士一齐拉回来。不许泄漏，只说里头传唤。”赖大领命去了。且说水月庵中小女尼女道士等，初到庵中，沙弥与道士原系老尼收管，日间教他些经忏。以后元妃不用，也便习学得懒怠了。那些女孩子们年纪渐渐的大了，都也有个知觉了。<br />
Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.<br />
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Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:02, 30 May 2022 (UTC)<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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更兼贾芹也是风流人物，打量芳官等出家，只是小孩子性儿，便去招惹他们。那知芳官竟是真心，不能上手，便把这心肠移到女尼女道士身上。因那小沙弥中有个名叫沁香的，和女道士中有个叫做鹤仙的，长得都甚妖娆，贾芹便和这两个人勾搭上了，闲时便学些丝弦，唱个曲儿。那时正当十月中旬，贾芹给庵中那些人领了月例银子，便想起法儿来，告诉众人道：“我为你们领月钱，不能进城，又只得在这里歇着。怪冷的，怎么样？我今儿带些果子酒，大家吃着乐一夜，好不好？”那些女孩子都高兴，便摆起桌子，连本庵的女尼也叫了来，惟有芳官不来。<br />
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Moreover, Celery Merchant was a also a play boy, he saw the nuns including Fagrant Official and flirted with them for the sake of his curiosity.However, Fragrant Official was serious about love affairs so that he could’t get anything from her and just targeted at other nuns and women Taoist priest, There were a little monk named Aroma and a woman Taoist priest named Crane Fairy. They both had a pretty appearance so that Celery Merchant made friends with them. He spent his spare time learning instruments and singing opera. It was the middle of Octorber, and Celery Merchant got the salary fort the people in the convent. Then a thought occurred in his mind. He told the people that:”I got the salary for you so that I can’t get into the town and I have to stay at such a cold place. I brought some fruit wine and we can have a feast tonight, how about it?” The girls were happy about it and set the tables. They even invited the nuns in the convent, however, Fragrant Official refused it.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:01, 30 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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贾芹喝了几杯，便说道要行令。沁香等道：“我们都不会，到不如搳拳罢。谁输了喝一杯，岂不爽快？”本庵的女尼道：“这天刚过晌午，混嚷混喝的不像，且先喝几盅，爱散的先散去。谁爱陪芹大爷的，回来晚上尽子喝去，我也不管。”正说着，只见道婆急忙进来说：“快散了罢，府里赖大爷来了。”众女尼忙乱收拾，便叫贾芹躲开。贾芹因多喝了几杯，便道：“我是送月钱来的，怕什么！”话犹未完，已见赖大进来。见这般样子，心里大怒。为的是贾政吩咐不许声张，只得含糊装笑道：“芹大爷也在这里呢么？”贾芹连忙站起来道：“赖大爷，你来作什么？”<br />
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After a few drinks, Celery Merchant proposed to play a drinking game. Pleasure Fragrance and the others said that they didn’t know the game so it would be better if they play finger-guess which is easy and fun: losers drink.“it’s inappropriate to drink and game since it’s only past midday. We can drink a little and return. For those who want to game with Mr. Merchant, just come here at night and I would say nothing about it.”A nun objected. As they spoke, a nun rushed in and said, “Stop it right now! Mr.Rely is here.”All the nuns started to clean it up and advised Celery Merchant to hide. “No need to panic. I’m here to deliver you the month allowance.”Celery Merchant bragged since he got loaded. He didn’t finish his words when Big rely came in, who was infuriated at the scene, but had to follow Master Merchant’s instruction to keep it down and so he smiled, “Didn’t expect to see you here, Mr.Celery Merchant. Celery Merchant stood up immediately, “Mr.Rely, what brings you here?”--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 12:35, 29 May 2022 (UTC)<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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赖大说：“大爷在这里更好。快快叫沙弥道士收拾，上车进城，宫里传呢。”贾芹等不知原故，还要细问。赖大说：“天已不早了，快快的，好赶进城。”众女孩子只得一齐上车。赖大骑着大走骡，押着赶进城，不提。却说贾政知道这事，气得衙门也不能上了，独坐在内书房叹气。贾琏也不敢走开。忽见门上的进来禀道：“衙门里今夜该班是张老爷。因张老爷病了，有知会来请老爷补一班。”贾政正等赖大回来要办贾芹，此时又要该班，心里纳闷，也不言语。贾琏走上去说道：“赖大是饭后出去的，水月庵离城二十来里，就赶进城，也得二更天。今日又是老爷的帮班，请老爷只管去。<br />
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Big Rely replied:“I’m glad you’re here, sir. Tell these novices to get ready at once to drive to town. They’re wanted in the palace.”This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.<br />
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“Pleased to find you here, sir,” said Lai Da, ”We must get the young ladies ready as quickly as possible, and take them back to town. They're wanted at the Palace.” This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 11:20, 30 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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赖大来了，叫他押着，也别声张，等明儿老爷回来再发落。倘或芹儿来了，也不用说明，看他明儿见了老爷怎么样说。”贾政听来有理，只得上班去了。贾琏抽空才要回到自己房中，一面走着，心里抱怨凤姐出的主意，欲要埋怨，因他病着，只得隐忍，慢慢的走着。且说那些下人，一人传十，传到里头，先是平儿知道，即忙告诉凤姐。凤姐因那一夜不好，恹恹的总没精神，正是惦记铁槛寺的事情。听说“外头贴了匿名揭帖”的一句话，吓了一跳，忙问：“贴的是什么？”平儿随口答应，不留神，就错说了，道：“没要紧，是馒头庵里的事情。”<br />
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When Lai Da gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Qin comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Jia Zheng left with some reluctance for the Board. As soon as he had gone Jia Lian set off back to his own apartment, brooding as he went on what he was going to say to Xi-feng. He held her to blame for having given Qin this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Xi-feng had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”<br />
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When Big Rely gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Celery comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Master Merchant left with some reluctance for the Board. As soon as he had gone Romance Merchant set off back to his own apartment, brooding as he went on what he was going to say to Sister Phoenix. He held her to blame for having given Celery this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Sister Phoenix had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 14:50, 30 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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凤姐本是心虚，听见“馒头庵的事情”，这一唬直唬怔了，一句话没说出来，急火上攻，眼前发晕，咳嗽了一阵，哇的一声，吐出一口血来。平儿慌了，说道：“水月庵里，不过是女沙弥女道士的事，奶奶着什么急？”凤姐听是水月庵，才定了定神，说道：“呸，糊涂东西！到底是水月庵呢，是馒头庵？”平儿笑道：“是我头里错听了，是馒头庵，后来听见不是馒头庵，是水月庵。我刚才也就说溜了嘴，说成馒头庵了。”凤姐道：“我就知道是水月庵。那馒头庵与我什么相干！原是这水月庵是我叫芹儿管的。大约刻扣了月钱。”平儿道：“我听着不像月钱的事，还有些腌臜话呢。”<br />
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Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.<br />
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Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 12:41, 30 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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凤姐道：“我更不管那个。你二爷那里去了？”平儿说：“听见老爷生气，他不敢走开。我听见事情不好，我吩咐这些人不许吵嚷，不知太太们知道了么。但听见说，老爷叫赖大拿这些女孩子去了。且叫个人前头打听打听。奶奶现在病着，依我竟先别管他们的闲事。”正说着，只见贾琏进来。凤姐欲待问他，见贾琏一脸的怒气，暂且装作不知。贾琏饭没吃完，旺儿来说：“外头请爷呢，赖大回来了。”贾琏道：“芹儿来了没有？”旺儿道：“也来了。”贾琏便道：“你去告诉赖大，说：老爷上班儿去了，把这些个女孩子暂且收在园里，明日等老爷回来，送进宫去。只叫芹儿在内书房等着我。”<br />
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"Well, I care even less about that.Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Lai Da to bring all the girls back from the Temple. I'll send someone out to see what's happened.Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance.ia Lian had not finished eating his dinner when Brightie came in.‘Lai Da's back, sir.”“Is Celery with him?”"Yes, sir.”‘Tell Lai Da the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace.Tell Celery to wait for me in the inner library.”<br />
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"Well, I care even less about that. Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Big Lie to bring all the girls back from the Temple. I'll send someone out to see what's happened. Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance. Romance Merchant had not finished eating his dinner when Brightie came in.‘Big Lie's back, sir." "Is Celery with him?" "Yes, sir." "Tell Big Lie the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace. Tell Celery to wait for me in the inner library."--[[User:Long Hanliang|Long Hanliang]] ([[User talk:Long Hanliang|talk]]) 01:46, 31 May 2022 (UTC)<br />
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==英语笔译 龙翰良 Long Hanliang 202170081589==<br />
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旺儿去了。贾芹走进书房，只见那些下人指指点点不知说什么，看起这个样儿来，不像宫里要人。想着问人，又问不出来。正在心里疑惑，只见贾琏走出来，贾芹便请了安，垂手侍立，说道：“不知道娘娘宫里即刻传那些孩子们做什么？叫侄儿好赶！幸喜侄儿今儿送月钱去，还没有走，便同着赖大来了。二叔想来是知道的。”贾琏道：“我知道什么？你才是明白的呢！”贾芹摸不着头脑儿，也不敢再问。贾琏道：“你干得好事！把老爷都气坏了。”贾芹道：“侄儿没有干什么。庵里月钱是月月给的，孩子们经忏是不忘记的。”<br />
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Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.<br />
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Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.--[[User:Luo Yaolin|Luo Yaolin]] ([[User talk:Luo Yaolin|talk]]) 05:13, 30 May 2022 (UTC)<br />
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==英语笔译 罗姚林 Luo Yaolin 202170081590==<br />
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贾琏见他不知，又是平素常在一处顽笑的，便叹口气道：“打嘴的东西！你各自去瞧瞧罢！”便从靴掖儿里头拿出那个揭帖来，扔与他瞧。贾芹拾来一看，吓的面如土色，说道：“这是谁干的！我并没得罪人，为什么这么坑我？我一月送钱去，只走一趟，并没有这些事。若是老爷回来，打着问我，侄儿便该死了。我母亲知道，更要打死。”说着，见没人在旁边，便跪下去说道：“好叔叔，救我一救儿罢！”说着，只管磕头，满眼流泪。贾琏想道：“老爷最恼这些，要是问准了有这些事，这场气也不小。闹出去也不好听，又长那个贴帖儿的人的志气了。将来咱们的事多着呢。Having noticed that he indeed had no idea about it, and they themselves privately were on speaking terms, Romance Merchant sighed," You bastard.! Take and see it carefully!" as putting out a notice from his shoes and throwing it to Celery Merchant. At the sight of the notice, Celery Merchant said questioningly with his face ashy gray," Who made it? I never gave offence to anybody, why should I be ensnared like this? I merely went there once a month for sending money and never did such things. I would be sunk if the master asked me about it after his back, and the consequence would be even worse if my mom knew it." Seeing no other people around here, Celery Merchant knelt down to implore him,"my dear uncle, please help me, please!" followed kowtowing and tearing constantly. "Master is very vexed with such things and must be extremely angry with this if he knew it's true." Romance Merchant thought to himself, "And the family's reputation would be blemished for the spreading of it, which, on the contrary, the notice maker would be therefore more arrogant. There are many other concerns in the future."<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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倒不如趁着老爷上班儿，和赖大商量着，若混过去，就可以没事了。现在没有对证。”想定主意，便说：“你别瞒我，你干的鬼鬼祟祟的事，你打谅我都不知道呢。若要完事，就是老爷打着问你，你一口咬定没有才好。没脸的，起去罢！”叫人去唤赖大。不多时，赖大来了，贾琏便与他商量。赖大说：“这芹大爷本来闹的不像了。奴才今儿到庵里的时候，他们正在那里喝酒呢。帖儿上的话，是一定有的。”贾琏道：“芹儿，你听！赖大还赖你不成？”贾芹此时红涨了脸，一句也不敢言语。还是贾琏拉着赖大，央他：“护庇护庇罢，只说贾芹哥儿在家里找来的。<br />
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It would be better to take advantage of the master to go to work and discuss with Big Lie. If you muddle through, you will be all right. There is no counterevidence now. " When he made up his mind, he said, "Don't lie to me. You think I don't know about the furtive things you've done." In the worst-case scenario, if your lordship tortures you, you must insist that you don't have it. Shameless, go away! "He sent someone to call Big Lie. After a while, when Big Lie came, Romance Merchant discussed it with him. Big Lie said, "Uncle Qin didn't look like it anymore." When the lackeys came to the nunnery today, they were drinking there. There must be some words on the post. " Romance Merchant said, " Celery, listen! Can Big Lie still put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and told him, "Please protect him, only say that Celery took it at home."<br />
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It would be better to discuss with Big Rely to come up with an excuse to get ride of the trouble while Master is away for work. If you muddle through, you will be all right. Now no one can verify this." When he made up his mind, he said, "Don't you lie to me. You think I don't know about the furtive things you've done? In the worst-case scenario, even if your lordship tortures you, you must insist that you didn’t make it. You the shameless guy, just go away! "He sent someone to call Big Rely. After a while, when he came, Romance Merchant discussed it with him. Then Big Rely said, "Master Celery really did a shameful thing. When I came to the nunnery today, they were drinking there. The things depicted on the post must have happened." Romance Merchant said, " Celery, listen! Can Big Rely put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and begged him, "Please protect him, and just say that Celery found it at home."--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 02:50, 30 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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你带了他去，只说没有见我。明日你求老爷，也不用问那些女孩子了。竟是叫了媒人来，领了去，一卖完事。果然娘娘再要的时候儿，咱们再买。”赖大想来，闹也无益，且名声不好，就应了。贾琏叫贾芹：“跟了赖大爷去罢！听着他教你，你就跟着他。”说罢，贾芹又磕了一个头，跟着赖大出去。到了没人的地方儿，又给赖大磕头。赖大说：“我的小爷，你太闹的不像了。不知得罪了谁，闹出这个乱儿。你想想，谁和你不对罢？”贾芹想了一想，忽然想起一个人来，话说赖大带了贾芹出来，一宿无话，静候贾政回来。单是那些女尼女道重进园来，都喜欢的了不得，欲要到各处逛逛，明日预备进宫。<br />
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You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one is around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this thing. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and monks went into the park, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.<br />
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You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one was around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this affair. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and female Buddhist monks went into the garden, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 14:58, 28 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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不料赖大便吩咐了看院的婆子并小厮看守，惟给了些饮食，却是一步不准走开。那些女孩子摸不着头脑，只得坐着，等到天亮。园里各处的丫头虽都知道拉进女尼们来，预备宫里使唤，却也不能深知原委。到了明日早起，贾政正要下班，因堂上发下两省城工估销册子，立刻要查核，一时不能回家，便叫人回来告诉贾琏说：“赖大回来，你务必查问明白。该如何办就如何办了，不必等我。”贾琏奉命，先替芹儿喜欢，又想道：“若是办得一点影儿都没有，又恐贾政生疑，不如回明二太太，讨个主意办去，便是不合老爷的心，我也不至甚担干系。”<br />
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Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those Buddhist nuns. Only provided with some drinks and foods, they were not allowed to step out of this garden. They didn’t have the least idea of what happened, but to stay here till next morning. The girls in the garden knew that those nuns were called in here to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to end the morning court, for he needed to re-check the evaluation booklet on city workers of two provinces at once, he couldn’t go back home for a short while. Thus he just sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just go forward according to the situation.” Receiving orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”<br />
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Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those nuns who were provided with some drinks and foods, but not allowed to step out of that garden. The nuns didn’t have the least idea of what happened and had to stay there till next morning. The girls in the garden knew that those nuns were called in to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to knock off, for he needed to re-check the evaluation booklet on city engineering of two provinces at once, he couldn’t go back home for a short while. Thus, he sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just deal with it according to the situation.” Receiving the orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 12:07, 29 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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主意定了，进内去见王夫人，陈说：“昨日老爷见了揭帖生气，把芹儿和女尼女道等都叫进府来查办。今日老爷没空问这种不成体统的事，叫我来回太太，该怎么便怎么样。我所以来请示太太，这件事如何办理？”王夫人听了咤异道：“这是怎么说！若是芹儿这么样起来，这还成咱们家的人了么？但只这个贴帖儿的也可恶！这些话可是混嚼说得的么？你到底问了芹儿有这件事没有呢？”贾琏道：“刚才也问过了。太太想，别说他干了没有，就是干了，一个人干了混帐事也肯应承么？但只我想芹儿也不敢行此事：知道那些女孩子都是娘娘一时要叫的，倘或闹出事来，怎么样呢？<br />
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With that in mind, Romance Merchant came into Lady King's room and reported to her, "Yesterday, being outraged by that letter, the master instructed that taking Celery Merchant and those Buddhist and Taoist nuns into the mansion to investigate them. Today he is too busy to bother about such a disgraceful matter, and then ordered me to report to you that dealing with it as you wish. So, I'm here to ask you how to cope with it." "Why! It's unreasonable to regard Celery Merchant as one of our family, let alone his disreputable behavior today. Moreover, the one who pasted that letter is detestable! How could they gossip about such things! Have you asked Celery Merchant this matter or not?" Lady King said with astonishment. "I asked him just now. Even if he did that, how could he admit such indecent behavior? Leave alone he might be innocent. Think about it. But I assume that he dared not to do such a thing, knowing the girls would be called by the imperial concubine someday. What will he do if something happens?" replied Romance Merchant.<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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依侄儿的主见，要问也不难，若问出来，太太怎么个办法呢？”王夫人道：“如今那些女孩子在那里？”贾琏道：“都在园里锁着呢。”王夫人道：“姑娘们知道不知道？”贾琏道：“大约姑娘们也都知道是预备宫里头的话，外头并没提起别的来。”王夫人道：“狠是。这些东西一刻也是留不得的。头里我原要打发他们去来着，都是你们说留着好，如今不是弄出事来了么？你竟叫赖大那些人带去细细的问他的本家有人没有，将文书查出，花上几十两银子，雇只船，派个妥当人，送到本地，一概连文书发还了，也落得无事。若是为着一两个不好，个个都押着他们还俗，那又太造孽了；<br />
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To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort,to where they came from. When they’ve all been manumitted that will be the end of that.If we were to force them all to go back to secular life just because one or two of them have gone to the bad, that would be too heartless.<br />
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To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort, to where they came from. When they’ve all been manumitted that will be the end of that. Even if one or two of them have been up to some mischief, I don't think it would be fair to punish them indiscriminately, by making them all return to lay-life.--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 14:21, 29 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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若在这里发给官媒，虽然我们不要身价，他们弄去卖钱，那里顾人的死活呢？芹儿呢，你便狠狠的说他一顿，除了祭祀喜庆，无事叫他不用到这里来。看仔细碰在老爷气头儿上，那可就吃不了兜着走了。并说与帐房儿里，把这一项钱粮档子销了。还打发个人到水月庵说：老爷的谕：除了上坟烧纸，若有本家爷们到他那里去，不许接待。若再有一点不好风声，连老姑子一并撵出去。”贾琏一一答应了出去，将王夫人的话告诉赖大，说：“是太太主意，叫你这么办去。办完了，告诉我去回太太。你快办去罢。回来老爷来，你也按着太太的话回去。”<br />
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And if we made them over to official brokers here, even though we didn't ask for any money they'd still sell them, not caring at all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send word to Water Moon Convent that, on the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.<br />
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And if we made them over to officials here, even though we didn't ask for money they'd still sell them, not caring about all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send words to Water Moon Convent that, according to the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 10:24, 30 May 2022 (UTC)<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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赖大听说，便道：“我们太太真正是个佛心，这班东西着人送回去。既是太太好心，不得不挑个好人。芹哥儿竟交给二爷开发了罢。那个贴帖儿的，奴才想法儿查出来，重重的收拾他才好。”贾琏点头说：“是了。”即刻将贾芹发落。赖大也赶着把女尼等领出，按着主意办去了。晚上贾政回家，贾琏赖大回明贾政。贾政本是省事的人，听了也便撂开手了。独有那些无赖之徒，听得贾府发出二十四个女孩子出来，那个不想？究竟那些人能彀回家不能，未知着落，亦难虚拟。且说紫鹃因黛玉渐好，园中无事，听见女尼等预备宫内使唤，不知何事，便到贾母那边打听打听。<br />
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When Lai Da heard this, he said, "Our ladyship is really a Buddha," and this class of things was sent back." Both are too kind to have to pick a good person. Brother Qin actually handed it over to Precious Jade to develop. The one who posted it, the slave thought about finding out, and it was good to clean up after him. Jia Lian nodded and said, "Yes." "Immediately send Jia Qin down." Lai Da also hurried to lead the nuns out and did as he was told. In the evening, Jia Zheng went home, and Jia Lianlai returned to Ming Jia Zheng. Jia Zheng was originally a convenient person, and when he heard it, he opened his hand. Only those rogues, I heard the Jia send out twenty-four girls out, that doesn't want to? In the end, those people can go home and can't, the unknown location, and it is difficult to be virtual. Moreover, it is said that the Purple Crane is getting better because of , and there is nothing to do in the garden, so when he heard the nuns and other nuns preparing for the palace, they did not know what to do, so they went to Lady Wang's house to inquire.<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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恰遇着鸳鸯下来闲着，坐下说闲话儿，提起女尼的事，鸳鸯咤异道：“我并没有听见，回来问问二奶奶就知道了。”正说着，只见傅试家两个女人过来请贾母的安，鸳鸯要陪了上去。那两个女人因贾母正睡晌觉，就与鸳鸯说了一声儿，回去了。紫鹃问：“这是谁家差来的？”鸳鸯道：“好讨人嫌！家里有了一个女孩儿，生得好些，便献宝的是的，常常在老太太面前夸他家姑娘长得怎么好，心地怎么好，礼貌上又能，说话儿又简绝，做活计儿手儿又巧，会写会算，尊长上头最孝敬的，就是待下人也是极和平的，来了就编这么一大套，常常说给老太太听。我听着狠烦。<br />
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Happen to meet Mandarin Duck’s leisure, they sat chatting. The mention of Buddhist nun surprises Mandarin Duck:“I didn’t hear it and we will know after second grandma come.” Whiling saying, Mandarin Duck planned to welcome two women in Testing Assist’s family coming to visit Grandma Merchant. Because Mother Merchant was sleeping at noon, the two women spoke to the Mandarin Duck and went back. Purple Cuckoo asked, "Whose family sent this?" Mandarin Duck said: "What a nuisance! They praised their beautiful daughter as treasures in the presence of Mother Merchant by boasting her good nature, appearance ,politeness and eloquence. The girl was skillful at writing and calculating, and the most dutiful of her superiors was very peaceful to servants. When she came, she would make up such a talk and often told the old lady. I'm sick of hearing it. <br />
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She happened to find Mandarin Duck free too, and sitting down to chat she asked her about the nuns. “This is news to me,” said Mandarin Duck in surprise. “I’ll find out later on from Madam Phoenix.” As they were talking, two serving-women from Test Assist’s family arrived to pay their respects to the Lady Dowager. Mandarin Duck was taking them there when they heard that the old lady was having a nap, so the women delivered their message to her and left. “Where are they from?” asked Nightingale. “They’re perfect pests!”Mandarin Duck told her. “The Assists have a daughter who is not bad-looking, so they keep coming to praise her to the old lady for her good looks, good heart and good manners. They say she’s no chatter-box but a skilled needlewoman, who can write and keep accounts too, most dutiful to her elders and kind to the servants. Each time they come they reel all this off, as if offering the old lady some rare treasure. I can’t bear listening to them!--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 02:39, 29 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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这几个老婆子真讨人嫌。我们老太太偏爱听那些个话。老太太也罢了，还有宝玉，素常见了老婆子，便狠厌烦的，偏见了他们家的老婆子便不厌烦，你说奇不奇？前儿还来说：他们姑娘现有多少人家儿来求亲，他们老爷总不肯应，心里只要和咱们这种人家作亲才肯。一回夸奖，一回奉承，把老太太的心都说活了。”紫鹃听了一呆，便假意道：“若老太太喜欢，为什么不就给宝玉定了呢？”鸳鸯正要说出原故，听见上头说：“老太太醒了。”鸳鸯赶着上去，紫鹃只得起身出来。回到园里，一头走，一头想道：“天下莫非只有一个宝玉？你也想他，我也想他。<br />
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But although they’re such a nuisance, our old lady loves that kind of talk. She isn’t the only one either. Even Precious Jade who can’t abide most old women doesn’t mind these from the Assist family. Odd, isn’t it? Only the other day they came to say that lots of people are asking for their young lady, but her father won’t give his consent hinting that only a family like ours would be good enough for her. All their praise and flattery are having some effect on the old lady.” Though taken aback, Nightingale asked with a show of indifference, “If she thinks it a good match for Precious Jade, then why not fix it up?” Before Mandarin Duck could explain someone inside called Out, “The old lady’s woken!” Mandarin Duck hurried in then and Nightingale got up to leave. On her way back to the Garden she ruminated, “Is there only one Precious Jade in the world that everybody should want him?<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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我们家的那一位，越发痴心起来了。看他的那个神情儿，是一定在宝玉身上的了。三番五次的病，可不是为着这个是什么！这家里‘金’的‘银’的还闹不清，若添了一个什么傅姑娘，更了不得了。我看宝玉的心也在我们那一位的身上；听着鸳鸯的说话，竟是见一个爱一个的。这不是我们姑娘白操了心了吗？”紫鹃本是想着黛玉，往下一想，连自己也不得主意了，不免掉下泪来。要想叫黛玉不用瞎操心呢，又恐怕他烦恼；若是看着他这样，又可怜见儿的。左思右想，一时烦躁起来，自己啐自己道： <br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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“你替人耽什么忧！就是林姑娘真配了宝玉，他的那性情儿也是难伏侍的。宝玉性情虽好，又是贪多嚼不烂的。我倒劝人不必瞎操心，我自己才是瞎操心呢！从今已后，我尽我的心伏侍姑娘，其余的事全不管。”这么一想，心里倒觉清净。回到潇湘馆来，见黛玉独自一人，坐在炕上理从前做过的诗文词稿，抬头见紫鹃来，便问：“你到那里去了？”紫鹃道：“我今儿睄了睄姐妹们去。”黛玉道：“敢是找袭人姐姐去么？”紫鹃道：“我找他做什么？”黛玉一想，这话怎么顺嘴说了出来？反觉不好意思，便啐道：“你找谁与我什么相干！倒茶去罢。”<br />
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“Why worry about someone else? Even if she really marries, the way she is it won’t be easy to please her; and Precious Jade, for all he’s good-natured, is too much of a flirt. But here I am hoping she’ll stop worrying yet worrying myself for nothing! From now on I’ll look after her as best I can and not care about anything else.” This conclusion helped to calm her down by the time she reached Bamboo Lodge, where she found Mascara Jade sitting all by herself on the kang sorting out her old poems and essays. She looked up when Nightingale came in. “Where have you been?” she asked. “To call on some other girls.” “Did you see Sister Aroma?” “Why should I go to see her?” Mascara Jade wondered how she had come to blurt out such a question, and in embarrassment she answered curtly, “I don’t care where you go. Fetch me some tea.”<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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紫鹃也心里暗笑，出来倒茶。只听见园里的一叠声乱嚷，不知何故。一面倒茶，一面叫人去打听。回来说道：“怡红院里的海棠本来萎了几棵，也没人去浇灌他。昨日宝玉走去瞧，见枝头上好像有了蓇朵儿是的。人都不信，没有理他。忽然今日开得狠好的海棠花，众人咤异，都争着去看，连老太太、太太都哄动了，来瞧花儿呢。所以大奶奶叫人收拾园里败叶枯枝，这些人在那里传唤。”黛玉也听见了，知道老太太来，便更了衣，叫雪雁去打听：“若是老太太来了，即来告诉我。”雪雁去不多时，便跑来说：“老太太、太太好些人都来了，请姑娘就去罢。”<br />
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Laughing in her heart, Nightingale went out to prepare the tea and heard a clamour of voices in the Garden. When she poured the tea she sent someone to find out what had happened.The girl sent came back and told her, “Some crab-apple trees in Happy Red Court had withered, and nobody watered them; but yesterday when Precious Jade had a look he said he saw buds on the branches. No one believed him or paid any attention to it. Today, suddenly, they burst into bloom with lovely crab-apple flowers! People were so amazed that they rushed over there to look, It’s caused such a sensation that even the old lady and Her Ladyship are coming to see the flowers. So Madam Zhu’s given orders to have the leaves in the Garden swept up, and they were calling servants just now to do this.”Mascara Jade, overhearing that the old lady was coming, at once changed her clothes and sent Snowgoose out to keep watch.“Tell me as soon as the old lady comes,” she said.It was not long before Snowgoose came running back. “The old lady and the mistress have come with quite a party,” she replied.” You’d better go right away, miss.”<br />
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==英语笔译 颜媛 Yan Yuan 202170081603==<br />
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黛玉略自照了一照镜子，掠了一掠鬓发，便扶着紫鹃到怡红院来，已见老太太坐在宝玉常卧的榻上。黛玉便说道：“请老太太安。”退后便见了邢王二夫人，回来与李纨、探春、惜春、邢岫烟彼此问了好。只有凤姐因病未来；史湘云因他叔叔调任回京，接了家去；薛宝琴跟他姐姐家去住了；李家姐妹因见园内多事，李婶娘带了在外居住：所以黛玉今日见的只有数人。大家说笑了一回，讲究这花开得古怪。贾母道：“这花儿应在三月里开的，如今虽是十一月，因节气迟，还算十月，应着小阳春的天气，因为和暖，开花也是有的。”王夫人道：“老太太见的多，说得是，也不为奇。”<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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邢夫人道：“我听见这花已经萎了一年，怎么这回不应时候儿开了？必有个原故。”李纨笑道：“老太太与太太说得都是。据我的糊涂想头，必是宝玉有喜事来了，此花先来报信。”探春虽不言语，心内想：“此花必非好兆。大凡顺者昌，逆者亡；草木知运，不时而发，必是妖孽。”只不好说出来。独有黛玉听说是喜事，心里触动，便高兴说道：“当初田家有荆树一棵，三个弟兄因分了家，那荆树便枯了；后来感动了他弟兄们，仍旧归在一处，那荆树也就荣了。可知草木也随人的。如今二哥哥认真念书，舅舅喜欢，那棵树也就发了。”贾母王夫人听了喜欢，便说：“林姑娘比方得有理，狠有意思。”<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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正说着，贾赦、贾政、贾环、贾兰都进来看花。贾赦便说：“据我的主意，把他砍去。必是花妖作怪。”贾政道：“‘见怪不怪，其怪自败。’不用砍他，随他去就是了。”贾母听见，便说：“谁在这里混说？人家有喜事好处，什么怪不怪的！若有好事，你们享去；若是不好，我一个人当去。你们不许混说。”贾政听了，不敢言语，赸赸的同贾赦等走了出来。那贾母高兴，叫人传话到厨房里，快快预备酒席，大家赏花。叫：“宝玉、环儿、兰儿各人做一首诗志喜。林姑娘的病才好，不要他费心；若高兴，给你们改改。”对着李纨道：“你们都陪我喝酒。”李纨答应了“是”便笑对探春笑道：“都是你闹的。”<br />
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Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all came in to see the flowers. Pardon Merchant said, "In my opinion, just cut it down. It must be flower demons which make trouble." Master Merchant added: "' If you are inured to the strange, it will not be strange. ' Don't cut it down, just let it be." When Grandma Merchant heard this, she said, "Who is talking nonsense here? There is something auspicious in store for us. If there be good things, you enjoy yourselves; If not, I will go alone. You shouldn’t fool around." Mater Merchant dare not speak when heard this, and he walked out with Pardon Merchant embarrassingly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said in a high voice: “Precious Jade, Ring and Blue, each of you to write a poem to express congratulations. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you." "You'll all drink with me," she said to Silk Plum. Silk Plum replied "yes" and then smiled at Seeking-Spring and said, "It's all your fault."<br />
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Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all arrived to see the flowers. Pardon Merchant said, “In my opinion, just cut it down. It must be flower demons which make trouble.” Master Merchant added: “On the contrary, just let them alone. Evil manifestations thrive on such superstition. Just ignore them and they will disappear.” When Grandma Merchant heard this, she said, “Who is talking nonsense here? There is something auspicious in store for us. When there’s good luck, then enjoy it while you can. If not, I will take care of any bad luck. Do not say any other word of such nonsense.” This silenced Master Merchant and he walked out with Pardon Merchant awkwardly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said: “I should like Precious Jade, Ring and Blue, each to write a poem to celebrate this occasion. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you.” “You and the others come up and drink some wine with me,” she said to Silk Plum. Silk Plum replied “yes” and then, smiling, turned to Seeking-Spring and said, “This is all your fault.”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 04:40, 29 May 2022 (UTC)<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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探春道：“饶不叫我们做诗，怎么我们闹的？”李纨道：“海棠社不是你起的么？如今那棵海棠也要来入社了。”大家听着，都笑了。一时，摆上酒菜，一面喝着。彼此都要讨老太太的欢喜，大家说些兴头话。宝玉上来斟了酒，便立成了四句诗，写出来念与贾母听，道：海棠何事忽摧隤，今日繁花为底开？应是北堂增寿考，一阳旋复占先梅。贾环也写了来，念道：草木逢春当茁芽，海棠未发候偏差。人间奇事知多少，冬月开花独我家。贾兰恭楷誊正，呈与贾母。贾母命李纨念道：烟凝媚色春前萎，霜浥微红雪后开。莫道此花知识浅，欣荣预佐合欢杯。<br />
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Seeking-Spring protested, “What do you mean? We are not allowed to write poems. And what’s my fault?” “Aren’t you the founder of crab-flower club?”, replied Silk Plum. “Now the real crab-flower is going to join in this club too.” Everyone laughed after what Silk Plum had said. Food and wine now were served and they all drank. They tried their best to amuse Grandma Merchant with some humorous conversations. Precious Jade came up to pour himself some wine, then thought for a while and wrote a poem. Then he read it to his grandma. The poem said: I asked the crab-tree why it failed to blossom at the blossom-time, now you bloomed so profusely so long before the spring? The tree said: ‘At this time, it means new birth.’, Glad tidings to the Mistress of this House I bring. Then Ring Merchant also wrote out his poem and began to recite: Plants should begin to grow up in spring, our crab-tree blossomed at a wrong time. Of all the wonders in the world, it is the first time for trees to blossom in winter in our home. Then Cymbidium Merchant made a careful copy of his poem in Kai-shu calligraphy and gave it to Grandma Merchant. Grandma Merchant asked Silk Plum to read it out: Your beauty blighted in spring, but you blossom in winter now. Don not say this tree is not wise, it adds luster to our family prosperity.<br />
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“We’ve not even been allowed to write poems,” retorted Seeking-Spring. “So surely this has nothing to do with us?” “Didn’t you start the Begonia Society? Now these crab-apples’ want to join your club too.” At that everybody laughed. Presently wine and dishes were served. And as they drank they all tried to please the old lady by cheerful talk. Precious Jade poured wine for the others, then made tip and wrote out a quatrain which he read to his grandmother. It was as follows: What made the crab-apple wither away? And today why have fresh blossoms come? To foretell a long life for our Old Ancestress It is flowering anew, ahead of the plum. Ring Merchant also wrote and read out this poem: Crab-apples should burgeon in the spring, But ours were bare this year. The world is full of strange phenomena, Yet only here do winter blooms appear. Cymbidium Merchant wrote out his verse neatly and presented it to the old lady, who made Silk Plum read it out as follows: Its misty charm had faded by last spring, But after snow and frost pink blooms unfold. Do not accuse this flower of ignorance— Good fortune at this feast it has foretold.--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 01:55, 29 May 2022 (UTC)<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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贾母听毕，便说：“我不大懂诗，听去倒是兰儿的好，环儿做得不好。都上来吃饭罢。”宝玉看见贾母喜欢，更是兴头，因想起：“晴雯死的那年，海棠死的；今日海棠复荣，我们院内这些人，自然都好，但是晴雯不能像花的死而复生了。”顿觉转喜为悲。忽又想起前日巧姐提凤姐要把五儿补入，或此花为他而开，也未可知。却又转悲为喜，依旧说笑。贾母还坐了半天，然后扶了珍珠回去了，王夫人等跟着过来。只见平儿笑嘻嘻的迎上来，说：“我们奶奶知道老太太在这里赏花，自己不得来，叫奴才来伏侍老太太、太太们。还有两匹红送给宝二爷包裹这花，当作贺礼。”<br />
The old lady said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”<br />
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Grandma Merchant said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:37, 30 May 2022 (UTC)<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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袭人过来接了，呈与贾母看。贾母笑道：“偏是凤丫头行出点事儿来，叫人看着又体面，又新鲜，狠有趣儿！”袭人笑着向平儿道：“回去替宝二爷给二奶奶道谢：要有喜，大家喜。”贾母听了，笑道：“嗳哟，我还忘了呢！凤丫头虽病着，还是他想得到，送得也巧。”一面说着，众人就随着去了。平儿私与袭人道：“奶奶说，这花开得奇怪，叫你铰块红绸子挂挂，便应在喜事上去了。以后也不必只管当作奇事混说。”袭人点头答应，送了平儿出去不题。且说那日宝玉本来穿着一裹圆的皮袄在家歇息，因见花开，只管出来看一回、赏一回、叹一回、爱一回的，心中无数悲喜离合，都弄到这株花上去了。<br />
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Aroma came to pick it up and presented it to Grandma Merchant to see. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come.In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Ping'er out without a question. Moreover,on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart all got to this flower.<br />
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Aroma came to pick it up and presented it to Grandma Merchant. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come. In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Patience out. Moreover, on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart were intrigued by this flower.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 08:05, 30 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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忽然听说贾母要来，便去换了一件狐腋箭袖，罩一件玄狐腿外褂，出来迎接贾母。匆匆穿换，未将”通灵宝玉“挂上。及至后来贾母去了，仍旧换衣。袭人见宝玉脖子上没有挂着，便问：“那块玉呢？”宝玉道：“才刚忙乱换衣，摘下来放在炕桌上，我没有带。”袭人回看桌上，并没有玉，便向各处找寻，踪影全无，吓得袭人满身冷汗。宝玉道：“不用着急，少不得在屋里的。问他们就知道了。”袭人当作麝月等藏起吓他顽，便向麝月等笑着说道：“小蹄子们！顽呢，到底有个顽法。把这件东西藏在那里了？别真弄丢了，那可就大家活不成了。”<br />
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Suddenly Precious Jade heard that Grandma Merchant was coming. He went to change a Jianxiu(a kind of clothes with tight sleeves) made of fox's armpit hair and put on a garment made of the hair from black fox's legs, then he went out to welcome Grandma Merchant. He was in such a hurry to change his clothes that he forgot to wear his jade pendant of "Tong Ling Bao Yu". When Grandma Merchant left and Precious Jade went to change clothes, Aroma found that and asked him, "Where is that jade pendant?" Precious Jade answered, "I was hurrying to change my clothes. And I didn't wear it since I took it off and put it on the table." Aroma then found that the jade pendant was not on the table and looked around the room. The jade pendant was still missing, which scared Aroma to be in cold sweat. Precious Jade said, "Don't be anxious, it must stay somewhere in the room. You can ask the others." Aroma thought that it was Dusk Moon and other maids who hid the jade pendant to play tricks on her. She said to them, laughing, "You stupid girls! Are you playing the treasure haunting game? Where do you hide the jade pendant? If you really lose it, we all will be punished!"<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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麝月等都正色道：“这是那里的话？顽是顽，笑是笑，这个事非同儿戏，你可别混说！你自己昏了心了，想想罢，想想搁在那里了？这会子又混赖人了。”袭人见他这般光景，不像是顽话，便着急道：“皇天菩萨，小祖宗！到底你摆在那里去了？”宝玉道：“我记得明明放在炕桌上的，你们到底找啊。”袭人麝月秋纹等也不敢叫人知道，大家偷偷儿的各处搜寻。闹了大半天，毫无影响，甚至翻箱倒笼，实在没处去找，便疑到方才这些人进来，不知谁捡了去了。袭人说道：“进来的，谁不知道这玉是性命是的东西呢？谁敢捡了去呢！你们好歹先别声张，快到各处问去。“What are you talking about?” they answered seriously. “Joking is all very well, but this is no joking matter. Don’t talk nonsense. You must be crazy! Better think back to where you put it instead of accusing us.”“Heavens!” cried Aroma anxiously, seeing them so much in earnest. “Where exactly did you put it, Master Precious Jade Merchant?”“I remember quite clearly putting it on that table,” he assured her. “Make a good search for it.”Not daring to let outsiders know, Aroma, Musk Deer Month, Autumn Vein and the other girls quietly searched the whole place. They hunted around for hours, even turning out cases and crates — but all in vain. When the jade was nowhere to be found, they wondered if one of their visitors that day could have taken it.But Aroma said, “All of them know how precious this jade is. Who’d dare take it? You mustn’t, for goodness’ sake, let word of this get out, but go and make inquiries at different households.<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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若有姐妹们捡着吓我们顽呢，你们给他磕头，要了回来；若是小丫头偷了去，问出来，也不回上头，不论把什么送给他换了出来，都使得的。这可不是小事，真要丢了这个，比丢了宝二爷的还利害呢。”麝月秋纹刚要往外走，袭人又赶出来嘱咐道：“头里在这里吃饭的倒别先问去。找不成，再惹出些风波来，更不好了。”麝月等依言，分头各处追问。人人不晓，个个惊疑。麝月等回来，俱目瞪口呆，面面相窥，宝玉也吓怔了，袭人急的只是干哭。找是没处找，回又不敢回：怡红院里的人吓得个个像木雕泥塑一般。大家正在发呆，只见各处知道的都来了。<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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探春叫把园门关上，先命个老婆子带着两个丫头，再往各处去寻去；一面又叫告诉众人：“若谁找出来，重重的赏银。”大家头宗要脱干系，二宗听见重赏，不顾命的混找了一遍，甚至于茅厮里都找到。谁知那块玉竟像绣花针儿一般，找了一天，总无影响。李纨急了，说：“这件事不是顽的，我要说句无礼的话了。”众人道：“什么呢？”李纨道：“事情到了这里，也顾不得了。现在园里，除了宝玉都是女人。要求各位姐姐、妹妹、姑娘都要叫跟来的丫头脱了衣服，大家搜一搜。若没有，再叫丫头们去搜那些老婆子并粗使的丫头。”<br />
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Seeing-Spring asked servants to close the yard gate. She then asked an old female servant to bring two girl servants to search around. At the same time, she told the rest, "A bonus for anyone who find it." Everyone wanted to prove their innocence and also wanted the bonus. Therefore, all were searching for the jade. Even the toilets were searched. However, it was seen nowhere after one day. Silk Plum was worried, saying, "It is no joke. I am going to be rude." Everyone was confused. She continued, "As for now, I think there is no other options. Now, except Precious Jade, everyone in the yard is female. So I beg every one of you to take off your clothes and let's search it again. If still no result, then I'll ask girl servants to search the old lady servants and manual servants."<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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大家说道：“这话也说的有理。现在人多手乱，鱼龙混杂，到是这么一来，你们也洗洗清。”探春独不言语。那些丫头们也都愿意洗净自己。先是平儿起。平儿说道：“打我先搜起。”于是各人自己解怀。李纨一气儿混搜。探春嗔着李纨道：“大嫂子，你也学那起不成材料的样子来了。那个人既偷了去还肯藏在身上？况且这件东西，在家里是宝，到了外头不知道的是废物，偷他做什么？我想来必是有人使促狭。”众人听说，又见环儿不在这里，昨儿是他满屋里乱跑，都疑到他身上，只是不肯说出来。<br />
"That's an idea, "they agreed." With such a crowd of us here we're a mixed lot, and this would be a way to clear ourselves."<br />
Only Seeking Spring made no comment.<br />
As the maids also wanted to clear themselves of suspicion, Pinger volunteered to be the first to be searched. Then the others stripped too, and Li Wan searched them in turn.<br />
"Sister-in-law!?"snapped Seeking Spring. "Where did you learn to behave in this scandalous way? If anyone stole it she wouldn't keep it on her, would she? Besides, this jade may be treasured here but to outsiders not in the know it's quite useless, so why should anyone steal it? I'm sure that someone is up to monkey tricks."<br />
When they heard this and noticed Huan's absence— though earlier on he had been running all over the place— they suspected him but were unwilling to say so.<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
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探春又道：“使促狭的只有环儿。你们叫个人去悄悄的叫了他来，背地里哄着他，叫他拿出来，然后吓着他，叫他不要声张。这就完了。”大家点头称是。李纨便向平儿道：“这件事还是得你去才弄得明白。”平儿答应，就赶着去了。不多时，同了环儿来了。众人假意装出没事的样子，叫人沏了碗茶，搁在里间屋里。众人故意搭赸走开，原叫平儿哄他。平儿便笑着向环儿道：“你二哥哥的玉丢了，你瞧见了没有？”贾环便急得紫涨了脸，瞪着眼，说道：“人家丢了东西，你怎么又叫我来查问疑我，我是犯过案的贼么？”<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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平儿见这样子，到不敢再问，便又陪笑道：“不是这么说。怕三爷要拿了去吓他们，所以白问问瞧见了没有，好叫他们找。”贾环道：“他的玉在他身上，看见不看见该问他，怎么问我？捧着他的人多着咧！得了什么不来问我，丢了东西就来问我！”说着，起身就走。众人不好拦他。这里宝玉倒急了，说道：“都是这劳什子闹事！我也不要他了，你们也不用闹了。环儿一去，必是嚷得满院里都知道了，这可不是闹事了么？”袭人等急得又哭道：“小祖宗，你看这玉丢了没要紧；若是上头知道了，我们这些人就要粉身碎骨了！”说着，便嚎啕大哭起来。<br />
She explained with a smile.“I thought you might have taken it to scare them; that's why I simply asked if you'd seen it or not to help them find it." "He was the one wearing the jade so he's the one you should ask instead of me. You all make so much of him! When there's something good going,you don't ask me to share it; but when anythings lost,I'm the one you ask about it!" He got up and marched out and they could not stop him. "All this trouble's due to that silly thing! " burst out Precious Jade. "I don't want it,so you needn't make such a fuss. When Ring gets back,he's bound to tell everyone and raise a fearful rumpus." Weeping in desperation,Aroma said,"You may not care that the jade's lost,Little Ancestor,but if this comes to the mistresses'ears,it'll be the death of us!" She broke down and sobbed.<br />
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==英语口译 方楚晗 Fang Chuhan 202170081616==<br />
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众人更加伤感，明知此事掩饰不来，只得要商议定了话，回来好回贾母诸人。宝玉道：“你们竟也不用商议，硬说我砸了就完了。”平儿道：“我的爷，好轻巧话儿！上头要问为什么砸的呢？他们也是个死啊！倘或要起砸破的碴儿来，那又怎么样呢？”宝玉道：“不然，便说我前日出门丢了。”众人一想，这句话倒还混得过去，但只这两天又没上学，又没往别处去。宝玉道：“怎么没有？大前儿还到南安王府里听戏去了呢。便说那日丢的。”探春道：“那也不妥。既是前儿丢的，为什么当日不来回。”<br />
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==英语口译 胡雯雯 Hu Wenwen 202170081617==<br />
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众人正在胡思乱想要装点撒谎，只听得赵姨娘的声儿，哭着喊着走来，说：“你们丢了东西，自己不找，怎么叫人背地里拷问环儿！我把环儿带了来，索性交给你们这一起洑上水的。该杀该剐，随你们罢。”说着，将环儿一推说：“你是个贼，快快的招罢！”气得环儿也哭喊起来。李纨正要劝解，丫头来说：“太太来了。”袭人等此时无地可容。宝玉等赶忙出来迎接。赵姨娘暂且也不敢作声，跟了出来。王夫人见众人都有惊惶之色，才信方才听见的话，便道：“那块玉真丢了么？”众人都不敢作声。<br />
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==英语口译 黄天琪 Huang Tianqi 202170081618==<br />
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王夫人走进屋里坐下，便叫袭人，慌得袭人连忙跪下，含泪要禀。王夫人道：“你起来，快快叫人细细找去，一忙乱倒不好了。”袭人哽咽难言。宝玉生恐袭人直告诉出来，便说道：“太太，这事不与袭人相干，是我前日到南安王府那里听戏在路上丢了。”王夫人道：“为什么那日不找？”宝玉道：“我怕他们知道，没有告诉他们。我叫焙茗等在外头各处找过的。”王夫人道：“胡说！如今脱换衣服，不是袭人他们伏侍的么？大凡哥儿出门回来，手巾荷包短了，还要问个明白，何况这块玉不见了，便不问的么？”宝玉无言可答。<br />
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==英语口译 李丹 Li Dan 202170081620==<br />
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赵姨娘听见，便得意了，忙接过口道：“外头丢了东西，也赖环儿……”话未说完，被王夫人喝道：“这里说这个，你且说那些没要紧的话！”赵姨娘便不敢言语了。还是李纨探春从实的告诉了王夫人一遍。王夫人也急得泪如雨下，索性要回明贾母，去问邢夫人那边跟来的这些人去。凤姐病中，也听见宝玉失玉，知道王夫人过来，料躲不住，便扶了丰儿来到园里。正值王夫人起身要走，凤姐娇怯怯的说：“请太太安。”宝玉等过来问了凤姐好。王夫人因说道：“你也听见了么？这可不是奇事吗？刚才眼错不见就丢了，再找不着。<br />
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==英语口译 李立飞 Li Lifei 202170081621==<br />
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你去想想：打老太太那边丫头起，至你们平儿，谁的手不稳，谁的心促狭；我要回了老太太，认真的查出来才好。不然，是断了宝玉的命根子了。”凤姐回道：“咱们家人多手杂，自古说的，‘知人知面不知心’，那里保得住谁是好的？但是一吵嚷，已经都知道了，偷玉的人，若叫太太查出来，明知是死无葬身之地，他着了急，反要毁坏了灭口，那时可怎么处呢？据我的糊涂想头，只说宝玉本不爱他，撂丢了，也没有什么要紧，只要大家严密些，别叫老太太老爷知道；这么说了，暗暗的派人去各处察访，哄骗出来，那时玉也可得，罪名也好定：不知太太心里怎么样？”<br />
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==英语口译 莫雨婷 Mo Yuting 202170081622==<br />
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王夫人迟了半日，才说道：“你这话虽也有理，但只是老爷跟前怎么瞒的过呢？”便叫环儿过来道：“你二哥哥的玉丢了，白问了你一句，怎么你就乱嚷？若是嚷破了，人家把那个毁坏了，我看你活得活不得！”贾环吓得哭道：“我再不敢嚷了。”赵姨娘听了，那里还敢言语。王夫人便吩咐众人道：“想来自然有没找到的地方儿。好端端的在家里的，还怕他飞到那里去不成？只是不许声张。限袭人三天内给我找出来。要是三天找不着，只怕也瞒不住，大家那就不用过安静日子了。”说着，便叫凤姐儿跟到邢夫人那边，商议踩缉不题。<br />
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After a long pause Lady Wang replied:"It’s all very well, but will we ever succeed in keeping this from Sir Zheng?" She called Jia Huan to her. "It was very silly of you to go shouting your head off about Bao-yu’s jade, just because they asked you about it. If the thief has heard and destroys the jade, you will pay for it with your life!" "I promise never to mention it again!" wailed Jia Huan in terror. This time Aunt Zhao held her tongue. "There must be some places left where you haven’t looked," Lady Wang continued, addressing the assembled maids. "It must be somewhere here. It’s hardly going to fly away, is it? But when you look, be as quiet as possible. Aroma, I give you three days to find it. If we still haven’t found it by then, we shan’t be able to keep it from Her Old Ladyship and Sir Zheng any longer. And everyone knows what that will mean!" Bidding Xi-feng accompany her, Lady Wang set off for Lady Xing’s apartment, for further consultations on how to apprehend the thief.<br />
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==英语口译 彭慧璇 Peng Huixuan 202170081623==<br />
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这里李纨等纷纷议论，便传唤看园子的一干人来，叫把园门锁上，快传林之孝家的来，悄悄儿的告诉了他，叫他：“吩咐前后门上，三天之内，不论男女下人，从里头可以走动，要出时，一概去不许放出。只说里头丢了东西，待这件东西有了着落，然后放人出来。”林之孝家的答应了“是”，因说：“前儿奴才家里也丢了一件不要紧的东西，林之孝必要明白，上街去找了一个测字的。那人叫做什么刘铁嘴，测了一个字，说的狠明白，回来依旧一找，便找着了。”袭人听见，便央及林家的道：“好林奶奶！出去快求林大爷替我们问问去。”那林之孝家的答应着出去了。<br />
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==英语口译 时友洁 Shi Youjie 202170081624==<br />
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邢岫烟道：“若说那外头测字打卦的，是不中用的。我在南边闻妙玉能扶乩，何不烦他问一问？况且我听见说，这块玉原有仙机，想来问得出来。”众人都咤异道：“咱们常见的，从没有听他说起。”麝月便忙问岫烟道：“想来别人求他是不肯的，好姑娘，我给姑娘磕个头，求姑娘就去，若问出来了，我一辈子总不忘你的恩！”说着，赶忙就要磕下头去，岫烟连忙拦住。黛玉等也都怂恿着岫烟速往栊翠庵去。一面林之孝家的进来说道：“姑娘们大喜！林之孝测了字回来，说这玉是丢不了的，将来横竖有人送还来的。”众人听了，也都半信半疑。惟有袭人麝月喜欢的了不得。<br />
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==英语口译 伍佳惠 Wu Jiahui 202170081625==<br />
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探春便问：“测的是什么字？”林之孝家的道：“他的话多，奴才也学不上来，记得是拈了个赏人东西的‘赏’字。那刘铁嘴也不问，便说：‘丢了东西不是？’“李纨道：“这就算好。”林之孝家的道：“他还说：‘“赏”字上头一个“小”字，底下一个“口”字，这件东西，狠可嘴里放得，必是个珠子宝石。’”众人听了，夸赞道：“真是神仙！往下怎么说？”林之孝家的道：“他说：‘底下“贝”字拆开，不成一个“见”字，可不是“不见”了？’因上头拆了‘当’字，叫快到当铺里找去。‘“赏”字加一“人”字，可不是“偿”字？只要找着当铺就有人，有了人便赎了来，可不是偿还了吗。’”<br />
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“What character did he analyze?” Seeking-Spring Merchant asked. “He said a lot, but it is too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was Shang meaning ‘gift.’ Then, without asking any question, Iron Mouth Liu said, “You’ve lost something, I take it.” “A good guess!” Silk Plum exclaimed. Filial Piety Forest's Wife continued, “He said the upper part of the character is the xiao for ‘small’ with the Kou for ‘mouth’ below. Therefore, the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of Jian meaning ‘see’, so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn’, we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to Shang, it gives Chang meaning to ‘redeem’. So once we hit on the right pawn shop, we’ll find whoever pawned it and then we can redeem it.”<br />
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“What character did he analyze?” Seeking-Spring Merchant asked. “He said a whole lot, too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was shang meaning ‘gift.’ Then, without asking any questions, that Iron Mouth Liu said, ‘You’ve lost something, I take it. “A good guess!” exclaimed Silk Plum. Filial Piety Forest's Wife continued, “Then he said the upper part of the character is the xiao for ‘small’ with the kou for ‘mouth’ below; so the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of jian meaning ‘see,’ so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn,’ we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to shang, it gives chang meaning to ‘redeem.’ So once we hit on the right pawn¬shop, we’ll find whoever pawned it and then we can redeem it.”--[[User:Xia Jing|Xia Jing]] ([[User talk:Xia Jing|talk]]) 10:12, 28 May 2022 (UTC)<br />
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==英语口译 夏晶 Xia Jing 202170081626==<br />
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众人道：“既这么着，就先往左近找起。横竖几个当铺都找遍了，少不得就有了。咱们有了东西，再问人就容易了。”李纨道：“只要东西，那怕不问人都使得。林嫂子，烦你就把测字的话快去告诉二奶奶，回了太太，先叫太太放心。就叫二奶奶快派人查去。”林家的答应了便走。众人略安了一点儿神，呆呆的等岫烟回来。正呆等，只见跟宝玉的焙茗在门外招手儿，叫小丫头子快出来。那小丫头赶忙的出去了。焙茗便说道：“你快进去告诉我们二爷和里头太太、奶奶、姑娘们，天大喜事。”那小丫头子道：“你快说罢，怎么这么累赘？”<br />
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“In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”<br />
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Revision: “In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”--[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 03:18, 30 May 2022 (UTC)<br />
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==英语口译 向师琦 Xiang Shiqi 202170081627==<br />
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焙茗笑着拍手道：“我告诉姑娘，姑娘进去回了，咱们两个人都得赏钱呢！你打量什么，宝二爷的那块玉呀，我得了准信来了。” 话说焙茗在门口和小丫头子说宝玉的玉有了，那小丫头急忙回来告诉宝玉。众人听了，都推着宝玉出去问他。众人在廊下听着。宝玉也觉放心，便走到门口，问道：“你那里得了？快拿来。”焙茗道：“拿是拿不来的，还得托人做保去呢。”宝玉道：“你快说是怎么得的，我好叫人取去。”焙茗道：“我在外头，知道林爷爷去测字，我就跟了去。我听见说在当铺里找，我没等他说完，便跑到几个当铺里去。我比给他们瞧，有一家便说‘有’。<br />
Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page, and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked:“Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”“Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.<br />
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Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked: “Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.--[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 15:46, 30 May 2022 (UTC)<br />
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==英语口译 向望 Xiang Wang 202170081628==<br />
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我说：‘给我罢。’那铺子里要票子。我说：‘当多少钱？’他说：‘三百钱的也有，五百钱的也有。前儿有一个人拿这么一块玉，当了三百钱去；今儿又有人也拿了一块玉，当了五百钱去。’”宝玉不等说完，便道：“你快拿三百五百钱去取了来，我们挑着看是不是。”里头袭人便啐道：“二爷不用理他！我小时候儿听见我哥哥常说，有些人卖那些小玉儿，没钱用，便去当。想来是家家当铺里有的。”众人正在听得咤异，被袭人一说，想了一想，倒大家笑起来，说：“快叫二爷进来罢，不用理那糊涂东西了。他说的那些玉，想来不是正经东西。”宝玉正笑着，只见岫烟来了。<br />
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When I asked for it, though, they wanted the pawn-ticket. ‘How much was it hocked for?’ I asked. They said, ‘We give from three hundred to five hundred cash. The other day someone brought in a jade like that and pawned it for three hundred. Today another man came with a piece and pawned it for five hundred.”’Baoyu cut him short with the order, “Go at once, taking money to redeem both; then we’ll see whether one is the right piece or not.”“Don’t listen to him, Master Bao!” scoffed Xiren from inside. “When I was small my brother often told me that hawkers of small pieces of jade pawn them when they need cash. Every single pawnshop must have some.”The others had been surprised by Beiming’s report. Now, thinking over Xiren’s comment, they laughed.“Tell Master Bao to come in,” they cried. “Pay no attention to that simpleton. The jade he’s talking about can’t be the right one.”Baoyu was laughing too when Xiuyan came back.<br />
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==英语口译 徐舞 Xu Wu 202170081629==<br />
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原来岫烟走到栊翠庵，见了妙玉，不及闲话，便求妙玉扶乩。妙玉冷笑几声，说道：“我与姑娘来往，为的是姑娘不是势利场中的人。今日怎么听了那里的谣言，过来缠我？况且我并不晓得什么叫‘扶乩’。”说着，将要不理。岫烟懊悔此来：知他脾气是这么着的，“一时我已说出，不好白回去。”又不好与他质证他会扶乩的话，只得陪着笑将袭人等性命关系的话说了一遍。见妙玉略有活动，便起身拜了几拜。妙玉叹道：“何必为人作嫁？但是我进京以来，素无人知，今日你来破例，恐将来缠绕不休。”<br />
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==英语口译 张静芝 Zhang Jingzhi 202170081630==<br />
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岫烟道：“我也一时不忍。知你必是慈悲的。便是将来他人求你，愿不愿在你，谁敢相强？”妙玉笑了一笑，叫道婆焚香，在箱子里找出沙盘乩架，书了符，命岫烟行礼祝告毕，起来同妙玉扶着乩。不多时，只见那仙乩疾书道：噫！来无迹，去无踪，青埂峰下倚古松。欲追寻，山万重，入我门来一笑逢。书毕，停了乩。岫烟便问：“请是何仙？”妙玉道：“请的是拐仙。”岫烟录了出来，请教妙玉解识。妙玉道：“这个可不能，连我也不懂。你快拿去，他们的聪明人多着哩。”岫烟只得回来。进入院中，各人都问：“怎么样了？”<br />
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==日语笔译 曹梦然 Cao Mengran 202170081632==<br />
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岫烟不及细说，便将所录乩语递与李纨，众姊妹及宝玉争看，都解的是：“一时要找是找不着的，然而丢是丢不了的，不知几时不找便出来了。但是青埂峰不知在那里？”李纨道：“这是仙机隐语。咱们家里那里跑出青埂峰来？必是谁怕查出，撂在有松树的山子石底下，也未可定。独是‘入我门来’这句，到底是入谁的门呢？”黛玉道：“不知请的是谁？”岫烟道：“拐仙。”探春道：“若是仙家的门，便难入了。”袭人心里着忙，便捕风捉影的混找，没一块石底下不找到，只是没有。回到院中，宝玉也不问有无，只管傻笑。<br />
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Xiuyan went back, and as soon as she entered the courtyard the others all wanted to know how she had fared. Without giving them the details, she handed Silk Plum the oracle she had transcribed. The girls and Precious Jade crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking. “But where is this Blue Ridge Peak?” they asked. “That must be some divine riddle,” said Silk Plum. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?” Mascara Jade remarked, “I wonder whom she invoked.” “Saint Li the Cripple,” Xiuyan told her. “If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed seeking-spring. Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Precious Jade smiled foolishly instead of asking whether she had found it<br />
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Xiuyan went back, and as soon as she entered the courtyard the oth¬ers all wanted to know how she had fared. Without giving them the de¬tails, she handed Li Wan the oracle she had transcribed. The girls and Baoyu crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking.<br />
“But where is this Blue Ridge Peak?” they asked.<br />
“That must be some divine riddle,” said Li Wan. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?”<br />
Daiyu remarked, “I wonder whom she invoked.”<br />
“Saint Li the Cripple,” Xiuyan told her.<br />
“If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed Tanchun.<br />
Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Baoyu smiled foolishly instead of asking whether she had found it.--[[User:Hu Mengqi|Hu Mengqi]] ([[User talk:Hu Mengqi|talk]]) 12:37, 29 May 2022 (UTC)<br />
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==日语笔译 胡梦琪 Hu Mengqi 202170081633==<br />
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麝月着急道：“小祖宗！你到底是那里丢的？说明了，我们就是受罪，也在明处啊。”宝玉笑道：“我说外头丢的，你们又不依。你如今问我，我知道么？”李纨探春道：“今儿从早起闹起，已到三更来的天了。你瞧林妹妹已经掌不住，各自去了。我们也该歇歇儿了，明儿再闹罢。”说着，大家散去。宝玉即便睡下。可怜袭人等哭一回，想一回，一夜无眠，暂且不题。且说黛玉先自回去，想起“金”“石”的旧话来，反自喜欢；心里说道：“和尚道士的话真个信不得。果真‘金’‘玉’有缘，宝玉如何能把这玉丢了呢？或者因我之事，拆散他们的‘金玉’，也未可知。”<br />
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“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”<br />
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”<br />
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin’s already left — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”<br />
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night, unable to sleep.<br />
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.<br />
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“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”<br />
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”<br />
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin was already leave — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”<br />
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night and unable to sleep.<br />
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 14:38, 29 May 2022 (UTC)<br />
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==日语笔译 张白鹭 Zhang Bailu 202170081634==<br />
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想了半天，更觉安心，把这一天的劳乏，竟不理会，重新倒看起书来。紫鹃倒觉身倦，连催黛玉睡下。黛玉虽躺下，又想到海棠花上，说“这块玉原是胎里带来的，非比寻常之物，来去自有关系。若是这花主好事呢，不该失了这玉呀。看来此花开的不祥，莫非他有不吉之事？”不觉又伤起心来。又转想到喜事上头，此花又似应开，此玉又似应失；如此一悲一喜，直想到五更方睡着。次日，王夫人等早派人到当铺里去查问，凤姐暗中设法找寻。一连闹了几天，总无下落。还喜贾母贾政未知。袭人等每日提心吊胆。宝玉也好几天不上学，只是怔怔的，不言不语，没心没绪的。<br />
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Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.<br />
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Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.--[[User:Liu Anli|Liu Anli]] ([[User talk:Liu Anli|talk]]) 14:35, 29 May 2022 (UTC)<br />
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==朝鲜语笔译 刘安莉 Liu Anli 202170081635==<br />
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王夫人只知他因失玉而起，也不大着意。那日正在纳闷，忽见贾琏进来请安，嘻嘻的笑道：“今日听得军机贾雨村打发人来告诉二老爷，说：‘舅太爷升了内阁大学士，奉旨来京，已定明年正月二十日宣麻，有三百里的文书去了。’想舅太爷昼夜趱行，半个多月就要到了。侄儿特来回太太知道。”王夫人听说，便欢喜非常。正想娘家人少，薛姨妈家又衰败了；兄弟又在外任，照应不着。今日忽听兄弟拜相回京，王家荣耀，将来宝玉都有倚靠。便把失玉的心又略放开些了，天天专望兄弟来京。忽一天，贾政进来，满脸泪痕，喘吁吁的说道：<br />
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His mother did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam.<br />
Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now as Grand Secretary would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival.<br />
Then one day Master Merchant burst in, tears streaming down his cheeks.<br />
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Lady King did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam. Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now and it would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival. Then one day Master Merchant burst in, tears streaming down his cheeks.--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 03:18, 30 May 2022 (UTC)<br />
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==朝鲜语笔译 王思佳 Wang Sijia 202170081636==<br />
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“你快去禀知老太太，即刻进宫！不用多人的，是你伏侍进去。因娘娘忽得暴病，现在太监在外立等。他说：‘太医院已经奏明痰厥，不能医治。’”王夫人听说，便大哭起来。贾政道：“这不是哭的时候，快快去请老太太。说得宽缓些，不要吓坏了老人家。”贾政说着，出来吩咐家人伺候。王夫人收了泪，去请贾母，只说元妃有病，进去请安。贾母念佛道：“怎么又病了？前番吓的我了不得，后来又打听错了。这回情愿再错了也罢。”王夫人一面回答，一面催鸳鸯等开箱取衣饰穿戴起来。王夫人赶着回到自己房中也穿戴好了，过来伺候。一时出厅，上轿进宫不题。<br />
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"Go to the old lady and enter the palace at once!" It doesn't take many people, it's you who ambush in. Because Princess Merchant suddenly fell ill violently, the eunuch is now waiting outside. He said: 'The hospital has made it clear that it cannot be cured.' When Lady King heard this, she burst into tears. Master Merchant said, "This is not the time to cry, go and ask the old lady quickly." Speak more gently, don't frighten the old man. Master Merchant said, and came out to order his family to serve. Lady King collected her tears and went to ask Grandma Merchant, only to say that Princess Merchant was ill and went in to ask for peace. Grandma Merchant chanted the Buddha, "Why are you sick again?" I was terrified of it before, and then I was wrong. This time I'm willing to be wrong. Lady King replied while urging mandarin ducks to open the box and take clothes and put them on. Lady King hurried back to her room and dressed herself, and came to serve. When I went out of the hall for a while, I went to the palace and entered the palace without a title.<br />
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==朝鲜语笔译 徐盖 Xu Gai 202170081638==<br />
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且说元春自选了凤藻宫后，圣眷隆重，身体发福，未免举动费力。每日起居劳乏，时发痰疾。因前日侍宴回宫，偶沾寒气，勾起旧病。不料此回甚属利害，竟至痰气壅塞，四肢厥冷。一面奏明，即召太医调治。岂知汤药不进，连用通关之剂，并不见效。内官忧虑，奏请预办后事，所以传旨命贾氏椒房进见。贾母王夫人遵旨进宫，见元妃痰塞口涎，不能言语。见了贾母，只有悲泣之状，却少眼泪。贾母进前请安，奏些宽慰的话。少时贾政等职名递进，宫嫔传奏，元妃目不能顾，渐渐脸色改变。内宫太监即要奏闻，恐派各妃看视，椒房姻戚未便久羁，请在外宫伺候。<br />
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==朝鲜语笔译 徐文慧 Xu Wenhui 202170081639==<br />
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贾母王夫人怎忍便离，无奈国家制度，只得下来，又不敢啼哭，惟有心内悲感。朝门内官员有信。不多时，只见太监出来，立传钦天监。贾母便知不好，尚未敢动。稍刻，小太监传谕出来，说：“贾娘娘薨逝。”是年甲寅年十二月十八日立春；元妃薨日，是十二月十九日，已交卯年寅月，存年四十三岁。贾母含悲起身，只得出宫上轿回家。贾政等亦已得信，一路悲戚。到家中，邢夫人、李纨、凤姐、宝玉等出厅，分东西迎着贾母，请了安，并贾政王夫人请安，大家哭泣不题。次日早起，凡有品级的，按贵妃丧礼进内请安哭临。<br />
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Grandma Merchant and Lady King could not bear to leave, but had no choice but to come down from the state system. She did not dare to cry, but she felt sad inside. The official inside the door has a letter. Before long, the eunuch came out to preach The Imperial Board of Astronomy. Grandma Merchant knew it was not good and had not dared to move. A moment later, the little eunuch sent an oracle, saying: "Empress died." It is December 18, the beginning of spring; Concubine Yuan died and died on December 19. He was forty-three years old. Grandma Merchant sad up, only the palace on the sedan home. Master Merchant and so on have also got the letter, all the way sad. When they got home, Lady City, Silk Plum, Splendid Phoenix King, Precious Jade Merchant went out to greet Grandma Merchant with their belongings and pay their respects to Master Merchant and Lady King. Early the next morning, all who have grade, according to the funeral ceremony of the imperial concubine into the room to ask for peace and cry.<br />
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==比较文学与跨文化研究 Mahzad Heydarian 202021080004==<br />
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贾政又是工部，虽按照仪注办理，未免堂上又要周旋他些，同事又要请教他，所以两头更忙，非比从前太后与周妃的丧事了。但元妃并无所出，惟谥曰贤淑贵妃。此是王家制度，不必多赘。只讲贾府中男女，天天进宫，忙的了不得。幸喜凤姐儿近日身子好些，还得出来照应家事；又要预备王子腾进京，接风贺喜。凤姐胞兄王仁，知道叔叔入了内阁，仍带家眷来京。凤姐心里喜欢，便有些心病，有这些娘家的人，也便撂开，所以身子倒觉比前好了些。王夫人看见凤姐照旧办事，又把担子卸了一半；又眼见兄弟来京，诸事放心，倒觉安静些。<br />
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Master Merchant is also in the Ministry of Works. Although it was handled by the ceremonies, it was necessary to deal with him in the court, and his colleagues had to ask him for advice, so the two sides were busier, not compared with the funeral of the Queen Mother and Concubine Zhou in the past. But Concubine Yuan did not come out, but she was given the posthumous title of Concubine Xianshu. This is the royal family system, so there is no need to repeat it. It only talks about men and women in Merchant's house, who go to the palace every day and are very busy. Fortunately, Sister Phoenix is in better health recently, and she has to come out to take care of the housework. She also has to prepare Soar King to come to Beijing to welcome the wind and congratulate her. Sister Phoenix's elder brother Wang Ren brought his family to Beijing when he knew that his uncle had joined the cabinet. Sister Phoenix liked it in her heart, and she felt a little sick. She also gave up with these family members, so her body felt better than before. Lady King saw that Sister Phoenix was doing things as usual, and half of the burden was unloaded; and when she saw her brother come to Beijing, everything was relieved, and she felt quieter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:26, 30 May 2022 (UTC)<br />
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==外国语言文学 Akira 202121080009==<br />
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独有宝玉原是无职之人，又不念书，代儒学里知他家里有事，也不来管他；贾政正忙，自然没有空儿查他：想来宝玉趁此机会竟可与姊妹们天天畅乐。不料他自失了玉后，终日懒怠走动，说话也糊涂了。并贾母等出门回来，有人叫他去请安，便去；没人叫他，他也不动。袭人等怀着鬼胎，又不敢去招惹他，恐他生气。每天茶饭，端到面前便吃，不来也不要。袭人看这光景，不像是有气，竟像是有病的。袭人偷着空儿到潇湘馆告诉紫鹃，说是：“二爷这么着，求姑娘给他开导开导。”<br />
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Unique Precious Jade was a jobless person and didn't study. Confucianism knew that he had something to do at home, so he didn't care about him; Master Merchant was busy and naturally didn't have time to check him: I wanted to come to Precious Jade to take this opportunity to meet him. Sisters are happy every day. Unexpectedly, after he lost his jade, he walked around lazy all day, and his speech was confused. And when Grandma Merchant came back from going out, someone called him to greet him, so he went; no one called him, and he didn't move. Aroma and others were pregnant, but they didn't dare to provoke him, for fear that he would get angry. Everyday tea and rice, bring it to the front and eat it, don't come if you don't come. Aroma looked at this scene, and it didn't look like she was angry, but she looked like she was sick. Aroma stole the air to Bamboo Lodge and told Nightingale, saying, "Second Master is like this, I beg the girl to enlighten him."<br />
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==英语语言文学 Mariam Tourse 2020GBJ002301==<br />
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紫鹃虽即告诉黛玉，只因黛玉想着亲事上头，一定是自己了，如今见了他，反觉不好意思，“若是他来呢，原是小时在一处的，也难不理他；若说我去找他，断断使不得。”所以黛玉不肯过来。袭人又背地里去告诉探春。那知探春心里明明知道海棠开得怪异，“宝玉”失的更奇，接连着元妃姐姐薨逝，谅家道不祥，日日愁闷，那有心肠去劝宝玉？况兄妹们男女有别，只好过来一两次，宝玉又终是懒懒的，所以也不大常来。宝钗也知失玉。因薛姨妈那日应了宝玉的亲事，回去便告诉了宝钗。薛姨妈还说：“虽是你姨妈说了，我还没有应准，说等你哥哥回来再定。你愿意不愿意？”</div>Li Yuanhttps://bou.de/u/index.php?title=LANG2022_LIST_OF_FINAL_EXAM_PAPERS&diff=143536LANG2022 LIST OF FINAL EXAM PAPERS2022-05-27T09:55:59Z<p>Li Yuan: </p>
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<div><span style="color:red">Every student needs to find a topic, which is not in the textbook and has not been presented in class. Please check your topics in regard of this. All topics are ok except for those with red marks. Please suggest a new topic instead and wait for the teacher to remove the red marks.</span><br />
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Name Student Number Topic for Final Paper<br />
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卞王倩 202170081563 Europeanized Chinese and Cultural Factors Behind it<br />
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曹姣 202170081564 A Brief Talk on Court Culture in Tang Dynasty from the Perspective of the Poem -- Take ''Changhenge'' for Example. --[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 07:45, 11 May 2022 (UTC)<br />
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陈路瑶 202170081565 Ancient Chinese Values Handed Down Until Today<br />
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崔晓凡 202170081566 China Central Plain Culture --[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 13:01, 15 May 2022 (UTC)<br />
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<span style="color:blue">邓阳林 202170081567 A type of verse popular in the Yuan Dynasty <br />
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高智慧 202170081568 The Culture of Dim Sum -- A Traditional Chinese Meal Associated with Cantonese Cuisine --[[User:Gao Zhihui|Gao Zhihui]] ([[User talk:Gao Zhihui|talk]]) 07:35, 27 May 2022 (UTC) --[[User:Gao Zhihui|Gao Zhihui]] ([[User talk:Gao Zhihui|talk]]) 02:38, 10 May 2022 (UTC)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
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何丽娜 202170081569 Ancient Chinese Civilization--the Archaeological Ruins of Liangzhu City<br />
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胡良明 202170081570 Poetry in Tang Dynasty<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
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黄琼 202170081571 Chinese Dragon Dance--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 07:27, 27 May 2022 (UTC)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
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邝雨琪 202170081572 Chinese Dining Etiquette | Chinese Fengshui<span style="color:red">Both of these topics were already presented in class, the final exam paper needs to be a new topic.</span><br />
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黎溢佳 202170081573 Gender Discrimination in Chinese<br />
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李思敏 202170081574 Global Impact of Chinese Language<br />
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李思源 202170081575 Early Transition of Chinese Literature<span style="color:red">Please explain, what kind of transition you mean. If you mean "translation", this was already presented in class.</span><br />
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李婷 202170081576 Language Culture in Chinese Cuisine Names --[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 02:35, 10 May 2022 (UTC)<br />
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李欣 202170081577 The contradiction between language and mind<br />
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李颖 202170081578 Overview on Miaoyu (The language of the Miao ethnic group in Southwest China.)<br />
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李媛 202170081579 Phonetic Loan Characters (tongjiazi) in Chinese Language--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 09:55, 27 May 2022 (UTC) --[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 02:01, 10 May 2022 (UTC)<span style="color:red">This topic is already in the textbook, the final exam paper needs to be a new topic.</span><br />
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李梓婕 202170081580 Confucius Institutes --[[User:Li Zijie|Li Zijie]] ([[User talk:Li Zijie|talk]]) 15:33, 11 May 2022 (UTC)<br />
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<span style="color:blue">梁思婷 202170081581 prejudice and culture<br />
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<span style="color:blue">廖诗韵 202170081582 Chinese idioms<br />
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<span style="color:blue">刘唱 202170081583 Localization of Game Translation<br />
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<span style="color:blue">刘乐乐 202170081584 Chinese online fantasy novels<br />
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刘双英 202170081585 The Transmission of Chinese Folk Art.--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 06:16, 10 May 2022 (UTC)<br />
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刘婷 202170081586 Translation and Dissemination of Chinese Contemporary Science Fiction<br />
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刘瑶 202170081587 Dissemination of Chinese Contemporary Literature<br />
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刘珍 202170081588 Chinese Guqin--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 04:34, 10 May 2022 (UTC)<br />
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龙翰良 202170081589 Spreading Chinese culture in teaching Chinese as a second language --[[User:Long Hanliang|Long Hanliang]] ([[User talk:Long Hanliang|talk]]) 02:48, 23 May 2022 (UTC)<br />
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罗姚林 202170081590 Different Local Dialects in China<br />
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马艳焕 202170081591 An overview on the study of Chinese folk stories --[[User:Ma Yanhuan|Ma Yanhuan]] ([[User talk:Ma Yanhuan|talk]]) 05:20, 10 May 2022 (UTC)<br />
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聂薇 202170081592 Cultural factors behind the Spring Festival travel rush in China<br />
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孙丽君 202170081593 Chuanjiang Work Songs--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 05:42, 10 May 2022 (UTC)<br />
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仝雨梦 202170081594 The Influence of Chinese Traditional Philosophy in Contemporary Times --[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 05:04, 10 May 2022 (UTC)<br />
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童略雅 202170081595 A Brief Analysis of The Influence of AI on Translators<br />
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庹树梅 202170081596 Translation and Dissemination of Chinese Fairy Tales in the English-speaking World<br />
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王思琪 202170081597 A Study on Chinese Dialects<br />
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王亚娟 202170081598 Filial Piety in China--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 02:29, 10 May 2022 (UTC)<br />
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肖冬晴 202170081599 On Verbal Humour in Chinese Sketches from the Perspective of Violating the Cooperative Principle<br />
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肖佳莉 202170081600 The Various Schools of Thought and Their Exponents During the Period from Pre-Qin Times --[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 14:09, 10 May 2022 (UTC)<br />
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谢晓莹 202170081601 The Acrobatic Fighting in Peking Opera<br />
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熊嘉玲 202170081602 Yue Opera--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 02:49, 10 May 2022 (UTC)<br />
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颜媛 202170081603 Language styles<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
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杨心怡 202170081604 Gendering History on Chinese Movie<br />
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杨紫微 202170081605 Appreciating of the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theories<br />
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张国浩 202170081606 The Influence of Electronic Language on Chinese Language and Culture in the Internet Age<br />
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张姣玲 202170081607 The comparison of the translations of Li Bai’s poem The River-Merchants Wife: A Letter (E.Pound's Version and Xu Yuanchong's)<br />
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张瑞 202170081608 An analysis of honorifics between Chinese and English--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 01:15, 10 May 2022 (UTC)<br />
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赵宇翔 202170081609 Dunhuang Frescoes In Contemporary China<br />
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郑冬琴 202170081610 A Comparative Study of Sino-German Cultural Differences<br />
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钟青 202170081611 The English translation of the ancient Chinese official positions, taking History of Imperial China as an example.<br />
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周皓熙 202170081612 Rhetorics in China<br />
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周哲 202170081613 Confucian Teaching Thoughts<br />
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朱丽娟 202170081614 Eco-awareness in Traditional Chinese Culture--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 12:30, 10 May 2022 (UTC)<br />
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段小蝶 202170081615 Chinese Movies<br />
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方楚晗 202170081616 Bullet Screen in Chinese Online Video Sites--[[User:Fang Chuhan6|Fang Chuhan6]] ([[User talk:Fang Chuhan6|talk]]) 02:04, 10 May 2022 (UTC)<br />
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胡雯雯 202170081617 Chinese Baijiu Culture</span><br />
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黄天琪 202170081618 Marriage Culture in China<br />
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兰绮 202170081619 Chinese Panda Diplomacy--[[User:Lan Qi|Lan Qi]] ([[User talk:Lan Qi|talk]]) 01:02, 10 May 2022 (UTC)<br />
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李丹 202170081620 Differences of Tea Culture between China and the UK--[[User:Li Dan|Li Dan]] ([[User talk:Li Dan|talk]]) 06:13, 10 May 2022 (UTC) ([[User talk:Li Dan|talk]]) 01:42, 10 May 2022 (UTC)<br />
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李立飞 202170081621 Memes in China</span><br />
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莫雨婷 202170081622 Chinese animal symbolism--[[User:Mo Yuting|Mo Yuting]] ([[User talk:Mo Yuting|talk]]) 12:23, 10 May 2022 (UTC)<br />
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彭慧璇 202170081623 Foot binding in China --[[User:Peng Huixuan|Peng Huixuan]] ([[User talk:Peng Huixuan|talk]]) 04:17, 15 May 2022 (UTC)<br />
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时友洁 202170081624 Makeup Evolution in Ancient China --[[User:Shi Youjie|Shi Youjie]] ([[User talk:Shi Youjie|talk]]) 01:47, 10 May 2022 (UTC) <br />
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伍佳惠 202170081625 Chinese Dragon Culture--[[User:Wu Jiahui|Wu Jiahui]] ([[User talk:Wu Jiahui|talk]]) 03:29, 10 May 2022 (UTC)<br />
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夏晶 202170081626 The Differences of Table Manners Between China and West--[[User:Xia Jing|Xia Jing]] ([[User talk:Xia Jing|talk]]) 14:29, 11 May 2022 (UTC)<br />
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向师琦 202170081627 The Collision between Confucian Culture and Chinese Modernist Literature --[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 02:30, 10 May 2022 (UTC)<br />
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向望 202170081628 Fandom Culture in China --[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 10:32, 26 May 2022 (UTC)<br />
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徐舞 202170081629 Analysis on Chinese"Chi+O" Construction<br />
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张静芝 202170081630 The Chinese cheongsam culture --[[User:Zhang Jingzhi|Zhang Jingzhi]] ([[User talk:Zhang Jingzhi|talk]]) 03:11, 12 May 2022 (UTC)Zhang Jingzhi<br />
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张旻丰 202170081631 Chinese tea culture --[[User:Zhang Minfeng|Zhang Minfeng]] ([[User talk:Zhang Minfeng|talk]]) 06:08, 14 May 2022 (UTC)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
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曹梦然 202170081632 Wedding costumes of China --[[User:Cao Mengran|Cao Mengran]] ([[User talk:Cao Mengran|talk]]) 08:36, 11 May 2022 (UTC)Cao Mengran<br />
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胡梦琪 202170081633 Huangmei opera<br />
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张白鹭 202170081634 An analysis of Chinese translation of Modern Japanese literature<br />
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刘安莉 202170081635 China’s internet literature IP<br />
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王思佳 202170081636 Nanyue's Shou culture--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 08:56, 27 May 2022 (UTC) <br />
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徐盖 202170081638 Nuo Culture in China<br />
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徐文慧 202170081639 Chinese Writing: The “scholar's four jewels” (writing brush, ink stick, ink slab and paper) --[[User:Xu Wenhui|Xu Wenhui]] ([[User talk:Xu Wenhui|talk]]) 14:05, 18 May 2022 (UTC)<br />
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Akira 202121080009 The emergence of new linguistic forms in Chinese (neologisms?)<br />
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Mahzad Heydarian 202021080004 Chinese Mythology<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span></div>Li Yuanhttps://bou.de/u/index.php?title=LANG2022_LIST_OF_FINAL_EXAM_PAPERS&diff=143535LANG2022 LIST OF FINAL EXAM PAPERS2022-05-27T09:55:15Z<p>Li Yuan: </p>
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<div><span style="color:red">Every student needs to find a topic, which is not in the textbook and has not been presented in class. Please check your topics in regard of this. All topics are ok except for those with red marks. Please suggest a new topic instead and wait for the teacher to remove the red marks.</span><br />
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Name Student Number Topic for Final Paper<br />
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卞王倩 202170081563 Europeanized Chinese and Cultural Factors Behind it<br />
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曹姣 202170081564 A Brief Talk on Court Culture in Tang Dynasty from the Perspective of the Poem -- Take ''Changhenge'' for Example. --[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 07:45, 11 May 2022 (UTC)<br />
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陈路瑶 202170081565 Ancient Chinese Values Handed Down Until Today<br />
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崔晓凡 202170081566 China Central Plain Culture --[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 13:01, 15 May 2022 (UTC)<br />
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<span style="color:blue">邓阳林 202170081567 A type of verse popular in the Yuan Dynasty <br />
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高智慧 202170081568 The Culture of Dim Sum -- A Traditional Chinese Meal Associated with Cantonese Cuisine --[[User:Gao Zhihui|Gao Zhihui]] ([[User talk:Gao Zhihui|talk]]) 07:35, 27 May 2022 (UTC) --[[User:Gao Zhihui|Gao Zhihui]] ([[User talk:Gao Zhihui|talk]]) 02:38, 10 May 2022 (UTC)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
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何丽娜 202170081569 Ancient Chinese Civilization--the Archaeological Ruins of Liangzhu City<br />
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胡良明 202170081570 Poetry in Tang Dynasty<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
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黄琼 202170081571 Chinese Dragon Dance--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 07:27, 27 May 2022 (UTC)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
邝雨琪 202170081572 Chinese Dining Etiquette | Chinese Fengshui<span style="color:red">Both of these topics were already presented in class, the final exam paper needs to be a new topic.</span><br />
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黎溢佳 202170081573 Gender Discrimination in Chinese<br />
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李思敏 202170081574 Global Impact of Chinese Language<br />
<br />
李思源 202170081575 Early Transition of Chinese Literature<span style="color:red">Please explain, what kind of transition you mean. If you mean "translation", this was already presented in class.</span><br />
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李婷 202170081576 Language Culture in Chinese Cuisine Names --[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 02:35, 10 May 2022 (UTC)<br />
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李欣 202170081577 The contradiction between language and mind<br />
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李颖 202170081578 Overview on Miaoyu (The language of the Miao ethnic group in Southwest China.)<br />
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李媛 202170081579 Phonetic Loan Characters (tongjiazi) in Chinese Language --[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 02:01, 10 May 2022 (UTC)<span style="color:red">This topic is already in the textbook, the final exam paper needs to be a new topic.</span><br />
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李梓婕 202170081580 Confucius Institutes --[[User:Li Zijie|Li Zijie]] ([[User talk:Li Zijie|talk]]) 15:33, 11 May 2022 (UTC)<br />
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<span style="color:blue">梁思婷 202170081581 prejudice and culture<br />
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<span style="color:blue">廖诗韵 202170081582 Chinese idioms<br />
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<span style="color:blue">刘唱 202170081583 Localization of Game Translation<br />
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<span style="color:blue">刘乐乐 202170081584 Chinese online fantasy novels<br />
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刘双英 202170081585 The Transmission of Chinese Folk Art.--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 06:16, 10 May 2022 (UTC)<br />
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刘婷 202170081586 Translation and Dissemination of Chinese Contemporary Science Fiction<br />
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刘瑶 202170081587 Dissemination of Chinese Contemporary Literature<br />
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刘珍 202170081588 Chinese Guqin--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 04:34, 10 May 2022 (UTC)<br />
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龙翰良 202170081589 Spreading Chinese culture in teaching Chinese as a second language --[[User:Long Hanliang|Long Hanliang]] ([[User talk:Long Hanliang|talk]]) 02:48, 23 May 2022 (UTC)<br />
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罗姚林 202170081590 Different Local Dialects in China<br />
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马艳焕 202170081591 An overview on the study of Chinese folk stories --[[User:Ma Yanhuan|Ma Yanhuan]] ([[User talk:Ma Yanhuan|talk]]) 05:20, 10 May 2022 (UTC)<br />
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聂薇 202170081592 Cultural factors behind the Spring Festival travel rush in China<br />
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孙丽君 202170081593 Chuanjiang Work Songs--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 05:42, 10 May 2022 (UTC)<br />
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仝雨梦 202170081594 The Influence of Chinese Traditional Philosophy in Contemporary Times --[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 05:04, 10 May 2022 (UTC)<br />
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童略雅 202170081595 A Brief Analysis of The Influence of AI on Translators<br />
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庹树梅 202170081596 Translation and Dissemination of Chinese Fairy Tales in the English-speaking World<br />
<br />
王思琪 202170081597 A Study on Chinese Dialects<br />
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王亚娟 202170081598 Filial Piety in China--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 02:29, 10 May 2022 (UTC)<br />
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肖冬晴 202170081599 On Verbal Humour in Chinese Sketches from the Perspective of Violating the Cooperative Principle<br />
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肖佳莉 202170081600 The Various Schools of Thought and Their Exponents During the Period from Pre-Qin Times --[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 14:09, 10 May 2022 (UTC)<br />
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谢晓莹 202170081601 The Acrobatic Fighting in Peking Opera<br />
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熊嘉玲 202170081602 Yue Opera--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 02:49, 10 May 2022 (UTC)<br />
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颜媛 202170081603 Language styles<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
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杨心怡 202170081604 Gendering History on Chinese Movie<br />
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杨紫微 202170081605 Appreciating of the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theories<br />
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张国浩 202170081606 The Influence of Electronic Language on Chinese Language and Culture in the Internet Age<br />
<br />
张姣玲 202170081607 The comparison of the translations of Li Bai’s poem The River-Merchants Wife: A Letter (E.Pound's Version and Xu Yuanchong's)<br />
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张瑞 202170081608 An analysis of honorifics between Chinese and English--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 01:15, 10 May 2022 (UTC)<br />
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赵宇翔 202170081609 Dunhuang Frescoes In Contemporary China<br />
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郑冬琴 202170081610 A Comparative Study of Sino-German Cultural Differences<br />
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钟青 202170081611 The English translation of the ancient Chinese official positions, taking History of Imperial China as an example.<br />
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周皓熙 202170081612 Rhetorics in China<br />
<br />
周哲 202170081613 Confucian Teaching Thoughts<br />
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朱丽娟 202170081614 Eco-awareness in Traditional Chinese Culture--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 12:30, 10 May 2022 (UTC)<br />
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段小蝶 202170081615 Chinese Movies<br />
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方楚晗 202170081616 Bullet Screen in Chinese Online Video Sites--[[User:Fang Chuhan6|Fang Chuhan6]] ([[User talk:Fang Chuhan6|talk]]) 02:04, 10 May 2022 (UTC)<br />
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胡雯雯 202170081617 Chinese Baijiu Culture</span><br />
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黄天琪 202170081618 Marriage Culture in China<br />
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兰绮 202170081619 Chinese Panda Diplomacy--[[User:Lan Qi|Lan Qi]] ([[User talk:Lan Qi|talk]]) 01:02, 10 May 2022 (UTC)<br />
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李丹 202170081620 Differences of Tea Culture between China and the UK--[[User:Li Dan|Li Dan]] ([[User talk:Li Dan|talk]]) 06:13, 10 May 2022 (UTC) ([[User talk:Li Dan|talk]]) 01:42, 10 May 2022 (UTC)<br />
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李立飞 202170081621 Memes in China</span><br />
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莫雨婷 202170081622 Chinese animal symbolism--[[User:Mo Yuting|Mo Yuting]] ([[User talk:Mo Yuting|talk]]) 12:23, 10 May 2022 (UTC)<br />
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彭慧璇 202170081623 Foot binding in China --[[User:Peng Huixuan|Peng Huixuan]] ([[User talk:Peng Huixuan|talk]]) 04:17, 15 May 2022 (UTC)<br />
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时友洁 202170081624 Makeup Evolution in Ancient China --[[User:Shi Youjie|Shi Youjie]] ([[User talk:Shi Youjie|talk]]) 01:47, 10 May 2022 (UTC) <br />
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伍佳惠 202170081625 Chinese Dragon Culture--[[User:Wu Jiahui|Wu Jiahui]] ([[User talk:Wu Jiahui|talk]]) 03:29, 10 May 2022 (UTC)<br />
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夏晶 202170081626 The Differences of Table Manners Between China and West--[[User:Xia Jing|Xia Jing]] ([[User talk:Xia Jing|talk]]) 14:29, 11 May 2022 (UTC)<br />
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向师琦 202170081627 The Collision between Confucian Culture and Chinese Modernist Literature --[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 02:30, 10 May 2022 (UTC)<br />
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向望 202170081628 Fandom Culture in China --[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 10:32, 26 May 2022 (UTC)<br />
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徐舞 202170081629 Analysis on Chinese"Chi+O" Construction<br />
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张静芝 202170081630 The Chinese cheongsam culture --[[User:Zhang Jingzhi|Zhang Jingzhi]] ([[User talk:Zhang Jingzhi|talk]]) 03:11, 12 May 2022 (UTC)Zhang Jingzhi<br />
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张旻丰 202170081631 Chinese tea culture --[[User:Zhang Minfeng|Zhang Minfeng]] ([[User talk:Zhang Minfeng|talk]]) 06:08, 14 May 2022 (UTC)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
曹梦然 202170081632 Wedding costumes of China --[[User:Cao Mengran|Cao Mengran]] ([[User talk:Cao Mengran|talk]]) 08:36, 11 May 2022 (UTC)Cao Mengran<br />
<br />
胡梦琪 202170081633 Huangmei opera<br />
<br />
张白鹭 202170081634 An analysis of Chinese translation of Modern Japanese literature<br />
<br />
刘安莉 202170081635 China’s internet literature IP<br />
<br />
王思佳 202170081636 Nanyue's Shou culture--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 08:56, 27 May 2022 (UTC) <br />
<br />
徐盖 202170081638 Nuo Culture in China<br />
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徐文慧 202170081639 Chinese Writing: The “scholar's four jewels” (writing brush, ink stick, ink slab and paper) --[[User:Xu Wenhui|Xu Wenhui]] ([[User talk:Xu Wenhui|talk]]) 14:05, 18 May 2022 (UTC)<br />
<br />
Akira 202121080009 The emergence of new linguistic forms in Chinese (neologisms?)<br />
<br />
Mahzad Heydarian 202021080004 Chinese Mythology<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span></div>Li Yuanhttps://bou.de/u/index.php?title=20220519_homework&diff=14338020220519 homework2022-05-25T04:54:13Z<p>Li Yuan: /* 英语笔译 李颖 Li Ying 202170081578 */</p>
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<div>Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]<br />
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Assignment 1: '''Click here''' [[Chinese Classics Translation 2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is '''Lessons to learn from the Classics: Integration or Sharpening the Cultural Profile? 刘唱 张国浩 张瑞 赵宇翔'''<br />
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Assignment 2: Please do the translation below here<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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四人道：“因老太太当作宝贝一样，他又生得白，老太太便叫作‘宝玉’。”贾母笑向李纨道：“偏也叫个‘宝玉’！”李纨等忙欠身笑道：“从古至今，同时隔代，重名的很多。”四人也笑道：“起了这小名儿之后，我们上下都疑惑，不知那位亲友家也倒是曾有一个的，只是这十来年没进京来，却记不得真了。”贾母笑道：“那就是我的孙子。人来！”众媳妇丫头答应了一声，走近几步。贾母笑道：“园里把咱们的宝玉叫了来，给这四个管家娘子瞧瞧，比他们的宝玉如何？”<br />
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“Precious so much as our old lady towards her grandson, who has the apple-blossom coloring just like a jade, so she gave him the name ‘Precious Jade’,” answered they. Grandma Merchant smiled at Silk Plum, “There should be another ‘Precious Jade’. What a coincidence!” “From ancient times to the present, many people of the same period but different generations are getting the same name. It is normal to see.” Silk Plum and the rest raised slightly and comforted, when the four women joined the topic, “We also wondered if there was also another ‘Precious Jade’ of some relative after his pet name was given. But we failed to remember it clearly because we hadn’t come into the capital for a decade.” “That relative is no other but my grandson. Is there some messenger?” The grandma asked. The wives and maids promised and stepped up. “You go to ask Precious Jade to come here for these four mistresses to have a look. To look compared with theirs, how our ‘Precious Jade’ is,” Grandma Merchant beamed.<br />
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“Precious so much as our old lady towards her grandson, who has the apple-blossom coloring just like a jade, so she gave him the name ‘Precious Jade’,” answered they. Grandma Merchant smiled at Silk Plum, “There should be another ‘Precious Jade’. What a coincidence!” “From ancient times to the present, many people of the same period or from different dynasties are getting the same name. It is normal to see.” Silk Plum and the rest raised slightly and comforted, when the four women joined the topic, “We also wondered if there was also another ‘Precious Jade’ of some relative after his pet name was given. But we failed to remember it clearly because we hadn’t come into the capital for a decade.” “That relative is no other but my grandson. Is there some messenger?” The grandma asked. The wives and maids promised and stepped up. “You go to ask Precious Jade to come here for these four mistresses to have a look. Look how does he compared with theirs,” Grandma Merchant beamed.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:54, 23 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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众媳妇听了，忙去了，半刻，围了宝玉进来。四人一见，忙起身笑道：“唬了我们一跳！若是我们不进府来，倘若别处遇见，还只当是我们的宝玉后赶着也进了京呢！”一面说，一面都上来拉他的手，问长问短。宝玉也笑问个好。贾母笑道：“比你们的长的如何？”李纨等笑道：“四位妈妈才一说，可知是模样相仿了。”贾母笑道：“那有这样巧事？大家子孩子们，再养得娇嫩，除了脸上有残疾十分丑的，大概看去都是一样齐整。这也没有什么怪处。”四人笑道：“如今看来，模样是一样！<br />
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The maids went away, returning together with Precious Jade, at sight of whom the four women rose to their feet. "Well, this is really a surprise for us!" they laughed. "If we’d met him somewhere excluding here, we’d have thought our Precious Jade had followed us to the capital." They came to Precious Jade, who extended his greeting with a smile, and taking his hand they asked him a succession of questions. "How does he compare with your boy?" inquired the Grandma Merchant. "In line with what the four nannies just said, these two must be rather alike in appearance," said Silk Plum. "That’s not a coincidence," Grandma Merchant amused, "If they had no disease causing disfigurements, the doted sons of great houses all look rather handsome. There’s definitely nothing strange at all." "They’re the mirror of each other," declared the four women.<br />
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The maids went away, returning together with Precious Jade, at sight of whom the four women rose to their feet. "Well, this is really a surprise for us!" they laughed. "If we’d met him somewhere excluding here, we’d have thought our Precious Jade had followed us to the capital." They came to Precious Jade, who extended his greeting with a smile, and taking his hand they asked him a succession of questions. "How does he compare with your boy?" inquired the Grandma Merchant. "In line with what the four nannies just said, these two must be rather alike in appearance," said Silk Plum. "That’s not a coincidence," Grandma Merchant amused, "If they had no disease causing disfigurements, the doted sons of great houses all look rather handsome. There’s definitely nothing strange at all." "They’re the mirror of each other," declared the four women.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 07:41, 23 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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据老太太说，淘气也一样；我们看来，这位哥儿，性情却比我们的好些。”贾母忙问：“怎见得？”四人笑道：“方才我们拉哥儿的手说话，便知道了。若是我们那一个，只说我们糊涂。慢说拉手，他的东西，我们略动一动，也不依。所使唤的人，都是女孩子们……”四人未说完，李纨姊妹等禁不住都失声笑出来。贾母也笑道：“我们这会子也打发人去见了你们宝玉，若拉他的手，他也自然勉强忍耐着。不知你我这样人家的孩子，凭他们有什么刁钻古怪的毛病，见了外人，必是要还出正经礼数来的。<br />
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‘According to what you say, both of them have been rather naughty; But your grandson seems to be the better-tempered of the two.’‘Why do you say that?’‘We found out that by holding his hands just now. Ours would have thought us silly. We're not allowed even to touch his things, let alone hold his hands. So all his maids are young girls...'This evoked laughter from Silk Plum and the girls.‘If I sent people to see Precious Jade, and if they took his hand, he’d have to put up with it too,’ chuckled the old lady. ‘No matter how perverse they may be,children from families like ours would always behave correctly to other people.'<br />
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‘According to what you say, both of them have been rather naughty; But your grandson seems to be the better-tempered of the two.’‘Why do you say that?’‘We found out that by holding his hands just now. Ours would have thought us silly. We're not allowed even to touch his things, let alone hold his hands. So all his maids are young girls...'This evoked laughter from Silk Plum and the girls.‘If I sent people to see Precious Jade, and if they took his hand, he’d have to put up with it too,’ chuckled the old lady. ‘No matter how perverse they may be,children from families like ours would always behave correctly to other people.'--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 14:02, 24 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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若他不还正经礼数，也断不容他刁钻去了。就是大人溺爱的，也因为他一则生的得人意儿；二则见人礼数，竟比大人行出来的更不错，使人见了可爱可怜，背地里所以才纵他一点子。若一味他只管没里没外，不与大人争光，凭他生的怎样，也是该打死的。”四人听了，都笑说：“老太太这话正是。虽然我们宝玉淘气古怪，有时见了客，规矩礼数，比大人还有趣，所以无人见了不爱，只说：‘为什么还打他？’殊不知他在家里无法无天，大人想不到的话偏会说，想不到的事偏要行，所以老爷太太恨的无法。<br />
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If he is not decent, he will not be allowed to be unruly. Even adults dote on, but also because of his a born satisfactory son; On the other hand, he was so polite that he was even better than a big man. He was so cute and pitiful that he secretly gave him the idea. If he does not strive for glory with his elders, he should be killed according to his birth." Hearing this, all four laughed and said, "That's exactly what the old lady said. Although Precious Jade Merchant was mischievous and eccentric, sometimes he was more interesting than the adults when he met guests and behaved in a polite way, no one loved him and said, 'Why are you still beating him? 'But he was a lawless man at home, saying and doing what grown-ups could not think of, and his lordship and his wife hated him.<br />
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If he is not decent, he will not be allowed to be unruly. We dote on him for he's a lovely boy; on the other hand, he is so polite that he is even better than an adult. He was so cute that we're willing to spoiler him. If he behaves badly outside and makes us lose face , he should be beaten to death no matter how lovely he is." Hearing this, all four laughed and said, "That's exactly what you said, madam. Although Precious Jade Merchant was mischievous and eccentric, sometimes he was more interesting than the adults when he met guests and behaved in a polite way. Everyone who meet him will love him and say, 'Why are you still beating him? ', not knowing that he is a lawless boy at home, saying and doing what grown-ups could not think of. And his lordship and his mistress are always angry with what he does.<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 15:19, 24 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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就是任性，也是小孩子的常情；胡乱花费，也是公子哥儿的常情；怕上学，也是小孩子的常情，都还治得过来。第一，天生下来这一种刁钻古怪的脾气，如何使得。”一语未完，人回：“太太回来了。”王夫人进来，问过安。他四人请了安，大概说了两句。贾母便命：“歇歇去罢。”王夫人亲捧过茶，方退出去。四人告辞了贾母，便往王夫人处来。说了一会子家务，打发他们回去，不必细说。这里贾母喜得逢人便告诉：也有一个宝玉，也都一般行景。众人都想着：天下的世宦大家，同名的这也很多，祖母溺爱孙者也是常事，不是什么罕事，皆不介意。<br />
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It is common that boys of noble families are wayward, extravagant and reluctant to go to school. All of these manners can be corrected. However, how should we do to deal with this perverse and eccentric disposition which is naturally born?" Before they finished, a man reported, "The Lady is back." Then Lady King came in and wished her mother-in-law good health. The four of them also paid their respects and they talked for a while. Then Grandma Merchant ordered, "You can go to have a rest." Lady King served the tea for Grandma Merchant and withdrew. The four took leave of the old dowager and follow Lady King to her room. After talking a little about household affairs, Lady King sent them away.It's no need going into more details. On the other hand, Grandma Merchant was happy to tell people she met: there was also a "Precious Jade" in another family who was like the one of their own. Everyone thought it not strange that there existed some namesakes in many official families who were doted by grandmother. So nobody really cared.<br />
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It is common that boys of noble families are wayward, extravagant and reluctant to go to school. All of these manners can be corrected. However, how should we do to deal with this perverse and eccentric disposition which is naturally born?" Before they finished, a man reported, "The Lady is back." Then Lady King came in and wished her mother-in-law good health. The four of them also paid their respects and they talked for a while. Then Grandma Merchant ordered, "You can go to have a rest." Lady King served the tea for Grandma Merchant and left then. The four took leave of the old dowager and follow Lady King to her room. After talking a little about household affairs, Lady King sent them away.It's no need going into more details. On the other hand, Grandma Merchant was happy to tell people she met: there was also a "Precious Jade" in another family who was like the one of their own. Everyone thought it not strange that there existed some namesakes in many official families who were doted by grandmother. So nobody really cared.--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 03:12, 24 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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独宝玉是个迂阔呆公子的性情，自为是那四人承悦贾母之词；后至园中去看湘云病去，史湘云因说他：“你放心闹罢，先还‘单丝不成线，独树不成林’，如今有了个对子。闹急了，再打很了，你好逃到南京找那一个去。”宝玉道：“那里的谎话，你也信了，偏又有宝玉了？”湘云道：“怎么列国有个蔺相如，汉朝又有个司马相如呢？”宝玉笑道：“这也罢了，偏又模样儿也一样，这是没有的事！”湘云道：“怎么匡人看见孔子，只当是阳货呢？”宝玉笑道：“孔子阳贷虽同貌，却不同名，蔺与司马虽同名，而又不同貌；偏我和他就两样俱同不成？”<br />
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However, Precious Jade was a dull and precious man in position and thought what the four people said were only to please Grandma Merchant. Then he went to the park to visit Fragrant-cloud, and she said:" Now you can do whatever you want to do. Prior to this, 'one strand of silk does not make a thread, one tree does not make a forest'. But now you have a company identical to you. You can escape to Nanjing to find your company if you fight noisily." Precious Jade said:"That’s a lie and you believed in that nonsense. How could the other Precious Jade exist in the world. "Fragrant-cloud said:"How could there were Lin Xiangru in the various states or nations while Sima Xiangru in Han dynasty." Precious Jade smiled:"It’s not just the identical name but the same appearance which seems impossible!" Fragrant-cloud said:" How could people in Spring and Autumn period mistake Confucius for Yang Dai?" Precious Jade smiled:"Confucius and Yang Dai shared appearance but had different name while Lin and Sima shared the name but looked different. However I and my company shared the both."<br />
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However, Precious Jade alone was a dull and unworldly man with a silver spoon and thought what the four people said was only to please Grandma Merchant. Then he went to the garden to visit Fragrant-cloud, and she said:" Now you can do whatever you want to do. Prior to this, 'one strand of silk does not make a thread, one tree does not make a forest'. But now you have a company identical to you. You can escape to Nanjing to find your company if you fight noisily." Precious Jade retorted: "That’s a lie and you believed in that nonsense. How could another Precious Jade exist in the world? "Fragrant-cloud said: "How could there was Lin Xiangru the Warring States Time while Sima Xiangru in Han dynasty?" Precious Jade smiled: "It’s not just the identical name but the same appearance, which is impossible!" Fragrant-cloud said:" How could people in Spring and Autumn period mistake Confucius for Yang Dai?" Precious Jade smiled: "Confucius and Yang Dai shared same appearance but had different names while Lin and Sima shared the name but looked different. However, I and my company shared them both."--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 09:16, 24 May 2022 (UTC)<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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湘云没了话答对，因笑道：“你只会胡搅，我也不和你分证。有也罢，没也罢，与我无干。说着，便睡下了。宝玉心中便又疑惑起来：“若说必无，也似必有；若说必有，又并无目睹。”心中闷闷，回至房中榻上，默默盘算，不觉昏昏睡去，竟到一座花园之内。宝玉咤异道：“除了我们大观园，竟又有这一个园子？”正疑惑间，忽然那边来了几个女孩儿，都是丫鬟，宝玉又咤异道：“除了鸳鸯、袭人、平儿之外，也竟还有这一干人？”只见那些丫鬟笑道：“宝玉怎么跑到这里来？”<br />
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Nothing to refute, Fragrant-cloud History smiled, “You’re just behaving at random, I refuse to argue with you. Whether it’s so or not, it has nothing to do with me.” Then, she fell asleep. Precious Jade felt uncertain in mind, “I may say this can’t be, yet I feel it seemed that it’s true. Yet how can I be sure, when I haven’t seen with my own eyes?” There was a feeling of depression around him so he returned to the bed to think. Soon he dozed off and dreamed that he was in a garden. Precious Jade marveled, “Is there another garden like this except Grand View Garden?” when he was puzzled, some maids approached. He said in surprise again, “There are more girls here except Mandarin Duck, Aroma, Patience.” The maids asked, “ What is Precious Jade coming here.”<br />
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Unable to refute him, Fragrant-cloud History smiled, “You’re just behaving at random, I refuse to argue with you. Whether it’s so or not, it has nothing to do with me.” Then, she fell asleep. Precious Jade felt uncertain in mind, “I may say this can’t be, yet I feel it seemed that it’s true. Yet how can I be sure, when I haven’t seen my trouble with my own eyes?” There was a feeling of depression around him, so he returned to the bed to think. Soon he dozed off and dreamed that he was in a garden. Precious Jade marveled, “Is there another garden like this except Grand View Garden?” As he was puzzling over, some girls all serving-maids approached. He exclaimed in surprise again, “So Mandarin Duck, Aroma, Patience aren’t the only fine girls.” The maids laughed at him, “ What is Precious Jade doing here? ”--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 02:58, 25 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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宝玉只当是说他，忙来陪笑说道：“因我偶步到此，不知是那位世交的花园？姐姐们带我逛逛。”众丫鬟都笑道：“原来不是咱们家的宝玉。他生得也还干净，嘴儿也倒乖觉。”宝玉听了，忙道：“姐姐们这里，也竟还有个宝玉？”丫鬟们忙道：“‘宝玉’二字，我们家是奉老太太、太太之命，为保佑他延年消灾的，我们叫他，他听见喜欢；你是那里远方来的小厮，也乱叫起来！仔细你的臭肉，打不烂了你的！”又一个丫鬟笑道：“咱们快走罢，别叫宝玉看见。”又说：“同这臭小子说了话，把咱们熏臭了！”说着，一径去了。<br />
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Precious Jade, assuming that they were talking about him, answered with a smile, ''I happened to ramble in here. I wonder which of my family's friends this garden belongs to. Will you show me round it, sisters?'' ''It isn't our Precious Jade after all,'' laughed the girls.'' ''He's not bad-looking though, and soft-spoken too.'' ''Is there another Precious Jade here, sisters?'' Precious Jade asked eagerly. ''It was the old lady and mistress who told us to call him Precious Jade as a means of bringing him luck,'' the girls rejoined. ''He likes it when we call him by his name. But how can a stinking young boy from far away like you to use it at random? You'd better watch out or we' ll beat you to a pulp!'' ''Let's go before Precious Jade sees him,'' urged another. ''Talking to this stinking wretch here had made us stink too.'' With that they hurried off.<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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宝玉纳闷道：“从来没有人如此荼毒我，他们如何竟这样的？莫不真也有我这样一个人不成？”一面想，一面顺步早到了一所院内。宝玉咤异道：“除了怡红院，也竟还有这么一个院落？”忽上了台阶，进入屋内，只见榻上有一个人卧着，那边有几个女儿做针线，也有嘻笑玩耍的。只见榻上那个少年叹了一声，一个丫鬟笑问道：“宝玉，你不睡，又叹什么？想必为你妹妹病了，你又胡愁乱恨呢。”宝玉听说，心下也便吃惊。只见榻上少年说道：“我听见老太太说，‘长安’都中也有个宝玉，和我一样的性情，我只不信。<br />
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Precious Jade wondered: “No one treats me like that, how could they? Does there any other like me?” While thinking, he walked into a yard. He was confused:” Is there a yard except for Happy Red Court?” Stepping on the stairs, he only saw a person lying on the bed in the room, with several maids knitting and playing. The boy on the bed sighed and one girl asked: “Precious Jade, why don’t you sleep and sigh? Are you worried about your ill sister?” Precious Jade heard and was shocked when the boy said: “Grandma said there is a Precious Jade in Changan quite like me, but I don’t buy for it.”--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 03:54, 22 May 2022 (UTC)<br />
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Precious Jade wondered: “No one treats me like that, how could they? Is it true that there is a person like me??” While thinking, he walked into a yard. He was confused:” Is there another yard just like Happy Red Court?” Stepping up the stairs, he only saw a person lying on the bed in the room, with several maids knitting and playing beside him. The boy on the bed sighed and one girl asked: “Precious Jade, why don’t you sleep but sigh? Are you worried about your ill sister?” Precious Jade heard and was shocked when the boy said: “Grandma said there is another Precious Jade in Changan quite like me, but I don’t buy for it.”--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 09:53, 22 May 2022 (UTC)<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
我才做了一个梦，竟梦中到了都中一个花园子里头，遇见几个姐姐，都叫我臭小厮，不理我。好容易找到他房里，偏他睡觉，空有皮囊，真性不知往那里去了。”宝玉听说，忙说道：“我因找宝玉来到这里。原来你就是宝玉？”榻上的忙下来拉住，笑道：“原来你就是宝玉！这可不是梦里了。”宝玉道：“这如何是梦？真而又真的！”一语未了，只见人来说：“老爷叫宝玉。”吓得二人皆慌了。一个宝玉就走，一个便忙叫：“宝玉快回来，宝玉快回来！”袭人在旁听他梦中自唤，忙推醒他，笑问道：“宝玉在那里？”<br />
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"I just had a dream. In that dream, I came to a garden in the capital, I met several maids who called me a stinky boy and ignored me. I exerted great effort to find his room, but he was sleeping. He only has good-looking but no temper." Precious Jade Merchant heard his words and said:" I came to here for looking for Precious Jade. So you are Precious Jade?" The one on the bed went down his bed and laughed:" So you are Precious Jade! This is not a dream." Precious Jade replied:" How can this be a dream? It's genuine!" Before he had finished his words, a servant said, "The master called for Precious Jade." They both panicked. One wanted to leave, and the other hurriedly shouted, "Precious Jade, come back!" Aroma next to him heard Precious Jade shouting in his dream, she woke him up and asked," Where is Precious Jade?"--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 09:48, 22 May 2022 (UTC)<br />
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"I just had a dream. In that dream, I came to a garden in the capital, I met several maids who called me a stinky boy and treated me badly. I exerted great effort to find his room, but he was sleeping. He only has good looking but no temper." Precious Jade Merchant heard his words and said:" I came here for looking for Precious Jade. So you are Precious Jade?" The one on the bed went down his bed and laughed:" So you are Precious Jade! This is not a dream." Precious Jade replied:" How can this be a dream? Everything is genuine!" Before he had finished his words, a servant said, "The master called for Precious Jade." They both panicked. One wanted to leave, and the other hurriedly shouted, "Precious Jade, come back!" Aroma next to him heard Precious Jade shouting in his dream, she woke him up and asked," Where is Precious Jade?"--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 09:59, 23 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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此时宝玉虽醒，神意尚恍惚，因向门外指说：“才出了不远。”袭人笑道：“那是你梦迷了。你揉眼细瞧，是镜子里照的你的影儿。”宝玉向前瞧了一瞧，原是那嵌的大镜对面相照，自己也笑了。早有丫鬟捧过漱盂茶卤来漱了口。麝月道：“怪道老太太常嘱咐说：‘小人儿屋里不可多有镜子，小人魂不全，有镜子照多了，睡觉惊恐做胡梦。’如今倒在大镜子那里安了一张床！有时放下镜套还好；往前去，天热困倦，那里想得到放他，比如方才就忘了，自然先躺下照着影儿玩来着，一时合上眼，自然是胡梦颠倒的，不然，如何叫起自己的名字来呢？<br />
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Precious Jade Merchant was awake, but still in a trance. He pointed out the door and said, "I haven't been out that long." Aroma replied with a smile, "You are drowsy. Look closely, it's you in the mirror." So he looked forward again and finally realized that he had a big mirror in front of him. He smiled too. The servant girl came with a spittoon for him to gargle. Musk Deer Month said to him, "No wonder the Old Lady used to say, 'There should not be too many mirrors in a room with children, because children's souls are not mature enough, and if you look too much in the mirror, you will have nightmares at night. But you have such a big mirror in your room! It's okay when you cover it in your daily life. There was a hot hot weather a few days before, so naturally it is difficult to remind people to take out the mirror cover. You know, you just forgot about it, and then you lied in bed, looked at yourself in the mirror, and then you fell asleep. So nightmares came. If it wasn't for this reason, why would you call out your name?<br />
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Precious Jade Merchant was awake, but still in a trance. He pointed out the door and said, "I haven't been out that long." Aroma replied with a smile, "You are drowsy. Look closely, it's you in the mirror." So he looked forward again and finally realized that there was a big mirror in front of him. He smiled too. A maid came with a spittoon for him to gargle. Musk Deer Month said to him, "No wonder the Old Lady used to say, 'There should not be too many mirrors in a room with children, because children's souls are not mature enough, and if they look too much in the mirror, they will have nightmares at night. But you have such a big mirror in your room! It's okay when you cover it in your daily life. There was a hot weather a few days before, so naturally it is difficult for people to remember to cover the mirror. You know, you just forgot about it, and then you lied in bed, looked at yourself in the mirror, and then you fell asleep, thus nightmares came. If it wasn't for this reason, why would you call out your name?--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 05:47, 23 May 2022 (UTC)<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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不如明儿挪进床来是正经。”一语未了，只见王夫人遣人来叫宝玉，不知有何话说，且听下回分解。<br />
◎第五十七回 慧紫鹃情辞试莽玉 慈姨妈爱语慰痴颦<br />
话说宝玉听王夫人唤他，忙至前边来，原来是王夫人要带他拜甄夫人去。宝玉自是欢喜，忙去换衣服，跟了王夫人到那里。见其家形景，自与荣宁不甚差别，或有一二稍盛者。细问，果有一宝玉。甄夫人留席，竟一日方回。宝玉不信。因晚间回家来，王夫人又吩咐预备上等的席面，定名班大戏，请过甄夫人母女。后二日，他母女便不作辞，回任去了，无话。<br />
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We might as well move the couch inside tomorrow." Before she finished speaking, Lady King sent someone to call Precious Jade. To know why she wanted him, read the next chapter. Chapter 57 Clever Nightingale Tests Precious Jade’s Feelings, Kindly Aunt Marshgrass Comforts Mascara Jade. After hearing Lady King had called him, Precious Jade hurried to his mother. It turned out that Lady King wanted to take him to visit Lady Truth. Precious Jade cheerfully changed his clothes and followed his mother there. The Truths’ house struck him as much like the Prosperity and Peace mansions, if not slightly grander. After careful inquiries, he learned that they did indeed have a young master also called Precious Jade. By the time they has spent the day there, for Lady Truth kept them to a meal, he was quite convinced of this. When he returned home in the evening, Lady King ordered the first-class banquet to be prepared and a celebrated opera company hired to entertain Lady Truth and her daughter. The next day they returned without saying a word.<br />
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We might as well move the couch inside tomorrow." Before she finished speaking, Lady King sent someone to call Precious Jade. To know why she wanted him, read the next chapter. Chapter 57 Clever Nightingale Tests Precious Jade’s Feelings, Kindly Aunt Marshgrass Comforts Mascara Jade. After hearing Lady King had called him, Precious Jade hurried to his mother. It turned out that Lady King wanted to take him to visit Lady Truth. Precious Jade changed his clothes cheerfully and followed his mother there. The Truths’ house struck him as much like the Prosperity and Peace mansions, if not slightly grander. After careful inquiries, he learned that they did indeed have a young master also called Precious Jade. By the time they has spent the day there, for Lady Truth kept them to a meal, he was quite convinced of this. When he returned home in the evening, Lady King ordered the first-class banquet to be prepared and a celebrated opera company hired to entertain Lady Truth and her daughter. The next day they returned without saying a word.<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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这日宝玉因见湘云渐愈，然后去看黛玉。正值黛玉才歇午觉，宝玉不敢惊动，因紫鹃正在回廊上手里做针线，便上来问他：“昨日夜里咳嗽的可好了？”紫鹃道：“好些了。”宝玉笑道：“阿弥陀佛！宁可好了罢。”紫鹃笑道：“你也念起佛来，真是新闻！”宝玉笑道：“所谓‘病笃乱投医’了。”一面说，一面见他穿着弹墨绫薄绵袄，外面只穿着青缎夹背心，宝玉便伸手向他身上抹了一抹，说道：“穿这样单薄，还在风口里坐着，时气又不好，你再病了，越发难了。”紫鹃便说道：“从此咱们只可说话，别动手动脚的：<br />
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When the Mascara Jade take a nap, the Precious Jade did not dare to disturb, because Fine (Nightingale) is sewing on the cloister, then came up and asked him: "How was she? Was her cough any better last night?""Better," Nightingale said. "Amitabha!" he said:"It's time to recover."Nightingale laughed that:"It's strange that you said Buddha,that's a news."He said:" A drawing man can catch at a straw."As well as he looked at her costume that she was wearing a thin padded silk tunic with black dots under a lined blue silk sleeveless jacket, he reached out to feel her clothes, he said:" You wear too thin to sit in a draught here for this time of year. If you go sick too, things here will be even worse." Nightingale retorted:" When we talk to each other, please keep your hand away from me."<br />
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That day when he saw Fragrant-cloud recovered gradually, Precious Jade went to visit Mascara Jade. At that moment, she was taking a nap, so Precious Jade did not dare to disturb her, because Nightingale was doing needling work on the cloister. Then he came to and asked her: "How is she? Does she stop coughing?" "Better," Nightingale said. "Amitabha!" he said. "It's time to recover." "It's strange that you should say Buddha," Nightingale laughed. He said: "It's like 'A drawing man can catch at a straw'. Then, he looked at her costume, which was just a thin padded silk tunic with black dots and a lined blue silk sleeveless jacket outside, and then he reached out to feel the thickness of her clothes. "You wear too thin to sit in the place with strong wind for this time of year. If you were also sick, things here would be even worse," he said. Nightingale retorted: "When we talk to each other, please keep your hand away from me."--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 04:41, 25 May 2022 (UTC)<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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一年大，二年小的，叫人看着不尊重。打紧的那起混帐行子们背地里说你；你总不留心，还只管和小时一般行为，如何使得。姑娘常常吩咐我们，不叫和你说笑。你近来瞧他，远着你还恐远不及呢。”说着，便起身携了针线进别的房里去了。宝玉见了这般景况，心中像浇了一盆冷水一般，只瞅着竹子发了一回呆。因祝妈正在那里挖刨土种竹，扫竹叶子，顿觉一时魂魄失守，随便坐在一块山石上出神，不觉滴下泪来。直呆了一顿饭工夫，千思万想，总不知如何是可。偶值雪雁从王夫人房中取了人参来，从此经过，忽扭头看见桃花树下石上一人，手托着腮颊，正出神呢：<br />
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"As we grow up, this kind of behavior will be not proper. Although they have always been speaking ill of you behind your back, you still turn a deaf ear to that and keep doing those things when we were little. This is out of place now. The mistress has always been telling us not to talking and playing with you. She is trying her best to hide from you recently when you come to visit her, and hiding from you will be not enough at all," she said and then got into another room with the needling stuff. Hearing what she said and seeing what she acted, Precious Jade felt like being poured with a basin of cold water in his heart and then just stared at the bamboos pondering. At that moment, Nanny Wish was digging there to plant bamboos and cleaning out the fallen leaves. It was dawned on him that his soul went out of his body. He sat on a rock with his mind wandering, and he then could not help shedding tears. He thought again and again and still did not know what to do until the meal time passed. Snow Goose passed here by accident when she just fetched the ginseng from Lady King's place, and saw the person thinking on the rock with his hand on his cheeks when she suddenly raised her head.<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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不是别人，却是宝玉。雪雁疑惑道：“怪冷的，他一个人在这里做什么？春天凡有残疾的人肯犯病，敢是他也犯了呆病了？”一边想，一边便走过来，蹲下来笑道：“你在这里做什么呢？”宝玉忽见了雪雁，便说道：“你又做什么来找我？你难道不是女儿？他既防嫌，不许你们理我，你又来寻我，倘被人看见，岂不又生口舌？你快家去罢。”雪雁听了，只当是他又受了黛玉的委屈，只得回至房中。黛玉未醒，将人参交给紫鹃。紫鹃因问他：“太太做什么呢？”雪雁道：“也睡中觉呢，所以等了这半日。<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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姐姐，你听笑话儿：我因等太太的工夫，和玉钏儿姐姐坐在下房里说话儿，谁知赵姨奶奶招手儿叫我。我只当有什么话说，原来他和太太告了假，出去给他兄弟伴宿坐夜，明日送殡去。跟他的小丫头子小吉祥儿没衣裳，要借我的月白绫子袄儿。我想：他们一般也有两件子的，往这地方去，恐怕弄坏了，自己的舍不得穿，故此借别人的。借我的，弄坏了也是小事，只是我想他素日有什么好处到咱们跟前，所以我说：我的衣裳簪环，都是姑娘叫紫鹃姐姐收着呢。如今先得去告诉他，还得回姑娘，费多少事，别误了你老人家出门，不如再转借罢。”<br />
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“sister, I tell you a story: I chat with Jade Bracelet in the servant's room when waiting the lady to wake up. Who knows concubine Zhao beckoned me. I suppose she has something to say. It turned out that she had taken a leave of absence to go out to sit with her brothers for the night, and sent the funeral tomorrow. As her personal servant girl Little Auspicious has no decent coat, she wanted to borrow my Moon-white Ayako jacket. But I thought they usually have several coats. And they may be afraid their coats will be contaminated in that place, so they are reluctant to wear their own clothes and seek to borrow others. Now that they came to borrow from me. Though it doesn't matter to have my clothes broken, I remember she barely think of us when she get some good things. Then I replied to her: My clothes are all collected by the girl named Purple Crane. Now I have to tell her first and then go back to tell that girl. That process takes your a long time. Why not go to ask others. ”<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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紫鹃笑道：“你这个小东西儿，倒也巧。你不借给他，你推我和姑娘身上，好叫人怨不着你。他这会子就去啊，还是等明日一早才去呢？”雪雁道“这会子就去的，只怕此时已去了。”紫鹃点头。雪雁道：“姑娘还没醒呢，是谁给了宝玉气受？坐在那里哭呢。”紫鹃听了，忙问：“在那里？”雪雁道：“在沁芳亭后头桃花底下呢。”紫鹃听说，忙放下针线，又嘱咐雪雁：“好生听叫。若问我，答应我就来。”说着，便出了潇湘馆，一径来寻宝玉，走至宝玉跟前，含笑说道：“我不过说了那两句话，为的是大家好，你就一气，跑了这风地里来哭，弄出病来还了得！”<br />
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Nightingale smiled:" So smart of you! you didn't borrow it to him and asked him to came to me and the lady so that he wouldn't be angry with you, right? When will he go? Now or tomorrow." Snowgoose said:"he has left just now." Nightingale nodded to Snowgoose and Snowgoose said:"he is watching the peach blossom in the Aroma Pivillion. Heard that, Nightingale just stopped the needlework and said to Snowgoose:" You just stay here and if anybody asks about me, you just say that I'll be here in a minute." Meanwhile, She left the bamboo lodge and went to Precious Jade straightly. She smiled and said:"I said those words for the good of all of us. you shouldn't come here and cry. What if you get sick!" --[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 06:34, 21 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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宝玉忙笑道：“谁赌气了！我因为听你说得有理，我想你们既这样说，自然别人也是这样说，将来渐渐的都不理我了，我所以想到这里，自己伤起心来了。”紫鹃也便挨他坐着。宝玉笑道：“方才对面说话，你尚走开，这会子如何又来挨我坐着？”紫鹃道：“你都忘了？几日前，你们姊妹两个正说话，赵姨娘一头走了进来，我才听见他不在家，所以我来问你。正是前日你和他才说了一句‘燕窝’，就歇住了，总没提起，我正想着问你。”宝玉道：“也没什么要紧。不过我想着宝姐姐也是客中，既吃燕窝，又不可间断，若只管和他要，也太托实。<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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虽不便和太太要，我已经在老太太跟前略露了个风声，只怕老太太和凤姐姐说了。我告诉他的，竟不告诉完。如今我听见一日给你们一两燕窝，这也就完了。”紫鹃道：“原来是你说了，这又多谢你费心。我们正疑惑，老太太怎么忽然想起来叫人每一日送一两燕窝来呢？这就是了。”宝玉笑道：“这要天天吃惯了，吃上三二年就好了。”紫鹃道：“在这里吃惯了，明年家去，那里有这闲钱吃这个。”宝玉听了，吃了一惊，忙问：“谁家去？”紫鹃道：“妹妹回苏州去。”宝玉笑道：“你又说白话。苏州虽是原籍，因没了姑母，无人照看，才接了来的；<br />
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As it’s no use asking my mother. I dropped a hint to the old lady, and I suspect she must have told Sister Phoenix. That was what I started explaining. I understand an ounce of bird’s nest is being sent over to you every day now, so that’s all right.” “So it was you who suggested that, was it?” said Nightingale “That was very good of you. We’ve been wondering what made the old lady suddenly start sending an ounce every day, so that’s the reason.” Precious Jade said with a smile,“If she takes it regularly every day, after two or three years her health should be much better.” The maid replied, “She can have some every day here, but where will the money come from to continue the cure when she goes home next year?” Precious Jade starlted, “Who’s going to which home?” She responded, “Your cousin—back to Suzhou.” “Nonsense!” Precious Jade chuckled. “Suzhou may be her hometown, but she came here because there was no one there to look after her after her parents’ death.<br />
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On the other hand it would be rather awkward to have to ask Sister Phoenix for it; so I dropped a hint to Grandma, and I rather think that she had a word on the subject with Sister Phoenix. That was what I started explaining. I understand an ounce of bird’s nest is being sent over to you every day now, so that’s all right.” “So it was you who suggested that, was it?” said Nightingale “That was very good of you. We’ve been wondering what made the old lady suddenly start sending an ounce every day, so that’s the reason.” Precious Jade said with a smile,“If she takes it regularly every day, after two or three years her health should be much better.” The maid replied, “She can have some every day here, but where will the money come from to continue the cure when she goes home next year?” Precious Jade starlted, “Who’s going to which home?” She responded, “Your cousin—back to Suzhou.” “Nonsense!” Precious Jade chuckled. “Suzhou may be her hometown, but she came here because there was no one there to look after her after her parents’ death.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 12:24, 23 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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明年回去找谁？可见是扯谎。”紫鹃冷笑道：“你太看小了人。你们贾家独是大族，人口多的；除了你家，别人只得一父一母，房族中真个再无人了不成？我们姑娘来时，原是老太太心疼他年小，虽有叔伯，不如亲父母，故此接来住几年。大了该出阁时，自然要送还林家的，终不成林家女儿在你贾家一世不成？林家虽贫到没饭吃，也是世代书宦人家，断不肯将他家的人丢与亲戚，落的耻笑，所以早则明年春天，迟则秋天，这里纵不送去，林家亦必有人来接的。前日夜里姑娘和我说了，叫我告诉你，将从前小时玩的东西，有他送你的，叫你都打点出来还他；<br />
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Whom could she go back to next year? You must be lying.” “What a poor opinion you have of other people!” Zijuan snorted, “I suppose you think yours is the only big family in the world. According to you, I suppose, other people only have fathers and mothers: they couldn't possibly have uncles and aunts on their father's side like you do. Our young lady was brought here for a few years while she was still only a child, because the old lady felt for her and didn't think her uncles could take the place of her parents. But it was only ever her intention to keep her here for a few years. As soon as she's old enough to be married, she'll have to go back to the Lin family. You could hardly expect a Lin family girl to spend the rest of her days among the Merchant family, now could you? Even if the Lins were desperately poor, for generations they've been a family of scholars and officials: they'd never expose themselves to ridicule by abandoning a daughter to relatives. So next spring or next autumn at the latest, even if your family doesn't send her back, the Lins are sure to send to fetch her. The other evening our young lady told me to ask you for all the little gifts and souvenirs she's given you since you were children.“<br />
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Whom could she go back to next year? You must be lying.” “What a poor opinion you have of other people!” Nightingale snorted, “I suppose you think yours is the only big family in the world. According to you, I suppose, other people only have fathers and mothers: they couldn't possibly have uncles and aunts on their father's side like you do. Our young lady was brought here for a few years while she was still only a child, because the old lady felt for her and didn't think her uncles could take the place of her parents. But it was only ever her intention to keep her here for a few years. As soon as she's old enough to be married, she'll have to go back to the Lin family. You could hardly expect a Lin family girl to spend the rest of her days among the Merchant family, now could you? Even if the Lins were desperately poor, for generations they've been a family of scholars and officials: they'd never expose themselves to ridicule by abandoning a daughter to relatives. So next spring or next autumn at the latest, even if your family doesn't send her back, the Lins are sure to send to fetch her. The other evening our young lady told me to ask you for all the little gifts and souvenirs she's given you since you were children.--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 10:25, 24 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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他也将你送他的打点在那里呢。”宝玉听了，便如头顶上响了一个焦雷一般。紫鹃看他怎样回答，等了半天，见他只不作声，才要再问，只见晴雯找来，说：“老太太叫你呢。谁知在这里。”紫鹃笑道：“他这里问姑娘的病症。我告诉了他半日，他只不信。你倒拉他去罢。”说着，自己便走回房去了。晴雯见他呆呆的，一头热汗，满脸紫胀，忙拉他的手一直到怡红院中。袭人见了这般，慌起来了，只说时气所感，热身被风扑了。无奈宝玉发热事犹小可，更觉两个眼珠儿直直的起来；口角边津液流出，皆不知觉；给他个枕头，他便睡下；扶他起来，他便坐着；<br />
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she means to return all yours to you as well.” Precious Jade was thunderstruck. Nightingale waited for him to answer, but not a word could he utter. And just then Sunny Cloud Formation came up.“so here you are, baoyu!” she cried. “the old lady wants you.”“he’s been inquiring after miss Mascara Jade’s health, and i’ve been reassuring him,” Nightingale remarked. “but he won’t believe me. you’d better take him away.” with that she returned to her room. Sunny Cloud Formation noticed Precious Jade’s distraught look, the hectic flush on his cheeks and the sweat on his forehead. she at once led him by the hand to happy red court where his appearance horrified Aroma, who imagined he must have caught a chill in the wind while overheated. a fever was not too alarming, but his eyes were fixed and staring, saliva was trickling from the corners of his lips, and he seemed in a state of stupefaction. he would lie down if a pillow was put for him, would sit up if pulled,<br />
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she means to return all yours to you as well.” Precious Jade was thunderstruck. Nightingale waited for him to answer, but not a word could he utter. And just then Sunny Cloud Formation came up.“so here you are, baoyu!” she cried. “the old lady wants you.”“he’s been inquiring after miss Mascara Jade’s health, and i’ve been reassuring him,” Nightingale remarked. “but he won’t believe me. you’d better take him away.” with that she returned to her room. Sunny Cloud Formation noticed Precious Jade’s distraught look, the hectic flush on his cheeks and the sweat on his forehead. she at once led him by the hand to happy red court where his appearance horrified Aroma, who imagined he must have caught a chill in the wind while overheated. a fever was not too alarming, but his eyes were fixed and staring, saliva was trickling from the corners of his lips, and he seemed in a state of stupefaction. he would lie down if a pillow was put for him, would sit up if pulled,--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 14:31, 24 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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倒了茶来，他便吃茶。众人见他这样，一时忙乱起来，又不敢造次去回贾母，先要差人去请李嬷嬷来。一时李嬷嬷来了，看了半日：问他几句话，也无回答；用手向他脉上摸了摸，嘴唇人中上着力掐了两下，掐得指印如许来深，竟也不觉疼。李嬷嬷只说了一声：“可了不得了！”“呀”的一声，便搂头放声大哭起来。急得袭人忙拉他说：“你老人家瞧瞧可怕不怕？且告诉我们，去回老太太、太太去。你老人家怎么先哭起来？”李嬷嬷捶床捣枕说：“这可不中用了！我白操了一世心了！”袭人因他年老多知，所以请他来看；<br />
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And drink tea if it was brought.1His condition threw them all into a panic, but not daring to report this too hastily to the Lady Dowager they first sent for his old nurse, Nanny Li.Nanny Li, arriving presently, examined Baoyu carefully.When he made no answer to any of her questions she felt his pulse, then pinched his upper lip so hard that her fingers left deep imprints--yet he felt no pain.At that she gave a great cry of despair and, taking him in her arms, started weeping and wailing.Aroma, beside herself with anxiety, tugged imploringly at her sleeve:‘Nannie, Nannie, have another look at him and tell us how serious it is, so that we know what to say to Their Ladyships.Don't just cry!”Nannie Li hammered the bed with her fists:‘It's all up with him, I tell you.A life-time of care gone for nothing!”Aroma and the girls who, whatever else they might think of Nannie Li, respected her age and experience, assumed that she must know what she was talking about.<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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如今见他这般一说，都信以为实，也哭起来了。晴雯便告诉袭人方才如此这般，袭人听了，便忙到潇湘馆来，见紫鹃正伏侍黛玉吃药，也顾不得什么，便走上来问紫鹃道：“你才和我们宝玉说了些什么话？你瞧瞧他去！你回老太太去，我也不管了！”说着，便坐在椅上。黛玉忽见袭人满面急怒，又有泪痕，举止大变，更不免也着了忙，因问：“怎么了？”袭人定了一回，哭道：“不知紫鹃姑奶奶说了些什么话，那个呆子眼也直了，手脚也冷了，话也不说了，李嬷嬷掐着也不疼了，已死了大半个了！<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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连李嬷嬷都说不中用了，那里放声大哭，只怕这会子都死了！”黛玉听此言，李嬷嬷乃久经老妪，说不中用了，可知必不中用，“哇”的一声，将所服之药，一口呕出，抖肠搜肺、灸胃扇肝的，哑声大嗽了几阵：一时面红发乱，目肿筋浮，喘的抬不起头来。紫鹃忙上来捶背，黛玉伏枕喘息半晌，推紫鹃道：“你不用捶！你竟拿绳子来勒死我，是正经。”紫鹃哭道：“我并没说什么，不过是说了几句玩话，他就认真了。”袭人道：“你还不知道他那傻子，每每玩话认了真。”黛玉道：“你说了什么话？趁早儿去解说，他只怕就醒过来了。”<br />
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Even Nanny Li said there is no cure for him. Just listen to the cries from his room, I’m afraid he has died!” Hearing this, Mascara Jade knew that there is definitely nothing can be done to save him now that the sophisticated Nanny Li said so. The bad news made her vomit out all the medicine she had taken and have a fit of coughing before turning in to a red face and swollen eyes, and the severe gasp made it difficult for her to raise her head. Then Purple Cuckoo came up to thump on her back. After gasping on her pillow for quite a long time, she pushed Purple Cuckoo away and said, “ You don’t need to do that! The first priority for you is to strangle me with a rope!” Then her poor maid cried, “ I said nothing bad. I was just joking, but he took it seriously.” Aroma refuted, “ Don’t you understand that blockhead’s temper? He is always taking jokes seriously.” And Mascara Jade asked, “ What did you say to him? Just go to clarify it to him as soon as possible, maybe there is a possibility that he would come to.”<br />
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Even Nanny Li said there is no cure for him. Just listen to the cries from his room, I’m afraid he has died!” Hearing this, Mascara Jade knew that there was definitely nothing can be done to save him as the sophisticated Nanny Li said so. The bad news made her vomit out all the medicine she had taken and have a fit of coughing before turning in to a red face and swollen eyes, and the severe gasp made it difficult for her to raise her head. Then Ningtingale came up to thump on her back. After gasping on her pillow for quite a long time, she pushed Ningtingale away and said, “ You don’t need to do that! You just need to strangle me with a rope!” Aroma refuted, “ Don’t you understand that blockhead’s temper? He is always taking jokes seriously.” And Mascara Jade asked, “ What did you say to him? Just go to clarify it to him as soon as possible, maybe there is a possibility that he would come to.”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 01:39, 21 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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紫鹃听说，忙下床，同袭人到了怡红院。谁知贾母王夫人等已都在那里了。贾母一见了紫鹃，便眼内出火，骂道：“你这小蹄子，和他说了什么？”紫鹃忙道：“并没敢说什么，不过说几句玩话。”谁知宝玉见了紫鹃，方“嗳呀”了一声，哭出来了。众人一见，都放下心来。贾母便拉住紫鹃，只当他得罪了宝玉，所以拉紫鹃命他赔罪。谁知宝玉一把拉住紫鹃，死也不放，说：“要去连我也带了去。”众人不解，细问起来，方知紫鹃说要回苏州去，一句玩话引出来的。贾母流泪道：“我当有什么要紧大事，原来是这句玩话。”<br />
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When hearing what Mascara Jade've just said, Ningtingale jumped out of the bed quickly and headed for the Happy Red Court with Aroma. To their surprise, Grandma Merchant, Lady Wang and others were already there. When at the sight of Ningtingale, Grandma Merchant just abused and shouted at her with great fury, "What did you, such a hussy, say to Precious Jade on earth?" "Nothing but a few jokes", Ningtingale hurriedly responded. And who knows that Precious Jade burst into tears right after sighing with Ah the moment he saw Ningtingale. The crowd were all relieved when they saw that. And then keeping hold of her hands and just thinking she dispeased Precious Jade , Grandma Merchant let Ningtingale to make an apology to him. And everyone didn't expect that Precious Jade grabbed Ningtingale and refused to let her go, saying, "If you go, well then take me with you". Being puzzled, everyone questioned them closely what was going on and then realized that all these were caused by one of Ningtingale' s jokes that she would go back to Suzhou for fun. Then Grandma Merchant said with tears welling up from her eyes, "What a major matter I've just thought, it turns out to this joke originally."<br />
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When hearing what Mascara Jade've just said, Nightingale jumped out of the bed quickly and headed for the Happy Red Court with Aroma. To their surprise, Grandma Merchant, Lady King and others were already there. At the sight of Nightingale, Grandma Merchant just shouted at her with great fury, " You hussy, what did you say to Precious Jade on earth?" "Nothing but a few jokes", Nightingale hurriedly responded. And Precious Jade finally burst into tears right after sighing with "Ah" the moment he saw Nightingale. The crowd were all relieved when they saw that. And then holding her hands and just thinking she must have displeased Precious Jade, Grandma Merchant ordered Nightingale to make an apology to him. And everyone didn't expect that Precious Jade suddenly grabbed Nightingale and refused to let her go, saying, "If you go, well then take me with you". Being puzzled, everyone asked them what happened and then realized that all those things were caused by one of Nightingale' s jokes that they would go back to Suzhou. Then Grandma Merchant said with tears welling up from her eyes, " I thought it was something important, and it turns out to be this joke."--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 02:06, 21 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
又向紫鹃道：“你这孩子，素日是个伶俐聪敏的，你又知道他有个呆根子，平白的哄他作什么？”薛姨妈劝道：“宝玉本来心实，可巧林姑娘又是从小儿来的，他姊妹两个一处长得这么大，比别的姊妹更不同。这会子热刺刺的说一个去，别说他是个实心的傻孩子，便是冷心肠的大人，也要伤心。这并不是什么大病，老太太和姨太太只管万安，吃一两剂药就好了。”正说着，人回：“林之孝家的，赖大家的，都来瞧哥儿来了。”贾母道：“难为他们想着，叫他们来瞧瞧。”宝玉听了一个“林”字，便满床闹起来，<br />
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"You've always been a smart girl." then Grandma Merchant told Nightingale, "But why did you tease him for no reason, knowing that he is such a bullheaded boy?" "Precious Jade is born innocent. It happened that Mascara Jade has come here since she was little, and they are naturally different from other siblings as growing up together. Today he was told that she would go back home in an anxious way, and even an indifferent grown-up will feel sad when hearing that, let alone this simpleminded boy. Grandma and Lady King just rest assured. It's nothing serious, and he will recover with one or two doses of medicine." persuaded Aunt Marshgrass aside. While speaking, a message was delivered in that both Filial Piety Forest's wife and Big Rely's wife came here to visit Precious Jade. "It's so kind of them to care about him. Let them in." said Grandma Merchant. However, Precious Jade began to make a scene on the bed as he heard a word "Forest".<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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说：“了不得了，林家的人接他们来了，快打出去罢！”贾母听了，也忙说：“打出去罢。”又忙安慰说：“那不是林家的人。林家的人都死绝了，没人来接他的，你只放心罢。”宝玉哭道：“凭他是谁，除了林妹妹，都不许姓林的！”贾母道：“没姓林的来，凡姓林的都打出去了。”一面吩咐众人：“以后别叫林之孝家的进园来，你们也别说‘林’字。孩子们，你们听了我这一句话罢！”众人忙答应，又不敢笑。一时宝玉又一眼看见了十锦槅子上陈设的一双金西洋自行船，便指着乱说：“那不是接他们来的船来了？湾在那里呢！”<br />
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he shouted from his bed.“The Forests have come to fetch her.Drive them away!”Hastily chiming in,“Drive them away!”his grandmother assured him.“They’re not from the Forest family.All those Forests are dead. Nobody will ever come to fetch her. Don’t you worry.”“Never mind who they are,”stormed Precious Jade tearfully.“No one but Cousin Mascara Jade should have the name Forest.”“There are no Forests here,”repeated the old lady.“They’re all been driven away.” She ordered the attendants,“In future don’t let Filial Piety Forest's Wife into the Garden.And never mention the name Forest again.Mind you all do as I say like good children.”Suppressing their smiles at this, the others assented.Precious Jade’s eye now fell on a golden boat with an engine, a toy from the West, which was on his cabinet.“Isn’t that the boat coming to fetch them?”he shouted, pointing at it.“It’s mooring there.”<br />
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he shouted from his bed. “The Forests have come to fetch her. Drive them away!” Hastily chiming in, “Drive them away!” his grandmother assured him. “They’re not from the Forest family. All those Forests are dead. Nobody will ever come to fetch her. Don’t you worry.” “Never mind who they are,” stormed Precious Jade tearfully. “No one but Cousin Mascara Jade should have the name Forest.” “There are no Forests here,” repeated the old lady. “They’re all been driven away.” She ordered the attendants, “In future don’t let Filial Piety Forest's Wife into the Garden. And never mention the name Forest again. Mind you all do as I say like good children.” Suppressing their smiles at this, the others assented.. Presently Precious Jade 's eye chanced to light on a little metal self-propelling boat - a West Ocean toy - which stood on one of the alcove shelves in the carved partition. Immediately he became excited again. ‘Look!” #4 he said, pointing, ‘the ship that's come to fetch her. “It’s mooring there.”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 03:21, 21 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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贾母忙命拿下来。袭人忙拿下来，宝玉伸手要，袭人递过去，宝玉便掖在被中，笑道：“这可去不成了！”一面说，一面死拉着紫鹃不放。一时人回：“大夫来了。”贾母忙命：“快进来。”王夫人、薛姨妈、宝钗等暂避入里间。贾母便端坐在宝玉身旁。王太医进来，见许多的人，忙上去请了贾母的安，拿了宝玉的手，诊了一回。那紫鹃少不得低了头。王太医也不解何意，起身说道：“世兄这症，乃是急痛迷心。古人曾云：‘痰迷有别：有气血亏柔饮食不能熔化痰迷者，有怒恼中痰急而迷者，有急痛壅塞者。’<br />
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The Grandma Merchant ordered its instant removal. and when Precious Jade reached out for it Aroma gave it to him. He tucked it under his bedding. “Now they won't be able to sail away,” he laughed. Seizing tight hold of Nightingale he refused to let her go. The doctor's arrival was announced and the old lady ordered him to be brought straight in Lady King, Hairpin Marshgrass and Hairpin Marshgrass withdrew to the inner room while the Grandma Merchant seated herself by Precious Jade. As her attendants also remained, there were a good many people in the room when the doctor entered. It was Dr. Wang. He paid his respects to the old lady before proceeding to take Precious Jade’s pulse, while Nightingale had to stand there with lowered head, to the doctor's astonishment. After feeling the pulse for a while, Dr. Wang rose to his feet. ‘The young gentleman is suffering from delirium caused by a phlegmatic occlusion of the cardiac orifices. The ancients recognized three main types of this form of dementia: in the first type the delirium is associated with an anemic deficiency when the body is failing to absorb its nourishment; in the second, it is brought on by some violent emotional disturbance, such as anger; in the third, the occlusion occurs as a result of shock.<br />
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The Grandma Merchant ordered servants to take its instant removal. and when Precious Jade reached out for it Aroma gave it to him. He tucked it under his bedding. “Now they won't be able to sail away,” he laughed. Seizing tight hold of Nightingale he refused to let her go. The doctor's arrival was announced and the old lady ordered him to be brought straight in Lady King, Hairpin Marshgrass and Hairpin Marshgrass withdrew to the inner room while the Grandma Merchant seated herself by Precious Jade. As her attendants also remained, there were a good many people in the room when the Dr.Wang entered. He paid his respects to the old lady before proceeding to take Precious Jade’s pulse, while Nightingale had to stand there with lowered head, to the doctor's astonishment. After feeling the pulse for a while, Dr. Wang stands up and said, ‘The young gentleman is suffering from delirium caused by a phlegmatic occlusion of the cardiac orifices. The ancients recognized three main types of this form of dementia: in the first type the delirium is associated with an anemic deficiency when the body is failing to absorb its nourishment; in the second, it is brought on by some violent emotional disturbance, such as anger; in the third, the occlusion occurs as a result of shock.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 13:49, 24 May 2022 (UTC)<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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此亦痰迷之症，系急痛所致，不过一时壅蔽，较诸痰迷似轻。”贾母道：“你只说怕不怕，谁同你背药书呢！”王太医忙躬身笑道：“不妨，不妨。”贾母道：“果真不妨？”王太医道：“实在不妨。都在晚生身上。”贾母道：“既如此，请到外面坐，开药方。吃好了，我另外预备好谢礼，叫他亲自捧了，送去磕头；若耽误了，我打发人去拆了太医院大堂。”王太医只躬身笑说：“不敢，不敢。”他原听了说：“另具上等谢礼命宝玉去磕头”，故满口说“不敢”，竟未听见贾母后来说“拆太医院”之戏语，犹说“不敢”，贾母与众人反倒笑了。<br />
This is also a phlegm confusion, which is caused by acute pain, but it is temporarily hidden, and it is lighter than that of phlegm fans. The Grandma Merchant said, "You only said that you are afraid and not afraid, who will carry the medicine book with you?" Dr. Wang hurriedly leaned forward and smiled, "May as well, may as well." The Grandma Merchant said, "Surely?" Doctor Wang said, "It's really okay." All in the late birth. The Grandma Merchant said, "Even so, please sit outside and prescribe medicine." After eating, I prepared another thank you gift, asked him to hold it personally, and sent it to kowtow; if it was delayed, I sent someone to demolish the lobby of the hospital. Dr. Wang only leaned forward and smiled and said, "Don't dare, don't dare." He had originally heard it and said: "Another superior ordered Precious Jade to kowtow", so he said "don't dare", but he did not hear The Grandma Merchant's joke of "demolishing the Hospital" later, and said "don't dare", The Grandma Merchant and the crowd laughed instead.<br />
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This is also a phlegm confusion, which is caused by acute pain, but it is temporarily hidden, and it is lighter than that of phlegm fans. The Grandma Merchant said, "You only said that you are afraid or not, who will carry the medicine book with you?" Dr. King hurriedly leaned forward and smiled, "May as well, may as well." The Grandma Merchant said, "Surely?" Doctor King said, "It's really okay." All in the late birth. The Grandma Merchant said, "Even so, please sit outside and prescribe medicine." After eating, I prepared another thank you gift, asked him to hold it personally, and sent it to kowtow; if it was delayed, I sent someone to demolish the lobby of the hospital. Dr. Wang only leaned forward and smiled and said, "Don't dare, don't dare." He had originally heard it and said: "Another superior ordered Precious Jade to kowtow", so he said "don't dare", but he did not hear The Grandma Merchant's joke of "demolishing the Hospital" later, and said "don't dare", The Grandma Merchant and the crowd laughed instead.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 14:22, 24 May 2022 (UTC)<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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一时按方煎药，药来服下，果觉比先安静。无奈宝玉只不肯放紫鹃，只说：“他去了，便是要回苏州去了。”贾母王夫人无法，只得命紫鹃守着他，另将琥珀去伏侍黛玉。黛玉不时遣雪雁来探消息。这晚间宝玉稍安，贾母王夫人等方回去了。一夜还遣人来问信几次。李奶妈带宋妈等几个年老人用心看守，紫鹃、袭人、晴雯等日夜相伴。有时宝玉睡去，必从梦中惊醒，不是哭了，说黛玉已去，便是说有人来接。每一惊时，必得紫鹃安慰一番方罢。彼时贾母又命将祛邪守灵丹及开窍通神散各样上方秘制诸药，按方饮服。<br />
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After taking the medicine as prescribed, he felt better than before. But Precious Jade refused to release Nightingale, only said: "Once left, she is to go back to Suzhou." Mother Merchant and Lady King had no choice but to order Nightingale to accompany him, and Amber to serve Jade Forest. Jade Forest sent Snowgoose ask the physical condition of him from time to time. This evening, Lady King and other parties didn’t go back until Precious Jade felt better. A few times a night she sent servants to ask. Nanny Plum with Nanny Sone and several other elderly people to watch with care, Nightingale, Aroma, Sunny Cloud Formation and other elderly people care for him. Sometimes he waked up from a dream, crying Jade Forest has gone, or that someone came to pick him up. Each time the alarm, must have Nightingale comforted. At that time, Mother Merchant ordered him to take all kinds of secret medicine according to the formula.<br />
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After taking the medicine as prescribed, Precious Jade felt better than before. Yet he still won’t let go of Nightingale, crying"Once she left, she is bound to go back to Suzhou." Grandma Merchant and Lady King had no choice but to order Nightingale to accompany him and send Amber to serve Mascara Jade. From time to time Jade Forest would send Snowgoose to check the physical condition of Precious Jade. Seeing that Precious Jade was feeling better this evening, Grandma Merchant and Lady King, along with all the elders went back to their quarters respectively. However, they wouldn’t be reassured without the information of Precious Jade’s condition brought by the servants they sent. There were Nanny Plum with Nanny Sone and several other elderly people watching him with care, and Nightingale, Aroma, Sunny Cloud Formation and other little maids taking care for him. Sometimes Precious Jade would wake up from a nightmare either crying that Mascara Jade has gone or that someone came to pick her up. Each time he did this they must have Nightingale comfort him. Meanwhile Grandma Merchant sent him all kinds of secret medicine and ordered the maids to coax Precious Jade into taking them according to the formula.--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 01:08, 25 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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次日又服了王太医药，渐次好了起来。宝玉心下明白，因恐紫鹃回去，倒故意作出佯狂之态。紫鹃自那日也着实后悔，如今日夜辛苦，并没有怨意。袭人等皆心安神定，因向紫鹃笑道：“都是你闹的，还得你来治。也没见我们这位呆子，‘听了风就是雨’，往后怎么好。”暂且按下。且说此时湘云之症已愈，天天过来瞧看，见宝玉明白了，便将他病中狂态形容与他瞧，引得宝玉自己伏枕而笑：原来他起先那样，竟是不知的；如今听人说，还不信。无人时，紫鹃在侧，宝玉又拉他的手，问道：“你为什么唬我？”<br />
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After taking the medication prescribed by Doctor King the next day, Precious Jade was on the road to recovery. Conscious of that, Precious Jade pretended to be ill all the same for fear of losing Nightingale, who regretted her lies about Mascara Jade the other day and worked day and night without grudges taking care of him. Servants of Aroma and others now felt much relieved at the scene, smiling "Now let’s see who’s the victim of her own scheming! Poor young master to have believed what you said. What’s left to do with it in the long run?" Details of her jokes shall not be discussed. Now that Fragrant-history had recovered from her disease too, she paid a visit to Precious Jade’s place every day elaborating his rampage in the disease, which made Precious Jade himself laughed against the pillow. It turned out that he had not been aware of what he did and remained skeptical of the story. When nobody else’s around, he would secretly took Nightingale by the hand, asking "Why did you lie to me?"<br />
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Next day, after another dose of Dr King's medicine, Precious Jade was distinctly better.Conscious of that, Precious Jade pretended to be ill all the same for fear of losing Nightingale, who regretted her lies about Mascara Jade the other day and worked day and night without grudges taking care of him. Servants of Aroma and others now felt much relieved at the scene, smiling "Now let’s see who’s the victim of her own scheming! Poor young master to have believed what you said. What’s left to do with it in the long run?" Details of her jokes shall not be discussed. Now that Fragrant-history had recovered from her disease too, she paid a visit to Precious Jade’s place every day elaborating his rampage in the disease, which made Precious Jade himself laughed against the pillow. It turned out that he had not been aware of what he did and remained skeptical of the story. When nobody else’s around, he would secretly took Nightingale by the hand, asking "Why did you lie to me?"--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 16:19, 23 May 2022 (UTC)<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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紫鹃道：“不过是哄你玩的，你就认真了。”宝玉道：“你说得那样有情有理，如何是玩话呢？”紫鹃笑道：“那些玩话，都是我编的。林家实没了人口；纵有，也是极远的族中，也都不在苏州住，各省流寓不定。纵有人来接，老太太也必不放去的。”宝玉道：“便老太太放去，我也不依！”紫鹃笑道：“果真的不依？只怕是口里的话。你如今也大了，连亲也定下了，过二三年再娶了亲，你眼里还有谁了？”宝玉听了，又惊问：“谁定了亲，定了谁？”紫鹃笑道：“年里我就听见老太太说要定了琴姑娘呢；不然，那么疼他？”<br />
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“I only did it for fun,” Nightingale replied.“But you took it seriously.”“That was no joke,”said Precious Jade. “It was too well-reasoned.Nightingale laughed. ”I made it all up.There is no people in the Forest family.If there is, they're very, very distant relations, and not in SuZhou, either, but scattered all over the place, in different provinces.Even if one of them asked for her, the old lady would never let her go.”“Even if the old lady would let her go, I wouldn't.”said Precious Jade.”I wonder,“said Nightingale.“That's just talk, I'm afraid.You're growing up now and already engaged; in a couple of years you'll be marrying, and then you'll forget other people.”Precious Jade heard her with astonishment. “Betrothed?To whom?””Just before New Year I heard Old Lady say that she was betrothing you to Miss Harp. That's why she makes so much of her, isn't it?”Nightingale replied.<br />
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“I only did it for fun,” Nightingale replied.“But you took it seriously.”“You made it sound so convincing, how was I to know it was just a joke?”Precious Jade retorted. Nightingale laughed. “I made it all up. There is no people in the Forest family. If there is, they're very, very distant relations, and not in SuZhou, either, but scattered all over the place, in different provinces. Even if one of them asked for her, the old lady would never let her go.”“Even if the old lady would let her go, I wouldn't.”said Precious Jade.”I wonder,“said Nightingale.“That's just talk, I'm afraid. You're growing up now and already engaged; in a couple of years you'll be marrying, and then you'll forget other people.”Precious Jade heard her with astonishment. “Betrothed? To whom?””Just before New Year I heard Old Lady say that she was betrothing you to Miss Harp. That's why she makes so much of her, isn't it?”Nightingale replied.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 01:59, 24 May 2022 (UTC)<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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宝玉笑道：“人人只说我傻，你比我更傻！不过是句玩话，他已经许给梅翰林家了。果然定下了他，我还是这个形景了？先是我发誓赌咒，砸这劳什子，你都没劝过吗？我病的刚刚的这几日才好了，你又来怄我。”一面说，一面咬牙切齿的，又说道：“我只愿这会子立刻我死了，把心迸出来，你们瞧见了，然后连皮带骨，一概都化成一股灰，再化成一股烟，一阵大风，吹得四面八方，都登时散了，这才好！”一面说，一面又滚下泪来。紫鹃忙上来握他的嘴，替他擦眼泪，又忙笑解说道：“你不用着急。这原是我心里着急，故来试你。”<br />
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Precious Jade laughed.“People may call me crazy, but you're even crazier! That was just a joke. She's already engaged to the son of Academician Mei. If I were engaged to her, would I be in this state? Didn't you plead with me and say I was mad when I swore that oath and wanted to smash that silly jade? Now you've come to provoke me again just as I'm getting better.”Through clenched teeth he added.“I only wish I could die this very minute and tear out my heart to show you. Then all the rest of me, skin and bones, could be turned into ashes. No, ashes still have form better be turned into smoke. But smoke still congeals and can be seen by men it would have to be scattered in a flash, by a great wind, to the four quarters. That would be a good death.”Tears were running down his cheeks as he spoke. Nightingale hastily put her hand to his mouth, then wiped away his tears.“You needn't worry,”she urged.“I was putting you to the test because I was worried.”<br />
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Precious Jade said with a smile.“People says me crazy, but you're even crazier! That was just a joke. She's already engaged to the son of Academician Mei. If I were engaged to her, would I be in this state? Didn't you plead with me and say I was mad when I swore that oath and wanted to smash that silly jade? Now you've come to provoke me again just as I'm getting better.”Through clenched teeth he added.“I only wish I could die this very minute and tear out my heart to show you. Then all the rest of me, skin and bones, could be turned into ashes. No, ashes still have form better be turned into smoke. But smoke still congeals and can be seen by men it would have to be scattered in a flash, by a great wind, to the four quarters. That would be a good death.”Tears were running down his cheeks as he spoke. Nightingale hastily put her hand to his mouth, then wiped away his tears.“You needn't to worry about that,”she urged.“I was putting you to the test because I was worried.”--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 11:05, 24 May 2022 (UTC)<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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宝玉听了，更又咤异，问道：“你又着什么急？”紫鹃笑道：“你知道，我并不是林家的人，我也和袭人鸳鸯是一伙的，偏把我给了林姑娘使。偏生他又和我极好，比他苏州带来的还好十倍，一时一刻，我们两个离不开。我如今心里却愁他倘或要去了，我必要跟了他去的。我是合家在这里，我若不去，辜负了我们素日的情长；若去，又弃了本家。所以我疑惑，故说出这谎话来问你，谁知你就傻闹起来。”宝玉笑道：“原来是你愁这个，所以你是傻子。从此后再别愁了。我告诉你一句打趸儿的话：活着，咱们一处活着；不活着，咱们一处化灰，化烟。如何？”<br />
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Precious Jade asked in surprise，“You worried? Why?”“You know I don’t belong to the Forest family. Like Aroma and Mandarin Duck, I was given to Miss Forest. She treats me ten times better than her own maids brought from Suzhou; we can’t be seperated for a single moment. I’m worried now because, if she leaves, I shall have to go with her; but my whole family’s here. If I don’t go, I’ll be unworthy of all her goodness; if I do, I shall have to abandon my own family. That’s why, in my dilemma, I told you that lie to see how you felt about it. How was I know that you’d take it so hard?”“So that’s what’s worrying you,”Precious Jade smiled. “What a goose you are! Well, set your heart at rest. Let me just put it in a nutshell for you. If we live, we shall live together; and if we die, we shall turn into ashes and smoke together. How do you think？”<br />
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Precious Jade was surprised，“You worried? Why?”You know I don’t belong to the Forest family. Like Aroma and Mandarin Duck, I was given to Miss Forest. She treats me ten times better than her own maids brought from Suzhou; we can’t be separated for a single moment. I’m worried now because, if she leaves, I shall have to go with her; but my whole family’s here. If I don’t go, I’ll be unworthy of all her goodness; if I do, I shall have to abandon my own family. That’s why, in my dilemma, I told you that lie to see how you felt about it. How was I know that you’d take it so hard?”“So that’s what’s worrying you,” Precious Jade smiled. “What a goose you are! Well, set your heart at rest. Let me just put it in a nutshell for you. If we live, we shall live together; and if we die, we shall turn into ashes and smoke together. How do you think？”--[[User:Yang Xinyi|Yang Xinyi]] ([[User talk:Yang Xinyi|talk]]) 04:50, 25 May 2022 (UTC)<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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紫鹃听了，心下暗暗筹画。忽有人回：“环爷兰哥儿问候。”宝玉道：“就说难为他们，我才睡了，不必进来。”婆子答应去了。紫鹃笑道：“你也好了，该放我回去瞧瞧我们那一个去了。”宝玉道：“正是这话。我昨夜就要叫你去的，偏又忘了。我已经大好了，你就去罢。”紫鹃听说，方打迭叠铺盖妆奁之类。宝玉笑道：“我看见你文具里头有两三面镜子，你把那面小菱花的给我留下罢。我搁在枕头旁边，照着好睡，明日出门带着也轻巧。”紫鹃听说，只得与他留下，先命人将东西送过去，然后别了众人，自回潇湘馆来。<br />
Juan listened, and secretly planned a plan. Suddenly someone replied, "Greetings from Huan Ye Lan." Bao Yu said, "I just said it was difficult for them, I just went to bed, and I don't have to come in." The old woman agreed to go. Zijuan smiled and said, "You're fine too, it's time to let me go back and see who we are." Baoyu said, "That's exactly what I said. I was going to ask you to go last night, but I forgot. I'm already fine. If you're done, you just go." Zijuan heard that Fang was putting on layers of bedding and make-up. Baoyu smiled and said, "I saw two or three mirrors in your stationery. You can leave the one with the little ling flower to me. I put it next to the pillow and sleep well. It's easy to take it with you when you go out tomorrow." I heard that I had to stay with him, order someone to send things over, then say goodbye to everyone, and return to the Xiaoxiang Pavilion.<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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黛玉近日闻得宝玉如此形景，未免又添些病症，多哭几场。今儿紫鹃来了，问其原故，已知大愈，仍遣琥珀去伏侍贾母。夜间人静后，紫鹃已宽衣卧下之时，悄向黛玉笑道：“宝玉的心倒实，听见咱们去，就那样起来。”黛玉不答。紫鹃停了半晌，自言自语的说道：“一动不如一静，我们这里就算好人家，别的都容易，最难得的是从小儿一处长大，脾气情性都彼此知道的了。”黛玉啐道：“你这几天还不乏，趁这会子不歇一歇，还嚼什么蛆！”紫鹃笑道：“倒不是白嚼蛆，我倒是一片真心为姑娘。<br />
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Hearing Precious Jade had a bad time, Mascara Jade cried a few more times and was more weak in illness. Today Nightingale came and asked the reason, she got to know that Mascara Jade was much better now, but she still send Amber to serve Merchant Grandma. At tranquil night, when Nightingale was undressed and lying down, she smiled at Mascara Jade and said, "Precious Jade is very sincere. He still struggled to get up when he heard we came." Mascara Jade did not answer. Nightingale stopped for a long time and said to herself, "It is better to keep quiet than to move. We consider ourselves a good family here. Everything else is easy. What is the rarest is that we grew up together in one place, so we know each other’s temperament well.” Mascara Jade scolded her, "Are you not tired in these days? Just take a break now and stop talking the nonsense!" Nightingale said with a smile, "What I am talking about is not nonsense and I have your best interests at heart.”<br />
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Hearing Precious Jade had experienced a disorder, Mascara Jade cried a few more times and was more weak in illness. At thins time, Nightingale came back and she asked the reason. She learned that Mascara Jade was much better now and sent Amber to serve Merchant Grandma. At a tranquil night, when Nightingale was undressed and laid down, she whispered to Mascara Jade, “Precious Jade is very sincere. He had fell ill like that when he just heard we were leaving.” Mascara Jade did not response. Nightingale stopped for a while and said to herself, “It is better to keep quiet than to move. This is a good family anyway. Everything else is easy. What is the rarest is that we grew up together in one place, so we know each other’s temperament well.” Mascara Jade scolded her, “Aren’t you tired in these days? Why don’t you sleep instead of talking such nonsense!” “It is not nonsense. I am thinking for you!”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 10:35, 20 May 2022 (UTC)<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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替你愁了这几年了：无父母无兄弟，谁是知疼着热的人？趁早儿，老太太还明白硬朗的时节，作定了大事要紧。俗语说，‘老健春寒秋后热。’倘或老太太一时有个好歹，那时虽也完事，只怕耽误了时光，还不得趁心如意呢。公子王孙虽多，那一个不是三房五妾，今儿朝东，明儿朝西？娶一个天仙来，也不过三夜五夜，也就撂在脖子后头了，甚至于怜新弃旧，反目成仇的。若娘家有人有势的，还好些；若姑娘这样的人，有老太太一日还好，一日若没了老太太，也只是凭人去欺负罢了。所以说，拿主意要紧。<br />
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I have been worried about you for several years. You have no parents or brothers to care for you. So it is important to settle you marriage affair in a good time, while Grandma Merchant is still healthy and clear-headed. As an old saying goes, “The healthiest old people last as long as a chilly spring or a hot autumn.” If something happens to Grandma Merchant, you marriage will be delayed or you will marry a people you don not wish. There are many young lordlings, but they both want to have many wives and concubines. There affection is not constant and may change from one to another. Even though they get a girl as a fairy as his wife, they may cast her off after several days. Someone may treat her as an enemy for the sake of another new concubine. If her family is powerful and wealthy, it may be not so bad; but for someone like you, you life will be good as long as Grandma Merchant still lives. However, someday once she pass away, you will live under others’ treatment. Therefore, it is important to make up your mind.<br />
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“It isn’t nonsense. I was thinking of you. I’ve felt worried for you all these years with no father, mother or brothers to care for you. The important thing is to settle the main affair of your life in good time, while the old lady’s still clear-headed and healthy. The proverb says, ‘The healthiest old people last as long as a chilly spring or a hot autumn.’ If anything should happen to the old lady your marriage might be delayed, or else not turn out in the way you hoped. There’s no lack of young lordlings, but they all want three wives and five concubines and their affections change from one day to the next. They may bring home a wife as lovely as a fairy, yet after four or five nights they cast her off, treating her like an enemy for the sake of a concubine or a slave girl. If her family’s large and powerful, that’s not so bad; and for someone like you, miss, so long as the old lady lives you’ll be all right. Once she’s gone, you’ll have to put up with ill treatment. So it’s important to make up your mind.”--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 02:47, 22 May 2022 (UTC)<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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姑娘是个明白人，岂不闻俗语说的‘万两黄金容易得，知心一个也难求’！”黛玉听了，便说道：“这丫头今日可疯了，怎么去了几日，忽然变了一个人？我明儿必回老太太，退回你去，我不敢要你了。”紫鹃笑道：“我说的是好话，不过叫你心里留神，并没叫你去为非作歹。何苦回老太太，叫我吃了亏，又有什么好处？”说着，竟自己睡了。黛玉听了这话，口内虽如此说，心内未尝不伤感。待他睡了，便直哭了一夜，至天明，方打了一个盹儿。次日，勉强盥漱了，吃了些燕窝粥。便有贾母等亲来看视了，又嘱咐了许多话。<br />
“You’ve sense enough to understand the saying, ‘The thousand taels of gold are easier come by than an understanding heart.” “The girl’s crazy!” exclaimed Mascara Jade. “A few days away, and you’ve suddenly changed into a different person. Tomorrow I shall ask the old lady to take you back. I no longer dare keep you.” “I meant well,” was the smiling answer. “I just wanted you to look out for yourself, not to do anything wrong. What good will it do if you report me to the old lady and get me into trouble?” With that Nightingale closed her eyes. Although Mascara Jade had spoken so sharply, this talk had distressed her. After Nightingale went to sleep she wept all night, no dozing off until dawn. The next morning she found it an effort to wash herself, rinse her mouth and swallow her bird’s-nest broth. Then the Lady Merchant and others called to see her and urged her to take better care of herself.<br />
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“You’ve sensed enough to understand the saying,‘The thousand taels of gold are easier to come by than an understanding heart.” “The girl’s crazy!” exclaimed Mascara Jade. “A few days away, and you’ve suddenly changed into a different person. Tomorrow I shall ask the elder lady to take you back. I no longer dare keep you."“I meant well,” was the smiling answer. “I just wanted you to look out for yourself, not to do anything wrong. What good will it do if you report me to the old lady and get me into trouble?” With that Nightingale closed her eyes. Although Mascara Jade had spoken so sharply, this talk had distressed her. After Nightingale went to sleep she wept all night, no dozing off until dawn. The next morning she found it an effort to wash herself, rinse her mouth and swallow her bird’s-nest broth. Then Lady Merchant and others called to see her and urged her to take better care of herself.--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 05:21, 23 May 2022 (UTC)<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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目今是薛姨妈的生日，自贾母起，诸人皆有祝贺之礼，黛玉也只得备了两色针线送去。是日也定了一班小戏，请贾母与王夫人等。独有宝玉与黛玉二人不曾去得。至晚散时，贾母等顺路又瞧了他二人一遍，方回房去。次日，薛姨妈家又命薛蝌陪诸伙计吃了一天酒，连忙了三四天，方才完备。因薛姨妈看见邢岫烟生得端雅稳重，且家道贫寒，是个钗荆裙布的女儿，便欲说与薛蟠为妻。因薛蟠素昔行止浮奢，又恐遭踏了人家的女儿，正在踌躇之际，忽想起薛蝌未娶，看他二人，恰是一对天生地设的夫妻，因谋之于凤姐儿。<br />
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Now that it was Aunt Marshgrass's birthday, everyone,beginning with Grandma Merchant had a congratulatory gift。And Mascara Jade had to prepare two-color needles and threads to send. On the same day, a small drama was also scheduled, and Grandma Merchant and Lady King were invited to watch. It was only Baoyu and Daiyu who didn't arrive. At the end of the night, Grandma Merchant and the others paid a visit to them before they went back to the room. The next day, Aunt Marshgrass's family ordered Tadpole Marshgrass to accompany the families to drink for a day, and it took three or four days to complete. Because Aunt Marshgrass thought that Cave Cloud Marshgrass was born elegant and stable in a poor family. Aunt Marshgrass wanted her to be married to Dragon Marshgrass. Because Dragon Marshgrass had done a lot of extravagance in the past, and was afraid of trampling on the daughter of others, so she was hesitating. Then she suddenly recalled that Tadpole Marshgrass was not yet married, and seeing that the two of them were just a couple born to be set up. Then she went to plan it with Sister Phoenix.<br />
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Now that it was Aunt Marshgrass's birthday, everyone, beginning with Grandma Merchant had a congratulatory gift. And Mascara Jade had to prepare two-color needles and threads to send. On the same day, a small drama was also scheduled, and Grandma Merchant and Lady King were invited to watch. It was only Precious Jade and Mascara Jade who didn't arrive. At the end of the night, Grandma Merchant and the others paid a visit to them before they went back to the room. The next day, Aunt Marshgrass's family ordered Tadpole Marshgrass to accompany the families to drink for a day, and it took another three or four days to complete. Because Aunt Marshgrass thought that Cave Cloud City was born elegant and stable in a poor family. Aunt Marshgrass wanted her to be married to Dragon Marshgrass. But because Dragon Marshgrass had done a lot of extravagance in the past, and she was afraid of trampling on the daughter of others, so she was hesitating. Then she suddenly recalled that Tadpole Marshgrass was not yet married, and seeing that the two of them were just a couple born to be set up. Then she went to plan it with Sister Phoenix.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 13:33, 23 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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凤姐儿笑道：“姑妈素知我们太太有些左性的，这事等我慢谋。”因贾母去瞧凤姐儿时，凤姐儿便和贾母说：“薛姑妈有件事求老祖宗，只是不好启齿的。”贾母忙问：“何事。”凤姐便将求亲一事说了。贾母笑道：“这有什么不好启齿，这是极好的好事，等我和你婆婆说了，怕他不依？”因回房来，即刻就命人来请邢夫人过来，硬作保山。邢夫人想了一想：薛家根基不错，且现今大富；薛蝌生得又好，且贾母硬作保山，将机就计，便应了。贾母十分喜欢，忙命人请了薛姨妈来。二人见了，自然有许多谦辞。<br />
Sister Phoenix laughed, "You know that my mother-in-low has an eccentric disposition, so we need discuss about this matter slowly." When Grandma Merchant stopped by Siter Phoenix's house, she said to Grand Merchant, "Aunt Marshgrass wants you to do her a favor, but she feels embarrassed to tell you." Grand Merchant asked, "What is it?" Sister Phoenix told her the matter of the Marshgrass Family seeking a marriage alliance. Hearing this, Grand Merchant laughed, "What a wonderful thing it is! Your mother-in-law will agree when I tell her about it." After Grandma Merchant went back to her room, she ordered a servant to invite Lady City to come right now. She told Lady City about the marriage and guaranteed for it. Lady City thought to herself: "The Marshgrass Family has a good foundation and is rich now. And Tadpole Marshgrass is also a man of striking appearance." With the guarantee from Grandma Merchant, she agreed to the marriage between Tadpole Marshgrass and Cave Cloud City. Grandma Merchant was very happy and invited Aunt Marshgrass to come. And there came naturally lots of self-depreciatory words between them.<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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邢夫人即刻命人去告诉邢忠夫妇。他夫妇原是此来投靠邢夫人的，如何不依，早极口的说：“妙极。”贾母笑道：“我最爱管闲事，今儿又管成了一件事，不知得多少谢媒钱？”薛姨妈笑道：“这是自然的。纵抬了整万银子来，只怕不希罕。但只一件，老太太既是作媒，还得一位主亲才好。”贾母笑道：“别的没有，我们家折腿烂手的人还有两个。”说着，便命人去叫过尤氏婆媳二人来。贾母告诉他原故，彼此忙都道喜。贾母吩咐道：“咱们家的规矩，你是尽知的，从没有两亲家‘争礼争面’的。<br />
Lady City lost no time in informing her brother Faithfulness City and his wife; and since they had come there to throw themselves upon her bounty, they were naturally more than happy to give their approval.'I love meddling in other people’s affairs,’ said the Grandma Merchant. ‘Now that I’ve fixed this up, how much are you going to pay your go-between?’‘Don’t worry about that,’ replied Aunt Marshgrass. ‘Even if we brought you a hundred thousand taels of silver, I don’t suppose it would mean much to you. But since you’re the go-between, madam, will you find us someone to take charge of the betrothal ceremony?’‘Whatever else we’re short of, we can produce one or two helpers of a sort, ‘the Grandma Merchant chuckled.She sent for Treasure Merchant’s wife and daughter-in-law. When they heard the news from her they offered their congratulations.‘You know our family ways,’ she told Madam Outstanding. ‘The two families never squabble over betrothal gifts.<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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如今你算替我在当中料理，也不可太省，也不可太费，把他两家的事周全了回我。”尤氏忙答应了。薛姨妈喜之不尽，回家命写了请帖，补送过宁府。尤氏深知邢夫人情性，本不欲管，无奈贾母亲自嘱咐，只得应了，惟有忖度邢夫人之意行事。薛姨妈是个无可无不可的人，倒还易说。这且不在话下。如今薛姨妈既定了邢岫烟为媳，合宅皆知。邢夫人本欲接出岫烟去住，贾母因说：“这又何妨，两个孩子又不能见面，就是姨太太和他一个大姑子，一个小姑子，又何妨？况且都是女孩儿，正好亲近些呢。”<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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邢夫人方罢。那薛蝌岫烟二人，前次途中，曾有一面之遇，大约二人心中皆如意，只是那岫烟未免比先时拘泥了些，不好与宝钗姐妹共处闲语；又兼湘云是个爱取笑的，更觉不好意思。幸他是个知书达礼的，虽有女儿，还不是那种佯羞诈鬼、一味轻薄造作之辈。宝钗自那日见他起，想他家业贫寒；二则别人的父母皆是年高有德之人，独他的父母偏是酒糟透了的人，于女儿分中平常；邢夫人也不过是脸面之情，亦非真心疼爱；且岫烟为人雅重，迎春是个老实人，连他自己尚未照管齐全，如何能照管到他身上，<br />
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Lady City then relented. Tadpole Marshgrass and Cave Cloud Marshgrass had met before in one of their trips. They both were satisfied with each other. It was just that Cave Cloud was shier than the last time and didn't feel relaxed to chat with Precious Hairpin and other ladies. More than that, Fragrant-cloud History loved cracking jokes, which made her felt more uncomfortable. Luckily, she was highly cultured and stepped in propriety. Though a lady, he was not the kind that would cheat or flirt with others. Since the day Precious Hairpin met her, Precious Hairpin knew that she lived in poverty. Also, others parents were all aged and virtuous but hers were bad, which made her unique among all the ladies. Lady City's concern were out of courtesy rather than sincerity. Cave Cloud were elegant and Welcome-Spring were honest. They couldn't even take good care of themselves, how could they concern her.<br />
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Lady City then relented. Tadpole Marshgrass and Cave Cloud had met before in one of their trips. They both were satisfied with the match, but that made Cave Cloud shier than before and reserved in the presence of Precious Hairpin and other girls. More than that, Fragrant-cloud History loved cracking jokes, which made her feel even more shy. Luckily, she was well-educated and stepped in propriety. Though a lady, she was not the kind that would cheat or flirt with others.<br />
Since the day Precious Hairpin met her, Precious Hairpin knew that she lived in poverty. Also, others parents were virtuous old people but hers were penniless rats who cared little for their daughter. Lady City’s concern were treating her more out of courtesy, simply making a show of affection. Cave Cloud were elegant and Welcome-Spring were honest. They couldn't even take good care of themselves, let alone look after her counsin.<br />
--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 03:35, 25 May 2022 (UTC)<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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凡闺阁中家常一应需用之物，或有亏乏，无人照管，他又不与人张口。宝钗倒暗中每相体贴接济，也不敢与邢夫人知道，也恐怕是多心闲话之故。如今却是众人意料之外奇缘作成这门亲事。岫烟心中先取中宝钗，有时仍与宝钗闲话，宝钗仍以姊妹相呼。这日宝钗因来瞧黛玉，恰值岫烟也来瞧黛玉，二人在半路相遇。宝钗含笑唤他到跟前，二人同走。至一块石壁后，宝钗笑问他：“这天还冷的很，你怎么倒全换了夹的了？”岫烟见问，低头不答。宝钗便知道又有了原故，因又笑问道：“必定是这个月的月钱又没得？凤姐姐如今也这样没心没计了。”<br />
Whenever Cave Cloud ran short of any daily necessities, there was no one to see to it, and she was too unassuming to mention it. Precious Hairpin Marshgrass accordingly often helped her in secret, not letting Lady City know for fear of giving offence, with the result that now that this unexpected match had been arranged Cave Cloud felt even more closely bound to Precious Hairpin than to Tadpole Marshgrass. She often went to chat with her, and Precious Hairpin continued to address her as "cousin."<br />
One day Precious Hairpin set out to call on Mascara Jade. Happening to meet Cave Cloud on the way, she beckoned her with a smile and they walked on together. As they skirted the back of a rockery, Precious Hairpin inquired: "Why have you changed out of padded clothes into lined ones, when the weather is still so cold?" Cave Cloud hung her head and said nothing.<br />
Sensing some reason for this Precious Hairpin continued, "Don't tell me this month's allowance was held up again? Cousin Phoenix really is growing rather thoughtless."<br />
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Whenever Cave Cloud ran short of any daily necessities, there was no one to see to it, and she was too unassuming to mention it. Precious Hairpin Marshgrass accordingly often helped her in secret, not letting Lady City know for fear of giving offence, with the result that now that this unexpected match had been arranged Cave Cloud felt even more closely bound to Precious Hairpin than to Tadpole Marshgrass. She often went to chat with her, and Precious Hairpin continued to address her as "cousin."<br />
One day Precious Hairpin set out to call on Mascara Jade. Happening to meet Cave Cloud on the way, she beckoned her with a smile and they walked on together. As they skirted the back of a rockery, Precious Hairpin inquired: "Why have you changed out of padded clothes into lined ones, when the weather is still so cold?" Cave Cloud hung her head and said nothing.<br />
Sensing some reason for this Precious Hairpin continued, "Don't tell me this month's allowance was held up again? Cousin Phoenix really is growing rather thoughtless."--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 10:27, 22 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
岫烟道：“他倒想着不错日子给，因姑妈打发人和我说道：一个月用不了二两银子，叫我省一两给爹妈送出去；要使什么，横竖有二姐姐的东西，能着些搭着就使了。姐姐想：二姐姐也是个老实人，也不大留心。我使他的东西，他虽不说什么，他那些妈妈丫头，那一个是省事的？那一个是嘴里不尖的？我虽在那屋里，却不敢很使唤他们，过三天五天，我倒得拿出钱来，给他们打酒买点心吃才好。因此一月二两银子还不够使，如今又去了一两。前日我悄悄的把棉衣服叫人当了几吊钱盘缠。”宝钗听了，愁叹道：“偏梅家又合家在任上，后年才进来。<br />
"She issued it on the right date," rejoined Cave Cloud. "But my aunt sent to tell me I shouldn't need two taels a month and must save one for my parents. She said if I was short of anything I could borrow from Spring Pleasure and make do. But, you see,Spring Pleasure is a simple soul who doesn't always think. She wouldn't mind my using her things, but those maids and nannies of hers are all troublemakers — you know what sharp tongues they have. Though I'm staying there, I dare not order them about; infact, every few days I have to spend money on wine and cakes for them. l can't manage even on two taels a month, and now it's been cut to one. So the other day I got someone, on the sly, to pawn my padded clothes for a few strings of cash."<br />
Hearing this, Precious Hairpin frowned and sighed in sympathy. "It's too bad that the Mei family have all gone to the new post and won't be back in the capital till the year after next," she said.<br />
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"She issued it on the right date,"rejoined Cave Cloud. "But my aunt sent to tell me I shouldn't need two taels a month and must save one for my parents. She said if I was short of anything I could borrow from Spring Pleasure and make do. But,you see,Spring Pleasure is a simple soul who doesn't always think. She wouldn't mind my using her things,but those maids and nannies of hers are all troublemakers — you know what sharp tongues they have. Though I'm staying there,I dare not order them about; in fact,every few days I have to spend money on wine and cakes for them. I can't manage even on two taels a month,and now it's been cut to one. So the other day I got someone,on the sly,to pawn my padded clothes for a few strings of cash."<br />
Hearing this,Precious Hairpin frowned and sighed in sympathy. "It's too bad that the Mei family have all gone to the new post and won't be back in the capital till the year after next,"she said.--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 00:26, 25 May 2022 (UTC)<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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若是在这里，琴儿过去了，好再商议你这事。离了这里就完了。如今不完了他妹妹的事，也断不敢先娶亲的。如今倒是一件难事。再迟两年，我又怕你熬煎出病来。等我和妈妈再商议。”宝钗又指他裙上一个璧玉珮问道：“这是谁给你的？”岫烟道：“这是三姐姐给的。”宝钗点头道：“他见人人皆有，独你一个没有，怕人笑话，故此送一个。这是他聪明细致之处。”岫烟又问：“姐姐此时那里去？”宝钗道：“我到潇湘馆去。你且回去，把那当票子叫丫头送来我那里，悄悄的取出来，晚上再悄悄的送给你去，早晚好穿；<br />
If they were here,we could arrange Precious String'wedding and then yours. Once you leave here you'll be all right. The trouble is that Tadpole Marshgrass won't consider getting married before his younge sister; yet if you have to put up with two more years of this,I'm afraid it may ruin your health. I must talk to my mother and see what can be done. Then Baochai pointed at the green jade pendant hanging from her skirt,"Who gave you that?" "It's a present from Cousin Spring-seeking." Precious Hairpin nodded. "She must have noticed that you were the only one with no jade to wear,so to stop people laughing at you she gave you this. It shows how thoughtful and observant she is. Cave Cloud assented then asked her where she was going. "To Bamboo Lodge," Precious Hairpin told her slip back and send a maid over to our place with the pawn ticket. I'll have the clothes redeemed quietly and sent to you this evening,so that you have something warm to wear.<br />
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==比较文学与跨文化研究 Mahzad 202021080004==<br />
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不然，风闪着还了得！但不知当在那里了？”岫烟道：“叫做什么恒舒典，是鼓楼西大街的。”宝钗笑道：“这闹在一家去了！伙计们倘或知道了，好说‘人没过来，衣裳先过来’了。”岫烟听说，便知是他家的本钱，也不答，红了脸一笑，二人走开。宝钗就往潇湘馆来。恰正值他母亲也来瞧黛玉，正说闲话呢。宝钗笑道：“妈妈多早晚来的？我竟不知道。”薛姨妈道：“我这几天忙，总没来瞧瞧宝玉和他。所以今日瞧他人，都也好了。”黛玉忙让宝钗坐了，因向宝钗道：“天下的事，真是人想不到的。拿着姨妈和大舅母说起，怎么又作一门亲家。”薛姨妈道：“我的儿，你们女孩儿家那里知道？<br />
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==外国语言文学 Muhammad Numan 202121080002==<br />
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自古道：‘千里姻缘一线牵。’管姻缘的有一<br />
位月下老人，预先注定，暗里只用一根红丝，把这两个人的脚绊住，凭你两家那<br />
怕隔着海国呢，若有姻缘的，终久有机会作了夫妇。这一件事，都是出人意料之<br />
外。凭父母本人都愿意了，或是年年在一处，已为是定了的亲事，若月下老人<br />
不用红线拴的，再不能到一处。比如你姐妹两个的婚姻，此刻也不知在眼前，也<br />
不知在山南海北呢！”宝钗道：“惟有妈妈说动话拉上我们！”一面说，一面伏在<br />
母亲怀里，笑说：“咱们走罢。”黛玉就笑道：“你瞧！这么大了，离了姨妈，他就<br />
是个最老到的；见了姨妈，他就撒娇儿。”<br />
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==英语语言文学 TOURE MARIAM 202021080005==<br />
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薛姨妈将手摩弄着宝钗，向黛玉叹道：<br />
“你这姐姐，就和凤哥儿在老太太跟前一样：有了正经事，就有话和他商量；没有<br />
了事，幸亏他开我的心。我见了他这样，有多少愁不散的。”黛玉听说，流泪叹道：“他偏在这里这样，分明是气我没娘的人，故意来形<br />
容我！”宝钗笑道：“妈妈，你瞧他这轻狂样儿，倒说我撒娇儿！”薛姨妈道：“也怨<br />
不得他伤心，可怜没父母，到底没个亲人。”又摩娑黛玉，笑道：“好孩子，别哭。<br />
你见我疼你姐姐，你伤心，你知我心里更疼你呢！你姐姐虽没了父亲，到底有我，<br />
有亲哥哥，这就比你强了。我常和你姐姐说，心里很疼你，只是外头不好带出来<br />
的。<br />
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==外国语言文学 UDDIN NIZAM 202121080007==<br />
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你这里人多嘴杂，说好话的人少，说歹话的人多：不说你无依靠，为人做人<br />
可配人疼；只说我们看老太太疼你了，我们也‘洑上水’去了。”黛玉笑道：“姨妈<br />
既这么说，我明日就认姨妈做娘，姨妈若是弃嫌，便是假意疼我。”薛姨妈道：<br />
“你不厌我，就认了。”宝钗忙道：“认不得的。”黛玉道：“怎么认不得？”宝钗笑<br />
道：“我且问你，我哥哥还没定亲事，为什么反将邢妹妹先说与我兄弟了？是什<br />
么道理？”黛玉道：“他不在家，或是属相生日不对，所以先说与兄弟了。”宝钗笑<br />
道：“不是这样。我哥哥已经相准了，只等来家就放定，也不必提出人来，我说<br />
你认不得娘，你细想去！”说着，便和他母亲挤眼儿发笑。<br />
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==翻译学 SAGARA SEYDOU 201911080004 ==<br />
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黛玉听了，便一头伏在薛姨妈身上，说道：“姨妈不打他，我不依！”薛姨妈<br />
搂着他笑道：“你别信你姐姐的话，他是和玩你呢。”宝钗笑道：“真个妈妈明儿<br />
和老太太求了，聘作媳妇，岂不比外头寻的好？”黛玉便拢上来要抓他，口内笑<br />
说：“你越发疯了。”薛姨妈忙笑劝，用手分开方罢。又向宝钗道：“连邢女儿我<br />
还怕你哥哥遭踏了他，所以给你兄弟，别说这孩子，我也断不肯给他。前日老太<br />
太因要把你妹妹说给宝玉，偏生又有了人家；不然，倒是门子好亲事。前日我说定<br />
了邢姑娘，老太太还取笑说：‘我原要说他的人，谁知他的人没到手，倒被他说了<br />
我们一个去了。’</div>Li Yuanhttps://bou.de/u/index.php?title=20220519_homework&diff=14337320220519 homework2022-05-25T04:41:42Z<p>Li Yuan: /* 英语笔译 李颖 Li Ying 202170081578 */</p>
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<div>Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]<br />
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Assignment 1: '''Click here''' [[Chinese Classics Translation 2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is '''Lessons to learn from the Classics: Integration or Sharpening the Cultural Profile? 刘唱 张国浩 张瑞 赵宇翔'''<br />
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Assignment 2: Please do the translation below here<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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四人道：“因老太太当作宝贝一样，他又生得白，老太太便叫作‘宝玉’。”贾母笑向李纨道：“偏也叫个‘宝玉’！”李纨等忙欠身笑道：“从古至今，同时隔代，重名的很多。”四人也笑道：“起了这小名儿之后，我们上下都疑惑，不知那位亲友家也倒是曾有一个的，只是这十来年没进京来，却记不得真了。”贾母笑道：“那就是我的孙子。人来！”众媳妇丫头答应了一声，走近几步。贾母笑道：“园里把咱们的宝玉叫了来，给这四个管家娘子瞧瞧，比他们的宝玉如何？”<br />
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“Precious so much as our old lady towards her grandson, who has the apple-blossom coloring just like a jade, so she gave him the name ‘Precious Jade’,” answered they. Grandma Merchant smiled at Silk Plum, “There should be another ‘Precious Jade’. What a coincidence!” “From ancient times to the present, many people of the same period but different generations are getting the same name. It is normal to see.” Silk Plum and the rest raised slightly and comforted, when the four women joined the topic, “We also wondered if there was also another ‘Precious Jade’ of some relative after his pet name was given. But we failed to remember it clearly because we hadn’t come into the capital for a decade.” “That relative is no other but my grandson. Is there some messenger?” The grandma asked. The wives and maids promised and stepped up. “You go to ask Precious Jade to come here for these four mistresses to have a look. To look compared with theirs, how our ‘Precious Jade’ is,” Grandma Merchant beamed.<br />
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“Precious so much as our old lady towards her grandson, who has the apple-blossom coloring just like a jade, so she gave him the name ‘Precious Jade’,” answered they. Grandma Merchant smiled at Silk Plum, “There should be another ‘Precious Jade’. What a coincidence!” “From ancient times to the present, many people of the same period or from different dynasties are getting the same name. It is normal to see.” Silk Plum and the rest raised slightly and comforted, when the four women joined the topic, “We also wondered if there was also another ‘Precious Jade’ of some relative after his pet name was given. But we failed to remember it clearly because we hadn’t come into the capital for a decade.” “That relative is no other but my grandson. Is there some messenger?” The grandma asked. The wives and maids promised and stepped up. “You go to ask Precious Jade to come here for these four mistresses to have a look. Look how does he compared with theirs,” Grandma Merchant beamed.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:54, 23 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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众媳妇听了，忙去了，半刻，围了宝玉进来。四人一见，忙起身笑道：“唬了我们一跳！若是我们不进府来，倘若别处遇见，还只当是我们的宝玉后赶着也进了京呢！”一面说，一面都上来拉他的手，问长问短。宝玉也笑问个好。贾母笑道：“比你们的长的如何？”李纨等笑道：“四位妈妈才一说，可知是模样相仿了。”贾母笑道：“那有这样巧事？大家子孩子们，再养得娇嫩，除了脸上有残疾十分丑的，大概看去都是一样齐整。这也没有什么怪处。”四人笑道：“如今看来，模样是一样！<br />
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The maids went away, returning together with Precious Jade, at sight of whom the four women rose to their feet. "Well, this is really a surprise for us!" they laughed. "If we’d met him somewhere excluding here, we’d have thought our Precious Jade had followed us to the capital." They came to Precious Jade, who extended his greeting with a smile, and taking his hand they asked him a succession of questions. "How does he compare with your boy?" inquired the Grandma Merchant. "In line with what the four nannies just said, these two must be rather alike in appearance," said Silk Plum. "That’s not a coincidence," Grandma Merchant amused, "If they had no disease causing disfigurements, the doted sons of great houses all look rather handsome. There’s definitely nothing strange at all." "They’re the mirror of each other," declared the four women.<br />
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The maids went away, returning together with Precious Jade, at sight of whom the four women rose to their feet. "Well, this is really a surprise for us!" they laughed. "If we’d met him somewhere excluding here, we’d have thought our Precious Jade had followed us to the capital." They came to Precious Jade, who extended his greeting with a smile, and taking his hand they asked him a succession of questions. "How does he compare with your boy?" inquired the Grandma Merchant. "In line with what the four nannies just said, these two must be rather alike in appearance," said Silk Plum. "That’s not a coincidence," Grandma Merchant amused, "If they had no disease causing disfigurements, the doted sons of great houses all look rather handsome. There’s definitely nothing strange at all." "They’re the mirror of each other," declared the four women.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 07:41, 23 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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据老太太说，淘气也一样；我们看来，这位哥儿，性情却比我们的好些。”贾母忙问：“怎见得？”四人笑道：“方才我们拉哥儿的手说话，便知道了。若是我们那一个，只说我们糊涂。慢说拉手，他的东西，我们略动一动，也不依。所使唤的人，都是女孩子们……”四人未说完，李纨姊妹等禁不住都失声笑出来。贾母也笑道：“我们这会子也打发人去见了你们宝玉，若拉他的手，他也自然勉强忍耐着。不知你我这样人家的孩子，凭他们有什么刁钻古怪的毛病，见了外人，必是要还出正经礼数来的。<br />
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‘According to what you say, both of them have been rather naughty; But your grandson seems to be the better-tempered of the two.’‘Why do you say that?’‘We found out that by holding his hands just now. Ours would have thought us silly. We're not allowed even to touch his things, let alone hold his hands. So all his maids are young girls...'This evoked laughter from Silk Plum and the girls.‘If I sent people to see Precious Jade, and if they took his hand, he’d have to put up with it too,’ chuckled the old lady. ‘No matter how perverse they may be,children from families like ours would always behave correctly to other people.'<br />
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‘According to what you say, both of them have been rather naughty; But your grandson seems to be the better-tempered of the two.’‘Why do you say that?’‘We found out that by holding his hands just now. Ours would have thought us silly. We're not allowed even to touch his things, let alone hold his hands. So all his maids are young girls...'This evoked laughter from Silk Plum and the girls.‘If I sent people to see Precious Jade, and if they took his hand, he’d have to put up with it too,’ chuckled the old lady. ‘No matter how perverse they may be,children from families like ours would always behave correctly to other people.'--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 14:02, 24 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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若他不还正经礼数，也断不容他刁钻去了。就是大人溺爱的，也因为他一则生的得人意儿；二则见人礼数，竟比大人行出来的更不错，使人见了可爱可怜，背地里所以才纵他一点子。若一味他只管没里没外，不与大人争光，凭他生的怎样，也是该打死的。”四人听了，都笑说：“老太太这话正是。虽然我们宝玉淘气古怪，有时见了客，规矩礼数，比大人还有趣，所以无人见了不爱，只说：‘为什么还打他？’殊不知他在家里无法无天，大人想不到的话偏会说，想不到的事偏要行，所以老爷太太恨的无法。<br />
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If he is not decent, he will not be allowed to be unruly. Even adults dote on, but also because of his a born satisfactory son; On the other hand, he was so polite that he was even better than a big man. He was so cute and pitiful that he secretly gave him the idea. If he does not strive for glory with his elders, he should be killed according to his birth." Hearing this, all four laughed and said, "That's exactly what the old lady said. Although Precious Jade Merchant was mischievous and eccentric, sometimes he was more interesting than the adults when he met guests and behaved in a polite way, no one loved him and said, 'Why are you still beating him? 'But he was a lawless man at home, saying and doing what grown-ups could not think of, and his lordship and his wife hated him.<br />
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If he is not decent, he will not be allowed to be unruly. We dote on him for he's a lovely boy; on the other hand, he is so polite that he is even better than an adult. He was so cute that we're willing to spoiler him. If he behaves badly outside and makes us lose face , he should be beaten to death no matter how lovely he is." Hearing this, all four laughed and said, "That's exactly what you said, madam. Although Precious Jade Merchant was mischievous and eccentric, sometimes he was more interesting than the adults when he met guests and behaved in a polite way. Everyone who meet him will love him and say, 'Why are you still beating him? ', not knowing that he is a lawless boy at home, saying and doing what grown-ups could not think of. And his lordship and his mistress are always angry with what he does.<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 15:19, 24 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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就是任性，也是小孩子的常情；胡乱花费，也是公子哥儿的常情；怕上学，也是小孩子的常情，都还治得过来。第一，天生下来这一种刁钻古怪的脾气，如何使得。”一语未完，人回：“太太回来了。”王夫人进来，问过安。他四人请了安，大概说了两句。贾母便命：“歇歇去罢。”王夫人亲捧过茶，方退出去。四人告辞了贾母，便往王夫人处来。说了一会子家务，打发他们回去，不必细说。这里贾母喜得逢人便告诉：也有一个宝玉，也都一般行景。众人都想着：天下的世宦大家，同名的这也很多，祖母溺爱孙者也是常事，不是什么罕事，皆不介意。<br />
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It is common that boys of noble families are wayward, extravagant and reluctant to go to school. All of these manners can be corrected. However, how should we do to deal with this perverse and eccentric disposition which is naturally born?" Before they finished, a man reported, "The Lady is back." Then Lady King came in and wished her mother-in-law good health. The four of them also paid their respects and they talked for a while. Then Grandma Merchant ordered, "You can go to have a rest." Lady King served the tea for Grandma Merchant and withdrew. The four took leave of the old dowager and follow Lady King to her room. After talking a little about household affairs, Lady King sent them away.It's no need going into more details. On the other hand, Grandma Merchant was happy to tell people she met: there was also a "Precious Jade" in another family who was like the one of their own. Everyone thought it not strange that there existed some namesakes in many official families who were doted by grandmother. So nobody really cared.<br />
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It is common that boys of noble families are wayward, extravagant and reluctant to go to school. All of these manners can be corrected. However, how should we do to deal with this perverse and eccentric disposition which is naturally born?" Before they finished, a man reported, "The Lady is back." Then Lady King came in and wished her mother-in-law good health. The four of them also paid their respects and they talked for a while. Then Grandma Merchant ordered, "You can go to have a rest." Lady King served the tea for Grandma Merchant and left then. The four took leave of the old dowager and follow Lady King to her room. After talking a little about household affairs, Lady King sent them away.It's no need going into more details. On the other hand, Grandma Merchant was happy to tell people she met: there was also a "Precious Jade" in another family who was like the one of their own. Everyone thought it not strange that there existed some namesakes in many official families who were doted by grandmother. So nobody really cared.--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 03:12, 24 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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独宝玉是个迂阔呆公子的性情，自为是那四人承悦贾母之词；后至园中去看湘云病去，史湘云因说他：“你放心闹罢，先还‘单丝不成线，独树不成林’，如今有了个对子。闹急了，再打很了，你好逃到南京找那一个去。”宝玉道：“那里的谎话，你也信了，偏又有宝玉了？”湘云道：“怎么列国有个蔺相如，汉朝又有个司马相如呢？”宝玉笑道：“这也罢了，偏又模样儿也一样，这是没有的事！”湘云道：“怎么匡人看见孔子，只当是阳货呢？”宝玉笑道：“孔子阳贷虽同貌，却不同名，蔺与司马虽同名，而又不同貌；偏我和他就两样俱同不成？”<br />
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However, Precious Jade was a dull and precious man in position and thought what the four people said were only to please Grandma Merchant. Then he went to the park to visit Fragrant-cloud, and she said:" Now you can do whatever you want to do. Prior to this, 'one strand of silk does not make a thread, one tree does not make a forest'. But now you have a company identical to you. You can escape to Nanjing to find your company if you fight noisily." Precious Jade said:"That’s a lie and you believed in that nonsense. How could the other Precious Jade exist in the world. "Fragrant-cloud said:"How could there were Lin Xiangru in the various states or nations while Sima Xiangru in Han dynasty." Precious Jade smiled:"It’s not just the identical name but the same appearance which seems impossible!" Fragrant-cloud said:" How could people in Spring and Autumn period mistake Confucius for Yang Dai?" Precious Jade smiled:"Confucius and Yang Dai shared appearance but had different name while Lin and Sima shared the name but looked different. However I and my company shared the both."<br />
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However, Precious Jade alone was a dull and unworldly man with a silver spoon and thought what the four people said was only to please Grandma Merchant. Then he went to the garden to visit Fragrant-cloud, and she said:" Now you can do whatever you want to do. Prior to this, 'one strand of silk does not make a thread, one tree does not make a forest'. But now you have a company identical to you. You can escape to Nanjing to find your company if you fight noisily." Precious Jade retorted: "That’s a lie and you believed in that nonsense. How could another Precious Jade exist in the world? "Fragrant-cloud said: "How could there was Lin Xiangru the Warring States Time while Sima Xiangru in Han dynasty?" Precious Jade smiled: "It’s not just the identical name but the same appearance, which is impossible!" Fragrant-cloud said:" How could people in Spring and Autumn period mistake Confucius for Yang Dai?" Precious Jade smiled: "Confucius and Yang Dai shared same appearance but had different names while Lin and Sima shared the name but looked different. However, I and my company shared them both."--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 09:16, 24 May 2022 (UTC)<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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湘云没了话答对，因笑道：“你只会胡搅，我也不和你分证。有也罢，没也罢，与我无干。说着，便睡下了。宝玉心中便又疑惑起来：“若说必无，也似必有；若说必有，又并无目睹。”心中闷闷，回至房中榻上，默默盘算，不觉昏昏睡去，竟到一座花园之内。宝玉咤异道：“除了我们大观园，竟又有这一个园子？”正疑惑间，忽然那边来了几个女孩儿，都是丫鬟，宝玉又咤异道：“除了鸳鸯、袭人、平儿之外，也竟还有这一干人？”只见那些丫鬟笑道：“宝玉怎么跑到这里来？”<br />
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Nothing to refute, Fragrant-cloud History smiled, “You’re just behaving at random, I refuse to argue with you. Whether it’s so or not, it has nothing to do with me.” Then, she fell asleep. Precious Jade felt uncertain in mind, “I may say this can’t be, yet I feel it seemed that it’s true. Yet how can I be sure, when I haven’t seen with my own eyes?” There was a feeling of depression around him so he returned to the bed to think. Soon he dozed off and dreamed that he was in a garden. Precious Jade marveled, “Is there another garden like this except Grand View Garden?” when he was puzzled, some maids approached. He said in surprise again, “There are more girls here except Mandarin Duck, Aroma, Patience.” The maids asked, “ What is Precious Jade coming here.”<br />
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Unable to refute him, Fragrant-cloud History smiled, “You’re just behaving at random, I refuse to argue with you. Whether it’s so or not, it has nothing to do with me.” Then, she fell asleep. Precious Jade felt uncertain in mind, “I may say this can’t be, yet I feel it seemed that it’s true. Yet how can I be sure, when I haven’t seen my trouble with my own eyes?” There was a feeling of depression around him, so he returned to the bed to think. Soon he dozed off and dreamed that he was in a garden. Precious Jade marveled, “Is there another garden like this except Grand View Garden?” As he was puzzling over, some girls all serving-maids approached. He exclaimed in surprise again, “So Mandarin Duck, Aroma, Patience aren’t the only fine girls.” The maids laughed at him, “ What is Precious Jade doing here? ”--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 02:58, 25 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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宝玉只当是说他，忙来陪笑说道：“因我偶步到此，不知是那位世交的花园？姐姐们带我逛逛。”众丫鬟都笑道：“原来不是咱们家的宝玉。他生得也还干净，嘴儿也倒乖觉。”宝玉听了，忙道：“姐姐们这里，也竟还有个宝玉？”丫鬟们忙道：“‘宝玉’二字，我们家是奉老太太、太太之命，为保佑他延年消灾的，我们叫他，他听见喜欢；你是那里远方来的小厮，也乱叫起来！仔细你的臭肉，打不烂了你的！”又一个丫鬟笑道：“咱们快走罢，别叫宝玉看见。”又说：“同这臭小子说了话，把咱们熏臭了！”说着，一径去了。<br />
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Precious Jade, assuming that they were talking about him, answered with a smile, ''I happened to ramble in here. I wonder which of my family's friends this garden belongs to. Will you show me round it, sisters?'' ''It isn't our Precious Jade after all,'' laughed the girls.'' ''He's not bad-looking though, and soft-spoken too.'' ''Is there another Precious Jade here, sisters?'' Precious Jade asked eagerly. ''It was the old lady and mistress who told us to call him Precious Jade as a means of bringing him luck,'' the girls rejoined. ''He likes it when we call him by his name. But how can a stinking young boy from far away like you to use it at random? You'd better watch out or we' ll beat you to a pulp!'' ''Let's go before Precious Jade sees him,'' urged another. ''Talking to this stinking wretch here had made us stink too.'' With that they hurried off.<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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宝玉纳闷道：“从来没有人如此荼毒我，他们如何竟这样的？莫不真也有我这样一个人不成？”一面想，一面顺步早到了一所院内。宝玉咤异道：“除了怡红院，也竟还有这么一个院落？”忽上了台阶，进入屋内，只见榻上有一个人卧着，那边有几个女儿做针线，也有嘻笑玩耍的。只见榻上那个少年叹了一声，一个丫鬟笑问道：“宝玉，你不睡，又叹什么？想必为你妹妹病了，你又胡愁乱恨呢。”宝玉听说，心下也便吃惊。只见榻上少年说道：“我听见老太太说，‘长安’都中也有个宝玉，和我一样的性情，我只不信。<br />
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Precious Jade wondered: “No one treats me like that, how could they? Does there any other like me?” While thinking, he walked into a yard. He was confused:” Is there a yard except for Happy Red Court?” Stepping on the stairs, he only saw a person lying on the bed in the room, with several maids knitting and playing. The boy on the bed sighed and one girl asked: “Precious Jade, why don’t you sleep and sigh? Are you worried about your ill sister?” Precious Jade heard and was shocked when the boy said: “Grandma said there is a Precious Jade in Changan quite like me, but I don’t buy for it.”--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 03:54, 22 May 2022 (UTC)<br />
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Precious Jade wondered: “No one treats me like that, how could they? Is it true that there is a person like me??” While thinking, he walked into a yard. He was confused:” Is there another yard just like Happy Red Court?” Stepping up the stairs, he only saw a person lying on the bed in the room, with several maids knitting and playing beside him. The boy on the bed sighed and one girl asked: “Precious Jade, why don’t you sleep but sigh? Are you worried about your ill sister?” Precious Jade heard and was shocked when the boy said: “Grandma said there is another Precious Jade in Changan quite like me, but I don’t buy for it.”--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 09:53, 22 May 2022 (UTC)<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
我才做了一个梦，竟梦中到了都中一个花园子里头，遇见几个姐姐，都叫我臭小厮，不理我。好容易找到他房里，偏他睡觉，空有皮囊，真性不知往那里去了。”宝玉听说，忙说道：“我因找宝玉来到这里。原来你就是宝玉？”榻上的忙下来拉住，笑道：“原来你就是宝玉！这可不是梦里了。”宝玉道：“这如何是梦？真而又真的！”一语未了，只见人来说：“老爷叫宝玉。”吓得二人皆慌了。一个宝玉就走，一个便忙叫：“宝玉快回来，宝玉快回来！”袭人在旁听他梦中自唤，忙推醒他，笑问道：“宝玉在那里？”<br />
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"I just had a dream. In that dream, I came to a garden in the capital, I met several maids who called me a stinky boy and ignored me. I exerted great effort to find his room, but he was sleeping. He only has good-looking but no temper." Precious Jade Merchant heard his words and said:" I came to here for looking for Precious Jade. So you are Precious Jade?" The one on the bed went down his bed and laughed:" So you are Precious Jade! This is not a dream." Precious Jade replied:" How can this be a dream? It's genuine!" Before he had finished his words, a servant said, "The master called for Precious Jade." They both panicked. One wanted to leave, and the other hurriedly shouted, "Precious Jade, come back!" Aroma next to him heard Precious Jade shouting in his dream, she woke him up and asked," Where is Precious Jade?"--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 09:48, 22 May 2022 (UTC)<br />
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"I just had a dream. In that dream, I came to a garden in the capital, I met several maids who called me a stinky boy and treated me badly. I exerted great effort to find his room, but he was sleeping. He only has good looking but no temper." Precious Jade Merchant heard his words and said:" I came here for looking for Precious Jade. So you are Precious Jade?" The one on the bed went down his bed and laughed:" So you are Precious Jade! This is not a dream." Precious Jade replied:" How can this be a dream? Everything is genuine!" Before he had finished his words, a servant said, "The master called for Precious Jade." They both panicked. One wanted to leave, and the other hurriedly shouted, "Precious Jade, come back!" Aroma next to him heard Precious Jade shouting in his dream, she woke him up and asked," Where is Precious Jade?"--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 09:59, 23 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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此时宝玉虽醒，神意尚恍惚，因向门外指说：“才出了不远。”袭人笑道：“那是你梦迷了。你揉眼细瞧，是镜子里照的你的影儿。”宝玉向前瞧了一瞧，原是那嵌的大镜对面相照，自己也笑了。早有丫鬟捧过漱盂茶卤来漱了口。麝月道：“怪道老太太常嘱咐说：‘小人儿屋里不可多有镜子，小人魂不全，有镜子照多了，睡觉惊恐做胡梦。’如今倒在大镜子那里安了一张床！有时放下镜套还好；往前去，天热困倦，那里想得到放他，比如方才就忘了，自然先躺下照着影儿玩来着，一时合上眼，自然是胡梦颠倒的，不然，如何叫起自己的名字来呢？<br />
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Precious Jade Merchant was awake, but still in a trance. He pointed out the door and said, "I haven't been out that long." Aroma replied with a smile, "You are drowsy. Look closely, it's you in the mirror." So he looked forward again and finally realized that he had a big mirror in front of him. He smiled too. The servant girl came with a spittoon for him to gargle. Musk Deer Month said to him, "No wonder the Old Lady used to say, 'There should not be too many mirrors in a room with children, because children's souls are not mature enough, and if you look too much in the mirror, you will have nightmares at night. But you have such a big mirror in your room! It's okay when you cover it in your daily life. There was a hot hot weather a few days before, so naturally it is difficult to remind people to take out the mirror cover. You know, you just forgot about it, and then you lied in bed, looked at yourself in the mirror, and then you fell asleep. So nightmares came. If it wasn't for this reason, why would you call out your name?<br />
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Precious Jade Merchant was awake, but still in a trance. He pointed out the door and said, "I haven't been out that long." Aroma replied with a smile, "You are drowsy. Look closely, it's you in the mirror." So he looked forward again and finally realized that there was a big mirror in front of him. He smiled too. A maid came with a spittoon for him to gargle. Musk Deer Month said to him, "No wonder the Old Lady used to say, 'There should not be too many mirrors in a room with children, because children's souls are not mature enough, and if they look too much in the mirror, they will have nightmares at night. But you have such a big mirror in your room! It's okay when you cover it in your daily life. There was a hot weather a few days before, so naturally it is difficult for people to remember to cover the mirror. You know, you just forgot about it, and then you lied in bed, looked at yourself in the mirror, and then you fell asleep, thus nightmares came. If it wasn't for this reason, why would you call out your name?--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 05:47, 23 May 2022 (UTC)<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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不如明儿挪进床来是正经。”一语未了，只见王夫人遣人来叫宝玉，不知有何话说，且听下回分解。<br />
◎第五十七回 慧紫鹃情辞试莽玉 慈姨妈爱语慰痴颦<br />
话说宝玉听王夫人唤他，忙至前边来，原来是王夫人要带他拜甄夫人去。宝玉自是欢喜，忙去换衣服，跟了王夫人到那里。见其家形景，自与荣宁不甚差别，或有一二稍盛者。细问，果有一宝玉。甄夫人留席，竟一日方回。宝玉不信。因晚间回家来，王夫人又吩咐预备上等的席面，定名班大戏，请过甄夫人母女。后二日，他母女便不作辞，回任去了，无话。<br />
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We might as well move the couch inside tomorrow." Before she finished speaking, Lady King sent someone to call Precious Jade. To know why she wanted him, read the next chapter. Chapter 57 Clever Nightingale Tests Precious Jade’s Feelings, Kindly Aunt Marshgrass Comforts Mascara Jade. After hearing Lady King had called him, Precious Jade hurried to his mother. It turned out that Lady King wanted to take him to visit Lady Truth. Precious Jade cheerfully changed his clothes and followed his mother there. The Truths’ house struck him as much like the Prosperity and Peace mansions, if not slightly grander. After careful inquiries, he learned that they did indeed have a young master also called Precious Jade. By the time they has spent the day there, for Lady Truth kept them to a meal, he was quite convinced of this. When he returned home in the evening, Lady King ordered the first-class banquet to be prepared and a celebrated opera company hired to entertain Lady Truth and her daughter. The next day they returned without saying a word.<br />
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We might as well move the couch inside tomorrow." Before she finished speaking, Lady King sent someone to call Precious Jade. To know why she wanted him, read the next chapter. Chapter 57 Clever Nightingale Tests Precious Jade’s Feelings, Kindly Aunt Marshgrass Comforts Mascara Jade. After hearing Lady King had called him, Precious Jade hurried to his mother. It turned out that Lady King wanted to take him to visit Lady Truth. Precious Jade changed his clothes cheerfully and followed his mother there. The Truths’ house struck him as much like the Prosperity and Peace mansions, if not slightly grander. After careful inquiries, he learned that they did indeed have a young master also called Precious Jade. By the time they has spent the day there, for Lady Truth kept them to a meal, he was quite convinced of this. When he returned home in the evening, Lady King ordered the first-class banquet to be prepared and a celebrated opera company hired to entertain Lady Truth and her daughter. The next day they returned without saying a word.<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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这日宝玉因见湘云渐愈，然后去看黛玉。正值黛玉才歇午觉，宝玉不敢惊动，因紫鹃正在回廊上手里做针线，便上来问他：“昨日夜里咳嗽的可好了？”紫鹃道：“好些了。”宝玉笑道：“阿弥陀佛！宁可好了罢。”紫鹃笑道：“你也念起佛来，真是新闻！”宝玉笑道：“所谓‘病笃乱投医’了。”一面说，一面见他穿着弹墨绫薄绵袄，外面只穿着青缎夹背心，宝玉便伸手向他身上抹了一抹，说道：“穿这样单薄，还在风口里坐着，时气又不好，你再病了，越发难了。”紫鹃便说道：“从此咱们只可说话，别动手动脚的：<br />
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When the Mascara Jade take a nap, the Precious Jade did not dare to disturb, because Fine (Nightingale) is sewing on the cloister, then came up and asked him: "How was she? Was her cough any better last night?""Better," Nightingale said. "Amitabha!" he said:"It's time to recover."Nightingale laughed that:"It's strange that you said Buddha,that's a news."He said:" A drawing man can catch at a straw."As well as he looked at her costume that she was wearing a thin padded silk tunic with black dots under a lined blue silk sleeveless jacket, he reached out to feel her clothes, he said:" You wear too thin to sit in a draught here for this time of year. If you go sick too, things here will be even worse." Nightingale retorted:" When we talk to each other, please keep your hand away from me."<br />
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That day when CloudWhen Mascara Jade take a nap, the Precious Jade did not dare to disturb, because Fine (Nightingale) is sewing on the cloister, then came up and asked him: "How was she? Was her cough any better last night?""Better," Nightingale said. "Amitabha!" he said:"It's time to recover."Nightingale laughed that:"It's strange that you said Buddha,that's a news."He said:" A drawing man can catch at a straw."As well as he looked at her costume that she was wearing a thin padded silk tunic with black dots under a lined blue silk sleeveless jacket, he reached out to feel her clothes, he said:" You wear too thin to sit in a draught here for this time of year. If you go sick too, things here will be even worse." Nightingale retorted:" When we talk to each other, please keep your hand away from me."--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 04:41, 25 May 2022 (UTC)<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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一年大，二年小的，叫人看着不尊重。打紧的那起混帐行子们背地里说你；你总不留心，还只管和小时一般行为，如何使得。姑娘常常吩咐我们，不叫和你说笑。你近来瞧他，远着你还恐远不及呢。”说着，便起身携了针线进别的房里去了。宝玉见了这般景况，心中像浇了一盆冷水一般，只瞅着竹子发了一回呆。因祝妈正在那里挖刨土种竹，扫竹叶子，顿觉一时魂魄失守，随便坐在一块山石上出神，不觉滴下泪来。直呆了一顿饭工夫，千思万想，总不知如何是可。偶值雪雁从王夫人房中取了人参来，从此经过，忽扭头看见桃花树下石上一人，手托着腮颊，正出神呢：<br />
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"As we grow up, this kind of behavior will be not proper. Although they have always been speaking ill of you behind your back, you still turn a deaf ear to that and keep doing those things when we were little. This is out of place now. The mistress has always been telling us not to talking and playing with you. She is trying her best to hide from you recently when you come to visit her, and hiding from you will be not enough at all," she said and then got into another room with the needling stuff. Hearing what she said and seeing what she acted, Precious Jade felt like being poured with a basin of cold water in his heart and then just stared at the bamboos pondering. At that moment, Nanny Wish was digging there to plant bamboos and cleaning out the fallen leaves. It was dawned on him that his soul went out of his body. He sat on a rock with his mind wandering, and he then could not help shedding tears. He thought again and again and still did not know what to do until the meal time passed. Snow Goose passed here by accident when she just fetched the ginseng from Lady King's place, and saw the person thinking on the rock with his hand on his cheeks when she suddenly raised her head.<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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不是别人，却是宝玉。雪雁疑惑道：“怪冷的，他一个人在这里做什么？春天凡有残疾的人肯犯病，敢是他也犯了呆病了？”一边想，一边便走过来，蹲下来笑道：“你在这里做什么呢？”宝玉忽见了雪雁，便说道：“你又做什么来找我？你难道不是女儿？他既防嫌，不许你们理我，你又来寻我，倘被人看见，岂不又生口舌？你快家去罢。”雪雁听了，只当是他又受了黛玉的委屈，只得回至房中。黛玉未醒，将人参交给紫鹃。紫鹃因问他：“太太做什么呢？”雪雁道：“也睡中觉呢，所以等了这半日。<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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姐姐，你听笑话儿：我因等太太的工夫，和玉钏儿姐姐坐在下房里说话儿，谁知赵姨奶奶招手儿叫我。我只当有什么话说，原来他和太太告了假，出去给他兄弟伴宿坐夜，明日送殡去。跟他的小丫头子小吉祥儿没衣裳，要借我的月白绫子袄儿。我想：他们一般也有两件子的，往这地方去，恐怕弄坏了，自己的舍不得穿，故此借别人的。借我的，弄坏了也是小事，只是我想他素日有什么好处到咱们跟前，所以我说：我的衣裳簪环，都是姑娘叫紫鹃姐姐收着呢。如今先得去告诉他，还得回姑娘，费多少事，别误了你老人家出门，不如再转借罢。”<br />
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“sister, I tell you a story: I chat with Jade Bracelet in the servant's room when waiting the lady to wake up. Who knows concubine Zhao beckoned me. I suppose she has something to say. It turned out that she had taken a leave of absence to go out to sit with her brothers for the night, and sent the funeral tomorrow. As her personal servant girl Little Auspicious has no decent coat, she wanted to borrow my Moon-white Ayako jacket. But I thought they usually have several coats. And they may be afraid their coats will be contaminated in that place, so they are reluctant to wear their own clothes and seek to borrow others. Now that they came to borrow from me. Though it doesn't matter to have my clothes broken, I remember she barely think of us when she get some good things. Then I replied to her: My clothes are all collected by the girl named Purple Crane. Now I have to tell her first and then go back to tell that girl. That process takes your a long time. Why not go to ask others. ”<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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紫鹃笑道：“你这个小东西儿，倒也巧。你不借给他，你推我和姑娘身上，好叫人怨不着你。他这会子就去啊，还是等明日一早才去呢？”雪雁道“这会子就去的，只怕此时已去了。”紫鹃点头。雪雁道：“姑娘还没醒呢，是谁给了宝玉气受？坐在那里哭呢。”紫鹃听了，忙问：“在那里？”雪雁道：“在沁芳亭后头桃花底下呢。”紫鹃听说，忙放下针线，又嘱咐雪雁：“好生听叫。若问我，答应我就来。”说着，便出了潇湘馆，一径来寻宝玉，走至宝玉跟前，含笑说道：“我不过说了那两句话，为的是大家好，你就一气，跑了这风地里来哭，弄出病来还了得！”<br />
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Nightingale smiled:" So smart of you! you didn't borrow it to him and asked him to came to me and the lady so that he wouldn't be angry with you, right? When will he go? Now or tomorrow." Snowgoose said:"he has left just now." Nightingale nodded to Snowgoose and Snowgoose said:"he is watching the peach blossom in the Aroma Pivillion. Heard that, Nightingale just stopped the needlework and said to Snowgoose:" You just stay here and if anybody asks about me, you just say that I'll be here in a minute." Meanwhile, She left the bamboo lodge and went to Precious Jade straightly. She smiled and said:"I said those words for the good of all of us. you shouldn't come here and cry. What if you get sick!" --[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 06:34, 21 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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宝玉忙笑道：“谁赌气了！我因为听你说得有理，我想你们既这样说，自然别人也是这样说，将来渐渐的都不理我了，我所以想到这里，自己伤起心来了。”紫鹃也便挨他坐着。宝玉笑道：“方才对面说话，你尚走开，这会子如何又来挨我坐着？”紫鹃道：“你都忘了？几日前，你们姊妹两个正说话，赵姨娘一头走了进来，我才听见他不在家，所以我来问你。正是前日你和他才说了一句‘燕窝’，就歇住了，总没提起，我正想着问你。”宝玉道：“也没什么要紧。不过我想着宝姐姐也是客中，既吃燕窝，又不可间断，若只管和他要，也太托实。<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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虽不便和太太要，我已经在老太太跟前略露了个风声，只怕老太太和凤姐姐说了。我告诉他的，竟不告诉完。如今我听见一日给你们一两燕窝，这也就完了。”紫鹃道：“原来是你说了，这又多谢你费心。我们正疑惑，老太太怎么忽然想起来叫人每一日送一两燕窝来呢？这就是了。”宝玉笑道：“这要天天吃惯了，吃上三二年就好了。”紫鹃道：“在这里吃惯了，明年家去，那里有这闲钱吃这个。”宝玉听了，吃了一惊，忙问：“谁家去？”紫鹃道：“妹妹回苏州去。”宝玉笑道：“你又说白话。苏州虽是原籍，因没了姑母，无人照看，才接了来的；<br />
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As it’s no use asking my mother. I dropped a hint to the old lady, and I suspect she must have told Sister Phoenix. That was what I started explaining. I understand an ounce of bird’s nest is being sent over to you every day now, so that’s all right.” “So it was you who suggested that, was it?” said Nightingale “That was very good of you. We’ve been wondering what made the old lady suddenly start sending an ounce every day, so that’s the reason.” Precious Jade said with a smile,“If she takes it regularly every day, after two or three years her health should be much better.” The maid replied, “She can have some every day here, but where will the money come from to continue the cure when she goes home next year?” Precious Jade starlted, “Who’s going to which home?” She responded, “Your cousin—back to Suzhou.” “Nonsense!” Precious Jade chuckled. “Suzhou may be her hometown, but she came here because there was no one there to look after her after her parents’ death.<br />
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On the other hand it would be rather awkward to have to ask Sister Phoenix for it; so I dropped a hint to Grandma, and I rather think that she had a word on the subject with Sister Phoenix. That was what I started explaining. I understand an ounce of bird’s nest is being sent over to you every day now, so that’s all right.” “So it was you who suggested that, was it?” said Nightingale “That was very good of you. We’ve been wondering what made the old lady suddenly start sending an ounce every day, so that’s the reason.” Precious Jade said with a smile,“If she takes it regularly every day, after two or three years her health should be much better.” The maid replied, “She can have some every day here, but where will the money come from to continue the cure when she goes home next year?” Precious Jade starlted, “Who’s going to which home?” She responded, “Your cousin—back to Suzhou.” “Nonsense!” Precious Jade chuckled. “Suzhou may be her hometown, but she came here because there was no one there to look after her after her parents’ death.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 12:24, 23 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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明年回去找谁？可见是扯谎。”紫鹃冷笑道：“你太看小了人。你们贾家独是大族，人口多的；除了你家，别人只得一父一母，房族中真个再无人了不成？我们姑娘来时，原是老太太心疼他年小，虽有叔伯，不如亲父母，故此接来住几年。大了该出阁时，自然要送还林家的，终不成林家女儿在你贾家一世不成？林家虽贫到没饭吃，也是世代书宦人家，断不肯将他家的人丢与亲戚，落的耻笑，所以早则明年春天，迟则秋天，这里纵不送去，林家亦必有人来接的。前日夜里姑娘和我说了，叫我告诉你，将从前小时玩的东西，有他送你的，叫你都打点出来还他；<br />
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Whom could she go back to next year? You must be lying.” “What a poor opinion you have of other people!” Zijuan snorted, “I suppose you think yours is the only big family in the world. According to you, I suppose, other people only have fathers and mothers: they couldn't possibly have uncles and aunts on their father's side like you do. Our young lady was brought here for a few years while she was still only a child, because the old lady felt for her and didn't think her uncles could take the place of her parents. But it was only ever her intention to keep her here for a few years. As soon as she's old enough to be married, she'll have to go back to the Lin family. You could hardly expect a Lin family girl to spend the rest of her days among the Merchant family, now could you? Even if the Lins were desperately poor, for generations they've been a family of scholars and officials: they'd never expose themselves to ridicule by abandoning a daughter to relatives. So next spring or next autumn at the latest, even if your family doesn't send her back, the Lins are sure to send to fetch her. The other evening our young lady told me to ask you for all the little gifts and souvenirs she's given you since you were children.“<br />
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Whom could she go back to next year? You must be lying.” “What a poor opinion you have of other people!” Nightingale snorted, “I suppose you think yours is the only big family in the world. According to you, I suppose, other people only have fathers and mothers: they couldn't possibly have uncles and aunts on their father's side like you do. Our young lady was brought here for a few years while she was still only a child, because the old lady felt for her and didn't think her uncles could take the place of her parents. But it was only ever her intention to keep her here for a few years. As soon as she's old enough to be married, she'll have to go back to the Lin family. You could hardly expect a Lin family girl to spend the rest of her days among the Merchant family, now could you? Even if the Lins were desperately poor, for generations they've been a family of scholars and officials: they'd never expose themselves to ridicule by abandoning a daughter to relatives. So next spring or next autumn at the latest, even if your family doesn't send her back, the Lins are sure to send to fetch her. The other evening our young lady told me to ask you for all the little gifts and souvenirs she's given you since you were children.--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 10:25, 24 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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他也将你送他的打点在那里呢。”宝玉听了，便如头顶上响了一个焦雷一般。紫鹃看他怎样回答，等了半天，见他只不作声，才要再问，只见晴雯找来，说：“老太太叫你呢。谁知在这里。”紫鹃笑道：“他这里问姑娘的病症。我告诉了他半日，他只不信。你倒拉他去罢。”说着，自己便走回房去了。晴雯见他呆呆的，一头热汗，满脸紫胀，忙拉他的手一直到怡红院中。袭人见了这般，慌起来了，只说时气所感，热身被风扑了。无奈宝玉发热事犹小可，更觉两个眼珠儿直直的起来；口角边津液流出，皆不知觉；给他个枕头，他便睡下；扶他起来，他便坐着；<br />
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she means to return all yours to you as well.” Precious Jade was thunderstruck. Nightingale waited for him to answer, but not a word could he utter. And just then Sunny Cloud Formation came up.“so here you are, baoyu!” she cried. “the old lady wants you.”“he’s been inquiring after miss Mascara Jade’s health, and i’ve been reassuring him,” Nightingale remarked. “but he won’t believe me. you’d better take him away.” with that she returned to her room. Sunny Cloud Formation noticed Precious Jade’s distraught look, the hectic flush on his cheeks and the sweat on his forehead. she at once led him by the hand to happy red court where his appearance horrified Aroma, who imagined he must have caught a chill in the wind while overheated. a fever was not too alarming, but his eyes were fixed and staring, saliva was trickling from the corners of his lips, and he seemed in a state of stupefaction. he would lie down if a pillow was put for him, would sit up if pulled,<br />
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she means to return all yours to you as well.” Precious Jade was thunderstruck. Nightingale waited for him to answer, but not a word could he utter. And just then Sunny Cloud Formation came up.“so here you are, baoyu!” she cried. “the old lady wants you.”“he’s been inquiring after miss Mascara Jade’s health, and i’ve been reassuring him,” Nightingale remarked. “but he won’t believe me. you’d better take him away.” with that she returned to her room. Sunny Cloud Formation noticed Precious Jade’s distraught look, the hectic flush on his cheeks and the sweat on his forehead. she at once led him by the hand to happy red court where his appearance horrified Aroma, who imagined he must have caught a chill in the wind while overheated. a fever was not too alarming, but his eyes were fixed and staring, saliva was trickling from the corners of his lips, and he seemed in a state of stupefaction. he would lie down if a pillow was put for him, would sit up if pulled,--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 14:31, 24 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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倒了茶来，他便吃茶。众人见他这样，一时忙乱起来，又不敢造次去回贾母，先要差人去请李嬷嬷来。一时李嬷嬷来了，看了半日：问他几句话，也无回答；用手向他脉上摸了摸，嘴唇人中上着力掐了两下，掐得指印如许来深，竟也不觉疼。李嬷嬷只说了一声：“可了不得了！”“呀”的一声，便搂头放声大哭起来。急得袭人忙拉他说：“你老人家瞧瞧可怕不怕？且告诉我们，去回老太太、太太去。你老人家怎么先哭起来？”李嬷嬷捶床捣枕说：“这可不中用了！我白操了一世心了！”袭人因他年老多知，所以请他来看；<br />
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And drink tea if it was brought.1His condition threw them all into a panic, but not daring to report this too hastily to the Lady Dowager they first sent for his old nurse, Nanny Li.Nanny Li, arriving presently, examined Baoyu carefully.When he made no answer to any of her questions she felt his pulse, then pinched his upper lip so hard that her fingers left deep imprints--yet he felt no pain.At that she gave a great cry of despair and, taking him in her arms, started weeping and wailing.Aroma, beside herself with anxiety, tugged imploringly at her sleeve:‘Nannie, Nannie, have another look at him and tell us how serious it is, so that we know what to say to Their Ladyships.Don't just cry!”Nannie Li hammered the bed with her fists:‘It's all up with him, I tell you.A life-time of care gone for nothing!”Aroma and the girls who, whatever else they might think of Nannie Li, respected her age and experience, assumed that she must know what she was talking about.<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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如今见他这般一说，都信以为实，也哭起来了。晴雯便告诉袭人方才如此这般，袭人听了，便忙到潇湘馆来，见紫鹃正伏侍黛玉吃药，也顾不得什么，便走上来问紫鹃道：“你才和我们宝玉说了些什么话？你瞧瞧他去！你回老太太去，我也不管了！”说着，便坐在椅上。黛玉忽见袭人满面急怒，又有泪痕，举止大变，更不免也着了忙，因问：“怎么了？”袭人定了一回，哭道：“不知紫鹃姑奶奶说了些什么话，那个呆子眼也直了，手脚也冷了，话也不说了，李嬷嬷掐着也不疼了，已死了大半个了！<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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连李嬷嬷都说不中用了，那里放声大哭，只怕这会子都死了！”黛玉听此言，李嬷嬷乃久经老妪，说不中用了，可知必不中用，“哇”的一声，将所服之药，一口呕出，抖肠搜肺、灸胃扇肝的，哑声大嗽了几阵：一时面红发乱，目肿筋浮，喘的抬不起头来。紫鹃忙上来捶背，黛玉伏枕喘息半晌，推紫鹃道：“你不用捶！你竟拿绳子来勒死我，是正经。”紫鹃哭道：“我并没说什么，不过是说了几句玩话，他就认真了。”袭人道：“你还不知道他那傻子，每每玩话认了真。”黛玉道：“你说了什么话？趁早儿去解说，他只怕就醒过来了。”<br />
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Even Nanny Li said there is no cure for him. Just listen to the cries from his room, I’m afraid he has died!” Hearing this, Mascara Jade knew that there is definitely nothing can be done to save him now that the sophisticated Nanny Li said so. The bad news made her vomit out all the medicine she had taken and have a fit of coughing before turning in to a red face and swollen eyes, and the severe gasp made it difficult for her to raise her head. Then Purple Cuckoo came up to thump on her back. After gasping on her pillow for quite a long time, she pushed Purple Cuckoo away and said, “ You don’t need to do that! The first priority for you is to strangle me with a rope!” Then her poor maid cried, “ I said nothing bad. I was just joking, but he took it seriously.” Aroma refuted, “ Don’t you understand that blockhead’s temper? He is always taking jokes seriously.” And Mascara Jade asked, “ What did you say to him? Just go to clarify it to him as soon as possible, maybe there is a possibility that he would come to.”<br />
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Even Nanny Li said there is no cure for him. Just listen to the cries from his room, I’m afraid he has died!” Hearing this, Mascara Jade knew that there was definitely nothing can be done to save him as the sophisticated Nanny Li said so. The bad news made her vomit out all the medicine she had taken and have a fit of coughing before turning in to a red face and swollen eyes, and the severe gasp made it difficult for her to raise her head. Then Ningtingale came up to thump on her back. After gasping on her pillow for quite a long time, she pushed Ningtingale away and said, “ You don’t need to do that! You just need to strangle me with a rope!” Aroma refuted, “ Don’t you understand that blockhead’s temper? He is always taking jokes seriously.” And Mascara Jade asked, “ What did you say to him? Just go to clarify it to him as soon as possible, maybe there is a possibility that he would come to.”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 01:39, 21 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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紫鹃听说，忙下床，同袭人到了怡红院。谁知贾母王夫人等已都在那里了。贾母一见了紫鹃，便眼内出火，骂道：“你这小蹄子，和他说了什么？”紫鹃忙道：“并没敢说什么，不过说几句玩话。”谁知宝玉见了紫鹃，方“嗳呀”了一声，哭出来了。众人一见，都放下心来。贾母便拉住紫鹃，只当他得罪了宝玉，所以拉紫鹃命他赔罪。谁知宝玉一把拉住紫鹃，死也不放，说：“要去连我也带了去。”众人不解，细问起来，方知紫鹃说要回苏州去，一句玩话引出来的。贾母流泪道：“我当有什么要紧大事，原来是这句玩话。”<br />
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When hearing what Mascara Jade've just said, Ningtingale jumped out of the bed quickly and headed for the Happy Red Court with Aroma. To their surprise, Grandma Merchant, Lady Wang and others were already there. When at the sight of Ningtingale, Grandma Merchant just abused and shouted at her with great fury, "What did you, such a hussy, say to Precious Jade on earth?" "Nothing but a few jokes", Ningtingale hurriedly responded. And who knows that Precious Jade burst into tears right after sighing with Ah the moment he saw Ningtingale. The crowd were all relieved when they saw that. And then keeping hold of her hands and just thinking she dispeased Precious Jade , Grandma Merchant let Ningtingale to make an apology to him. And everyone didn't expect that Precious Jade grabbed Ningtingale and refused to let her go, saying, "If you go, well then take me with you". Being puzzled, everyone questioned them closely what was going on and then realized that all these were caused by one of Ningtingale' s jokes that she would go back to Suzhou for fun. Then Grandma Merchant said with tears welling up from her eyes, "What a major matter I've just thought, it turns out to this joke originally."<br />
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When hearing what Mascara Jade've just said, Nightingale jumped out of the bed quickly and headed for the Happy Red Court with Aroma. To their surprise, Grandma Merchant, Lady King and others were already there. At the sight of Nightingale, Grandma Merchant just shouted at her with great fury, " You hussy, what did you say to Precious Jade on earth?" "Nothing but a few jokes", Nightingale hurriedly responded. And Precious Jade finally burst into tears right after sighing with "Ah" the moment he saw Nightingale. The crowd were all relieved when they saw that. And then holding her hands and just thinking she must have displeased Precious Jade, Grandma Merchant ordered Nightingale to make an apology to him. And everyone didn't expect that Precious Jade suddenly grabbed Nightingale and refused to let her go, saying, "If you go, well then take me with you". Being puzzled, everyone asked them what happened and then realized that all those things were caused by one of Nightingale' s jokes that they would go back to Suzhou. Then Grandma Merchant said with tears welling up from her eyes, " I thought it was something important, and it turns out to be this joke."--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 02:06, 21 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
又向紫鹃道：“你这孩子，素日是个伶俐聪敏的，你又知道他有个呆根子，平白的哄他作什么？”薛姨妈劝道：“宝玉本来心实，可巧林姑娘又是从小儿来的，他姊妹两个一处长得这么大，比别的姊妹更不同。这会子热刺刺的说一个去，别说他是个实心的傻孩子，便是冷心肠的大人，也要伤心。这并不是什么大病，老太太和姨太太只管万安，吃一两剂药就好了。”正说着，人回：“林之孝家的，赖大家的，都来瞧哥儿来了。”贾母道：“难为他们想着，叫他们来瞧瞧。”宝玉听了一个“林”字，便满床闹起来，<br />
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"You've always been a smart girl." then Grandma Merchant told Nightingale, "But why did you tease him for no reason, knowing that he is such a bullheaded boy?" "Precious Jade is born innocent. It happened that Mascara Jade has come here since she was little, and they are naturally different from other siblings as growing up together. Today he was told that she would go back home in an anxious way, and even an indifferent grown-up will feel sad when hearing that, let alone this simpleminded boy. Grandma and Lady King just rest assured. It's nothing serious, and he will recover with one or two doses of medicine." persuaded Aunt Marshgrass aside. While speaking, a message was delivered in that both Filial Piety Forest's wife and Big Rely's wife came here to visit Precious Jade. "It's so kind of them to care about him. Let them in." said Grandma Merchant. However, Precious Jade began to make a scene on the bed as he heard a word "Forest".<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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说：“了不得了，林家的人接他们来了，快打出去罢！”贾母听了，也忙说：“打出去罢。”又忙安慰说：“那不是林家的人。林家的人都死绝了，没人来接他的，你只放心罢。”宝玉哭道：“凭他是谁，除了林妹妹，都不许姓林的！”贾母道：“没姓林的来，凡姓林的都打出去了。”一面吩咐众人：“以后别叫林之孝家的进园来，你们也别说‘林’字。孩子们，你们听了我这一句话罢！”众人忙答应，又不敢笑。一时宝玉又一眼看见了十锦槅子上陈设的一双金西洋自行船，便指着乱说：“那不是接他们来的船来了？湾在那里呢！”<br />
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he shouted from his bed.“The Forests have come to fetch her.Drive them away!”Hastily chiming in,“Drive them away!”his grandmother assured him.“They’re not from the Forest family.All those Forests are dead. Nobody will ever come to fetch her. Don’t you worry.”“Never mind who they are,”stormed Precious Jade tearfully.“No one but Cousin Mascara Jade should have the name Forest.”“There are no Forests here,”repeated the old lady.“They’re all been driven away.” She ordered the attendants,“In future don’t let Filial Piety Forest's Wife into the Garden.And never mention the name Forest again.Mind you all do as I say like good children.”Suppressing their smiles at this, the others assented.Precious Jade’s eye now fell on a golden boat with an engine, a toy from the West, which was on his cabinet.“Isn’t that the boat coming to fetch them?”he shouted, pointing at it.“It’s mooring there.”<br />
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he shouted from his bed. “The Forests have come to fetch her. Drive them away!” Hastily chiming in, “Drive them away!” his grandmother assured him. “They’re not from the Forest family. All those Forests are dead. Nobody will ever come to fetch her. Don’t you worry.” “Never mind who they are,” stormed Precious Jade tearfully. “No one but Cousin Mascara Jade should have the name Forest.” “There are no Forests here,” repeated the old lady. “They’re all been driven away.” She ordered the attendants, “In future don’t let Filial Piety Forest's Wife into the Garden. And never mention the name Forest again. Mind you all do as I say like good children.” Suppressing their smiles at this, the others assented.. Presently Precious Jade 's eye chanced to light on a little metal self-propelling boat - a West Ocean toy - which stood on one of the alcove shelves in the carved partition. Immediately he became excited again. ‘Look!” #4 he said, pointing, ‘the ship that's come to fetch her. “It’s mooring there.”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 03:21, 21 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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贾母忙命拿下来。袭人忙拿下来，宝玉伸手要，袭人递过去，宝玉便掖在被中，笑道：“这可去不成了！”一面说，一面死拉着紫鹃不放。一时人回：“大夫来了。”贾母忙命：“快进来。”王夫人、薛姨妈、宝钗等暂避入里间。贾母便端坐在宝玉身旁。王太医进来，见许多的人，忙上去请了贾母的安，拿了宝玉的手，诊了一回。那紫鹃少不得低了头。王太医也不解何意，起身说道：“世兄这症，乃是急痛迷心。古人曾云：‘痰迷有别：有气血亏柔饮食不能熔化痰迷者，有怒恼中痰急而迷者，有急痛壅塞者。’<br />
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The Grandma Merchant ordered its instant removal. and when Precious Jade reached out for it Aroma gave it to him. He tucked it under his bedding. “Now they won't be able to sail away,” he laughed. Seizing tight hold of Nightingale he refused to let her go. The doctor's arrival was announced and the old lady ordered him to be brought straight in Lady King, Hairpin Marshgrass and Hairpin Marshgrass withdrew to the inner room while the Grandma Merchant seated herself by Precious Jade. As her attendants also remained, there were a good many people in the room when the doctor entered. It was Dr. Wang. He paid his respects to the old lady before proceeding to take Precious Jade’s pulse, while Nightingale had to stand there with lowered head, to the doctor's astonishment. After feeling the pulse for a while, Dr. Wang rose to his feet. ‘The young gentleman is suffering from delirium caused by a phlegmatic occlusion of the cardiac orifices. The ancients recognized three main types of this form of dementia: in the first type the delirium is associated with an anemic deficiency when the body is failing to absorb its nourishment; in the second, it is brought on by some violent emotional disturbance, such as anger; in the third, the occlusion occurs as a result of shock.<br />
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The Grandma Merchant ordered servants to take its instant removal. and when Precious Jade reached out for it Aroma gave it to him. He tucked it under his bedding. “Now they won't be able to sail away,” he laughed. Seizing tight hold of Nightingale he refused to let her go. The doctor's arrival was announced and the old lady ordered him to be brought straight in Lady King, Hairpin Marshgrass and Hairpin Marshgrass withdrew to the inner room while the Grandma Merchant seated herself by Precious Jade. As her attendants also remained, there were a good many people in the room when the Dr.Wang entered. He paid his respects to the old lady before proceeding to take Precious Jade’s pulse, while Nightingale had to stand there with lowered head, to the doctor's astonishment. After feeling the pulse for a while, Dr. Wang stands up and said, ‘The young gentleman is suffering from delirium caused by a phlegmatic occlusion of the cardiac orifices. The ancients recognized three main types of this form of dementia: in the first type the delirium is associated with an anemic deficiency when the body is failing to absorb its nourishment; in the second, it is brought on by some violent emotional disturbance, such as anger; in the third, the occlusion occurs as a result of shock.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 13:49, 24 May 2022 (UTC)<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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此亦痰迷之症，系急痛所致，不过一时壅蔽，较诸痰迷似轻。”贾母道：“你只说怕不怕，谁同你背药书呢！”王太医忙躬身笑道：“不妨，不妨。”贾母道：“果真不妨？”王太医道：“实在不妨。都在晚生身上。”贾母道：“既如此，请到外面坐，开药方。吃好了，我另外预备好谢礼，叫他亲自捧了，送去磕头；若耽误了，我打发人去拆了太医院大堂。”王太医只躬身笑说：“不敢，不敢。”他原听了说：“另具上等谢礼命宝玉去磕头”，故满口说“不敢”，竟未听见贾母后来说“拆太医院”之戏语，犹说“不敢”，贾母与众人反倒笑了。<br />
This is also a phlegm confusion, which is caused by acute pain, but it is temporarily hidden, and it is lighter than that of phlegm fans. The Grandma Merchant said, "You only said that you are afraid and not afraid, who will carry the medicine book with you?" Dr. Wang hurriedly leaned forward and smiled, "May as well, may as well." The Grandma Merchant said, "Surely?" Doctor Wang said, "It's really okay." All in the late birth. The Grandma Merchant said, "Even so, please sit outside and prescribe medicine." After eating, I prepared another thank you gift, asked him to hold it personally, and sent it to kowtow; if it was delayed, I sent someone to demolish the lobby of the hospital. Dr. Wang only leaned forward and smiled and said, "Don't dare, don't dare." He had originally heard it and said: "Another superior ordered Precious Jade to kowtow", so he said "don't dare", but he did not hear The Grandma Merchant's joke of "demolishing the Hospital" later, and said "don't dare", The Grandma Merchant and the crowd laughed instead.<br />
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This is also a phlegm confusion, which is caused by acute pain, but it is temporarily hidden, and it is lighter than that of phlegm fans. The Grandma Merchant said, "You only said that you are afraid or not, who will carry the medicine book with you?" Dr. King hurriedly leaned forward and smiled, "May as well, may as well." The Grandma Merchant said, "Surely?" Doctor King said, "It's really okay." All in the late birth. The Grandma Merchant said, "Even so, please sit outside and prescribe medicine." After eating, I prepared another thank you gift, asked him to hold it personally, and sent it to kowtow; if it was delayed, I sent someone to demolish the lobby of the hospital. Dr. Wang only leaned forward and smiled and said, "Don't dare, don't dare." He had originally heard it and said: "Another superior ordered Precious Jade to kowtow", so he said "don't dare", but he did not hear The Grandma Merchant's joke of "demolishing the Hospital" later, and said "don't dare", The Grandma Merchant and the crowd laughed instead.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 14:22, 24 May 2022 (UTC)<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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一时按方煎药，药来服下，果觉比先安静。无奈宝玉只不肯放紫鹃，只说：“他去了，便是要回苏州去了。”贾母王夫人无法，只得命紫鹃守着他，另将琥珀去伏侍黛玉。黛玉不时遣雪雁来探消息。这晚间宝玉稍安，贾母王夫人等方回去了。一夜还遣人来问信几次。李奶妈带宋妈等几个年老人用心看守，紫鹃、袭人、晴雯等日夜相伴。有时宝玉睡去，必从梦中惊醒，不是哭了，说黛玉已去，便是说有人来接。每一惊时，必得紫鹃安慰一番方罢。彼时贾母又命将祛邪守灵丹及开窍通神散各样上方秘制诸药，按方饮服。<br />
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After taking the medicine as prescribed, he felt better than before. But Precious Jade refused to release Nightingale, only said: "Once left, she is to go back to Suzhou." Mother Merchant and Lady King had no choice but to order Nightingale to accompany him, and Amber to serve Jade Forest. Jade Forest sent Snowgoose ask the physical condition of him from time to time. This evening, Lady King and other parties didn’t go back until Precious Jade felt better. A few times a night she sent servants to ask. Nanny Plum with Nanny Sone and several other elderly people to watch with care, Nightingale, Aroma, Sunny Cloud Formation and other elderly people care for him. Sometimes he waked up from a dream, crying Jade Forest has gone, or that someone came to pick him up. Each time the alarm, must have Nightingale comforted. At that time, Mother Merchant ordered him to take all kinds of secret medicine according to the formula.<br />
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After taking the medicine as prescribed, Precious Jade felt better than before. Yet he still won’t let go of Nightingale, crying"Once she left, she is bound to go back to Suzhou." Grandma Merchant and Lady King had no choice but to order Nightingale to accompany him and send Amber to serve Mascara Jade. From time to time Jade Forest would send Snowgoose to check the physical condition of Precious Jade. Seeing that Precious Jade was feeling better this evening, Grandma Merchant and Lady King, along with all the elders went back to their quarters respectively. However, they wouldn’t be reassured without the information of Precious Jade’s condition brought by the servants they sent. There were Nanny Plum with Nanny Sone and several other elderly people watching him with care, and Nightingale, Aroma, Sunny Cloud Formation and other little maids taking care for him. Sometimes Precious Jade would wake up from a nightmare either crying that Mascara Jade has gone or that someone came to pick her up. Each time he did this they must have Nightingale comfort him. Meanwhile Grandma Merchant sent him all kinds of secret medicine and ordered the maids to coax Precious Jade into taking them according to the formula.--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 01:08, 25 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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次日又服了王太医药，渐次好了起来。宝玉心下明白，因恐紫鹃回去，倒故意作出佯狂之态。紫鹃自那日也着实后悔，如今日夜辛苦，并没有怨意。袭人等皆心安神定，因向紫鹃笑道：“都是你闹的，还得你来治。也没见我们这位呆子，‘听了风就是雨’，往后怎么好。”暂且按下。且说此时湘云之症已愈，天天过来瞧看，见宝玉明白了，便将他病中狂态形容与他瞧，引得宝玉自己伏枕而笑：原来他起先那样，竟是不知的；如今听人说，还不信。无人时，紫鹃在侧，宝玉又拉他的手，问道：“你为什么唬我？”<br />
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After taking the medication prescribed by Doctor King the next day, Precious Jade was on the road to recovery. Conscious of that, Precious Jade pretended to be ill all the same for fear of losing Nightingale, who regretted her lies about Mascara Jade the other day and worked day and night without grudges taking care of him. Servants of Aroma and others now felt much relieved at the scene, smiling "Now let’s see who’s the victim of her own scheming! Poor young master to have believed what you said. What’s left to do with it in the long run?" Details of her jokes shall not be discussed. Now that Fragrant-history had recovered from her disease too, she paid a visit to Precious Jade’s place every day elaborating his rampage in the disease, which made Precious Jade himself laughed against the pillow. It turned out that he had not been aware of what he did and remained skeptical of the story. When nobody else’s around, he would secretly took Nightingale by the hand, asking "Why did you lie to me?"<br />
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Next day, after another dose of Dr King's medicine, Precious Jade was distinctly better.Conscious of that, Precious Jade pretended to be ill all the same for fear of losing Nightingale, who regretted her lies about Mascara Jade the other day and worked day and night without grudges taking care of him. Servants of Aroma and others now felt much relieved at the scene, smiling "Now let’s see who’s the victim of her own scheming! Poor young master to have believed what you said. What’s left to do with it in the long run?" Details of her jokes shall not be discussed. Now that Fragrant-history had recovered from her disease too, she paid a visit to Precious Jade’s place every day elaborating his rampage in the disease, which made Precious Jade himself laughed against the pillow. It turned out that he had not been aware of what he did and remained skeptical of the story. When nobody else’s around, he would secretly took Nightingale by the hand, asking "Why did you lie to me?"--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 16:19, 23 May 2022 (UTC)<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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紫鹃道：“不过是哄你玩的，你就认真了。”宝玉道：“你说得那样有情有理，如何是玩话呢？”紫鹃笑道：“那些玩话，都是我编的。林家实没了人口；纵有，也是极远的族中，也都不在苏州住，各省流寓不定。纵有人来接，老太太也必不放去的。”宝玉道：“便老太太放去，我也不依！”紫鹃笑道：“果真的不依？只怕是口里的话。你如今也大了，连亲也定下了，过二三年再娶了亲，你眼里还有谁了？”宝玉听了，又惊问：“谁定了亲，定了谁？”紫鹃笑道：“年里我就听见老太太说要定了琴姑娘呢；不然，那么疼他？”<br />
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“I only did it for fun,” Nightingale replied.“But you took it seriously.”“That was no joke,”said Precious Jade. “It was too well-reasoned.Nightingale laughed. ”I made it all up.There is no people in the Forest family.If there is, they're very, very distant relations, and not in SuZhou, either, but scattered all over the place, in different provinces.Even if one of them asked for her, the old lady would never let her go.”“Even if the old lady would let her go, I wouldn't.”said Precious Jade.”I wonder,“said Nightingale.“That's just talk, I'm afraid.You're growing up now and already engaged; in a couple of years you'll be marrying, and then you'll forget other people.”Precious Jade heard her with astonishment. “Betrothed?To whom?””Just before New Year I heard Old Lady say that she was betrothing you to Miss Harp. That's why she makes so much of her, isn't it?”Nightingale replied.<br />
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“I only did it for fun,” Nightingale replied.“But you took it seriously.”“You made it sound so convincing, how was I to know it was just a joke?”Precious Jade retorted. Nightingale laughed. “I made it all up. There is no people in the Forest family. If there is, they're very, very distant relations, and not in SuZhou, either, but scattered all over the place, in different provinces. Even if one of them asked for her, the old lady would never let her go.”“Even if the old lady would let her go, I wouldn't.”said Precious Jade.”I wonder,“said Nightingale.“That's just talk, I'm afraid. You're growing up now and already engaged; in a couple of years you'll be marrying, and then you'll forget other people.”Precious Jade heard her with astonishment. “Betrothed? To whom?””Just before New Year I heard Old Lady say that she was betrothing you to Miss Harp. That's why she makes so much of her, isn't it?”Nightingale replied.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 01:59, 24 May 2022 (UTC)<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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宝玉笑道：“人人只说我傻，你比我更傻！不过是句玩话，他已经许给梅翰林家了。果然定下了他，我还是这个形景了？先是我发誓赌咒，砸这劳什子，你都没劝过吗？我病的刚刚的这几日才好了，你又来怄我。”一面说，一面咬牙切齿的，又说道：“我只愿这会子立刻我死了，把心迸出来，你们瞧见了，然后连皮带骨，一概都化成一股灰，再化成一股烟，一阵大风，吹得四面八方，都登时散了，这才好！”一面说，一面又滚下泪来。紫鹃忙上来握他的嘴，替他擦眼泪，又忙笑解说道：“你不用着急。这原是我心里着急，故来试你。”<br />
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Precious Jade laughed.“People may call me crazy, but you're even crazier! That was just a joke. She's already engaged to the son of Academician Mei. If I were engaged to her, would I be in this state? Didn't you plead with me and say I was mad when I swore that oath and wanted to smash that silly jade? Now you've come to provoke me again just as I'm getting better.”Through clenched teeth he added.“I only wish I could die this very minute and tear out my heart to show you. Then all the rest of me, skin and bones, could be turned into ashes. No, ashes still have form better be turned into smoke. But smoke still congeals and can be seen by men it would have to be scattered in a flash, by a great wind, to the four quarters. That would be a good death.”Tears were running down his cheeks as he spoke. Nightingale hastily put her hand to his mouth, then wiped away his tears.“You needn't worry,”she urged.“I was putting you to the test because I was worried.”<br />
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Precious Jade said with a smile.“People says me crazy, but you're even crazier! That was just a joke. She's already engaged to the son of Academician Mei. If I were engaged to her, would I be in this state? Didn't you plead with me and say I was mad when I swore that oath and wanted to smash that silly jade? Now you've come to provoke me again just as I'm getting better.”Through clenched teeth he added.“I only wish I could die this very minute and tear out my heart to show you. Then all the rest of me, skin and bones, could be turned into ashes. No, ashes still have form better be turned into smoke. But smoke still congeals and can be seen by men it would have to be scattered in a flash, by a great wind, to the four quarters. That would be a good death.”Tears were running down his cheeks as he spoke. Nightingale hastily put her hand to his mouth, then wiped away his tears.“You needn't to worry about that,”she urged.“I was putting you to the test because I was worried.”--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 11:05, 24 May 2022 (UTC)<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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宝玉听了，更又咤异，问道：“你又着什么急？”紫鹃笑道：“你知道，我并不是林家的人，我也和袭人鸳鸯是一伙的，偏把我给了林姑娘使。偏生他又和我极好，比他苏州带来的还好十倍，一时一刻，我们两个离不开。我如今心里却愁他倘或要去了，我必要跟了他去的。我是合家在这里，我若不去，辜负了我们素日的情长；若去，又弃了本家。所以我疑惑，故说出这谎话来问你，谁知你就傻闹起来。”宝玉笑道：“原来是你愁这个，所以你是傻子。从此后再别愁了。我告诉你一句打趸儿的话：活着，咱们一处活着；不活着，咱们一处化灰，化烟。如何？”<br />
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Precious Jade asked in surprise，“You worried? Why?”“You know I don’t belong to the Forest family. Like Aroma and Mandarin Duck, I was given to Miss Forest. She treats me ten times better than her own maids brought from Suzhou; we can’t be seperated for a single moment. I’m worried now because, if she leaves, I shall have to go with her; but my whole family’s here. If I don’t go, I’ll be unworthy of all her goodness; if I do, I shall have to abandon my own family. That’s why, in my dilemma, I told you that lie to see how you felt about it. How was I know that you’d take it so hard?”“So that’s what’s worrying you,”Precious Jade smiled. “What a goose you are! Well, set your heart at rest. Let me just put it in a nutshell for you. If we live, we shall live together; and if we die, we shall turn into ashes and smoke together. How do you think？”<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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紫鹃听了，心下暗暗筹画。忽有人回：“环爷兰哥儿问候。”宝玉道：“就说难为他们，我才睡了，不必进来。”婆子答应去了。紫鹃笑道：“你也好了，该放我回去瞧瞧我们那一个去了。”宝玉道：“正是这话。我昨夜就要叫你去的，偏又忘了。我已经大好了，你就去罢。”紫鹃听说，方打迭叠铺盖妆奁之类。宝玉笑道：“我看见你文具里头有两三面镜子，你把那面小菱花的给我留下罢。我搁在枕头旁边，照着好睡，明日出门带着也轻巧。”紫鹃听说，只得与他留下，先命人将东西送过去，然后别了众人，自回潇湘馆来。<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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黛玉近日闻得宝玉如此形景，未免又添些病症，多哭几场。今儿紫鹃来了，问其原故，已知大愈，仍遣琥珀去伏侍贾母。夜间人静后，紫鹃已宽衣卧下之时，悄向黛玉笑道：“宝玉的心倒实，听见咱们去，就那样起来。”黛玉不答。紫鹃停了半晌，自言自语的说道：“一动不如一静，我们这里就算好人家，别的都容易，最难得的是从小儿一处长大，脾气情性都彼此知道的了。”黛玉啐道：“你这几天还不乏，趁这会子不歇一歇，还嚼什么蛆！”紫鹃笑道：“倒不是白嚼蛆，我倒是一片真心为姑娘。<br />
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Hearing Precious Jade had a bad time, Mascara Jade cried a few more times and was more weak in illness. Today Nightingale came and asked the reason, she got to know that Mascara Jade was much better now, but she still send Amber to serve Merchant Grandma. At tranquil night, when Nightingale was undressed and lying down, she smiled at Mascara Jade and said, "Precious Jade is very sincere. He still struggled to get up when he heard we came." Mascara Jade did not answer. Nightingale stopped for a long time and said to herself, "It is better to keep quiet than to move. We consider ourselves a good family here. Everything else is easy. What is the rarest is that we grew up together in one place, so we know each other’s temperament well.” Mascara Jade scolded her, "Are you not tired in these days? Just take a break now and stop talking the nonsense!" Nightingale said with a smile, "What I am talking about is not nonsense and I have your best interests at heart.”<br />
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Hearing Precious Jade had experienced a disorder, Mascara Jade cried a few more times and was more weak in illness. At thins time, Nightingale came back and she asked the reason. She learned that Mascara Jade was much better now and sent Amber to serve Merchant Grandma. At a tranquil night, when Nightingale was undressed and laid down, she whispered to Mascara Jade, “Precious Jade is very sincere. He had fell ill like that when he just heard we were leaving.” Mascara Jade did not response. Nightingale stopped for a while and said to herself, “It is better to keep quiet than to move. This is a good family anyway. Everything else is easy. What is the rarest is that we grew up together in one place, so we know each other’s temperament well.” Mascara Jade scolded her, “Aren’t you tired in these days? Why don’t you sleep instead of talking such nonsense!” “It is not nonsense. I am thinking for you!”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 10:35, 20 May 2022 (UTC)<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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替你愁了这几年了：无父母无兄弟，谁是知疼着热的人？趁早儿，老太太还明白硬朗的时节，作定了大事要紧。俗语说，‘老健春寒秋后热。’倘或老太太一时有个好歹，那时虽也完事，只怕耽误了时光，还不得趁心如意呢。公子王孙虽多，那一个不是三房五妾，今儿朝东，明儿朝西？娶一个天仙来，也不过三夜五夜，也就撂在脖子后头了，甚至于怜新弃旧，反目成仇的。若娘家有人有势的，还好些；若姑娘这样的人，有老太太一日还好，一日若没了老太太，也只是凭人去欺负罢了。所以说，拿主意要紧。<br />
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I have been worried about you for several years. You have no parents or brothers to care for you. So it is important to settle you marriage affair in a good time, while Grandma Merchant is still healthy and clear-headed. As an old saying goes, “The healthiest old people last as long as a chilly spring or a hot autumn.” If something happens to Grandma Merchant, you marriage will be delayed or you will marry a people you don not wish. There are many young lordlings, but they both want to have many wives and concubines. There affection is not constant and may change from one to another. Even though they get a girl as a fairy as his wife, they may cast her off after several days. Someone may treat her as an enemy for the sake of another new concubine. If her family is powerful and wealthy, it may be not so bad; but for someone like you, you life will be good as long as Grandma Merchant still lives. However, someday once she pass away, you will live under others’ treatment. Therefore, it is important to make up your mind.<br />
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“It isn’t nonsense. I was thinking of you. I’ve felt worried for you all these years with no father, mother or brothers to care for you. The important thing is to settle the main affair of your life in good time, while the old lady’s still clear-headed and healthy. The proverb says, ‘The healthiest old people last as long as a chilly spring or a hot autumn.’ If anything should happen to the old lady your marriage might be delayed, or else not turn out in the way you hoped. There’s no lack of young lordlings, but they all want three wives and five concubines and their affections change from one day to the next. They may bring home a wife as lovely as a fairy, yet after four or five nights they cast her off, treating her like an enemy for the sake of a concubine or a slave girl. If her family’s large and powerful, that’s not so bad; and for someone like you, miss, so long as the old lady lives you’ll be all right. Once she’s gone, you’ll have to put up with ill treatment. So it’s important to make up your mind.”--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 02:47, 22 May 2022 (UTC)<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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姑娘是个明白人，岂不闻俗语说的‘万两黄金容易得，知心一个也难求’！”黛玉听了，便说道：“这丫头今日可疯了，怎么去了几日，忽然变了一个人？我明儿必回老太太，退回你去，我不敢要你了。”紫鹃笑道：“我说的是好话，不过叫你心里留神，并没叫你去为非作歹。何苦回老太太，叫我吃了亏，又有什么好处？”说着，竟自己睡了。黛玉听了这话，口内虽如此说，心内未尝不伤感。待他睡了，便直哭了一夜，至天明，方打了一个盹儿。次日，勉强盥漱了，吃了些燕窝粥。便有贾母等亲来看视了，又嘱咐了许多话。<br />
“You’ve sense enough to understand the saying, ‘The thousand taels of gold are easier come by than an understanding heart.” “The girl’s crazy!” exclaimed Mascara Jade. “A few days away, and you’ve suddenly changed into a different person. Tomorrow I shall ask the old lady to take you back. I no longer dare keep you.” “I meant well,” was the smiling answer. “I just wanted you to look out for yourself, not to do anything wrong. What good will it do if you report me to the old lady and get me into trouble?” With that Nightingale closed her eyes. Although Mascara Jade had spoken so sharply, this talk had distressed her. After Nightingale went to sleep she wept all night, no dozing off until dawn. The next morning she found it an effort to wash herself, rinse her mouth and swallow her bird’s-nest broth. Then the Lady Merchant and others called to see her and urged her to take better care of herself.<br />
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“You’ve sensed enough to understand the saying,‘The thousand taels of gold are easier to come by than an understanding heart.” “The girl’s crazy!” exclaimed Mascara Jade. “A few days away, and you’ve suddenly changed into a different person. Tomorrow I shall ask the elder lady to take you back. I no longer dare keep you."“I meant well,” was the smiling answer. “I just wanted you to look out for yourself, not to do anything wrong. What good will it do if you report me to the old lady and get me into trouble?” With that Nightingale closed her eyes. Although Mascara Jade had spoken so sharply, this talk had distressed her. After Nightingale went to sleep she wept all night, no dozing off until dawn. The next morning she found it an effort to wash herself, rinse her mouth and swallow her bird’s-nest broth. Then Lady Merchant and others called to see her and urged her to take better care of herself.--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 05:21, 23 May 2022 (UTC)<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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目今是薛姨妈的生日，自贾母起，诸人皆有祝贺之礼，黛玉也只得备了两色针线送去。是日也定了一班小戏，请贾母与王夫人等。独有宝玉与黛玉二人不曾去得。至晚散时，贾母等顺路又瞧了他二人一遍，方回房去。次日，薛姨妈家又命薛蝌陪诸伙计吃了一天酒，连忙了三四天，方才完备。因薛姨妈看见邢岫烟生得端雅稳重，且家道贫寒，是个钗荆裙布的女儿，便欲说与薛蟠为妻。因薛蟠素昔行止浮奢，又恐遭踏了人家的女儿，正在踌躇之际，忽想起薛蝌未娶，看他二人，恰是一对天生地设的夫妻，因谋之于凤姐儿。<br />
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Now that it was Aunt Marshgrass's birthday, everyone,beginning with Grandma Merchant had a congratulatory gift。And Mascara Jade had to prepare two-color needles and threads to send. On the same day, a small drama was also scheduled, and Grandma Merchant and Lady King were invited to watch. It was only Baoyu and Daiyu who didn't arrive. At the end of the night, Grandma Merchant and the others paid a visit to them before they went back to the room. The next day, Aunt Marshgrass's family ordered Tadpole Marshgrass to accompany the families to drink for a day, and it took three or four days to complete. Because Aunt Marshgrass thought that Cave Cloud Marshgrass was born elegant and stable in a poor family. Aunt Marshgrass wanted her to be married to Dragon Marshgrass. Because Dragon Marshgrass had done a lot of extravagance in the past, and was afraid of trampling on the daughter of others, so she was hesitating. Then she suddenly recalled that Tadpole Marshgrass was not yet married, and seeing that the two of them were just a couple born to be set up. Then she went to plan it with Sister Phoenix.<br />
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Now that it was Aunt Marshgrass's birthday, everyone, beginning with Grandma Merchant had a congratulatory gift. And Mascara Jade had to prepare two-color needles and threads to send. On the same day, a small drama was also scheduled, and Grandma Merchant and Lady King were invited to watch. It was only Precious Jade and Mascara Jade who didn't arrive. At the end of the night, Grandma Merchant and the others paid a visit to them before they went back to the room. The next day, Aunt Marshgrass's family ordered Tadpole Marshgrass to accompany the families to drink for a day, and it took another three or four days to complete. Because Aunt Marshgrass thought that Cave Cloud City was born elegant and stable in a poor family. Aunt Marshgrass wanted her to be married to Dragon Marshgrass. But because Dragon Marshgrass had done a lot of extravagance in the past, and she was afraid of trampling on the daughter of others, so she was hesitating. Then she suddenly recalled that Tadpole Marshgrass was not yet married, and seeing that the two of them were just a couple born to be set up. Then she went to plan it with Sister Phoenix.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 13:33, 23 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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凤姐儿笑道：“姑妈素知我们太太有些左性的，这事等我慢谋。”因贾母去瞧凤姐儿时，凤姐儿便和贾母说：“薛姑妈有件事求老祖宗，只是不好启齿的。”贾母忙问：“何事。”凤姐便将求亲一事说了。贾母笑道：“这有什么不好启齿，这是极好的好事，等我和你婆婆说了，怕他不依？”因回房来，即刻就命人来请邢夫人过来，硬作保山。邢夫人想了一想：薛家根基不错，且现今大富；薛蝌生得又好，且贾母硬作保山，将机就计，便应了。贾母十分喜欢，忙命人请了薛姨妈来。二人见了，自然有许多谦辞。<br />
Sister Phoenix laughed, "You know that my mother-in-low has an eccentric disposition, so we need discuss about this matter slowly." When Grandma Merchant stopped by Siter Phoenix's house, she said to Grand Merchant, "Aunt Marshgrass wants you to do her a favor, but she feels embarrassed to tell you." Grand Merchant asked, "What is it?" Sister Phoenix told her the matter of the Marshgrass Family seeking a marriage alliance. Hearing this, Grand Merchant laughed, "What a wonderful thing it is! Your mother-in-law will agree when I tell her about it." After Grandma Merchant went back to her room, she ordered a servant to invite Lady City to come right now. She told Lady City about the marriage and guaranteed for it. Lady City thought to herself: "The Marshgrass Family has a good foundation and is rich now. And Tadpole Marshgrass is also a man of striking appearance." With the guarantee from Grandma Merchant, she agreed to the marriage between Tadpole Marshgrass and Cave Cloud City. Grandma Merchant was very happy and invited Aunt Marshgrass to come. And there came naturally lots of self-depreciatory words between them.<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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邢夫人即刻命人去告诉邢忠夫妇。他夫妇原是此来投靠邢夫人的，如何不依，早极口的说：“妙极。”贾母笑道：“我最爱管闲事，今儿又管成了一件事，不知得多少谢媒钱？”薛姨妈笑道：“这是自然的。纵抬了整万银子来，只怕不希罕。但只一件，老太太既是作媒，还得一位主亲才好。”贾母笑道：“别的没有，我们家折腿烂手的人还有两个。”说着，便命人去叫过尤氏婆媳二人来。贾母告诉他原故，彼此忙都道喜。贾母吩咐道：“咱们家的规矩，你是尽知的，从没有两亲家‘争礼争面’的。<br />
Lady City lost no time in informing her brother Faithfulness City and his wife; and since they had come there to throw themselves upon her bounty, they were naturally more than happy to give their approval.'I love meddling in other people’s affairs,’ said the Grandma Merchant. ‘Now that I’ve fixed this up, how much are you going to pay your go-between?’‘Don’t worry about that,’ replied Aunt Marshgrass. ‘Even if we brought you a hundred thousand taels of silver, I don’t suppose it would mean much to you. But since you’re the go-between, madam, will you find us someone to take charge of the betrothal ceremony?’‘Whatever else we’re short of, we can produce one or two helpers of a sort, ‘the Grandma Merchant chuckled.She sent for Treasure Merchant’s wife and daughter-in-law. When they heard the news from her they offered their congratulations.‘You know our family ways,’ she told Madam Outstanding. ‘The two families never squabble over betrothal gifts.<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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如今你算替我在当中料理，也不可太省，也不可太费，把他两家的事周全了回我。”尤氏忙答应了。薛姨妈喜之不尽，回家命写了请帖，补送过宁府。尤氏深知邢夫人情性，本不欲管，无奈贾母亲自嘱咐，只得应了，惟有忖度邢夫人之意行事。薛姨妈是个无可无不可的人，倒还易说。这且不在话下。如今薛姨妈既定了邢岫烟为媳，合宅皆知。邢夫人本欲接出岫烟去住，贾母因说：“这又何妨，两个孩子又不能见面，就是姨太太和他一个大姑子，一个小姑子，又何妨？况且都是女孩儿，正好亲近些呢。”<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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邢夫人方罢。那薛蝌岫烟二人，前次途中，曾有一面之遇，大约二人心中皆如意，只是那岫烟未免比先时拘泥了些，不好与宝钗姐妹共处闲语；又兼湘云是个爱取笑的，更觉不好意思。幸他是个知书达礼的，虽有女儿，还不是那种佯羞诈鬼、一味轻薄造作之辈。宝钗自那日见他起，想他家业贫寒；二则别人的父母皆是年高有德之人，独他的父母偏是酒糟透了的人，于女儿分中平常；邢夫人也不过是脸面之情，亦非真心疼爱；且岫烟为人雅重，迎春是个老实人，连他自己尚未照管齐全，如何能照管到他身上，<br />
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Lady City then relented. Tadpole Marshgrass and Cave Cloud Marshgrass had met before in one of their trips. They both were satisfied with each other. It was just that Cave Cloud was shier than the last time and didn't feel relaxed to chat with Precious Hairpin and other ladies. More than that, Fragrant-cloud History loved cracking jokes, which made her felt more uncomfortable. Luckily, she was highly cultured and stepped in propriety. Though a lady, he was not the kind that would cheat or flirt with others. Since the day Precious Hairpin met her, Precious Hairpin knew that she lived in poverty. Also, others parents were all aged and virtuous but hers were bad, which made her unique among all the ladies. Lady City's concern were out of courtesy rather than sincerity. Cave Cloud were elegant and Welcome-Spring were honest. They couldn't even take good care of themselves, how could they concern her.<br />
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Lady City then relented. Tadpole Marshgrass and Cave Cloud had met before in one of their trips. They both were satisfied with the match, but that made Cave Cloud shier than before and reserved in the presence of Precious Hairpin and other girls. More than that, Fragrant-cloud History loved cracking jokes, which made her feel even more shy. Luckily, she was well-educated and stepped in propriety. Though a lady, she was not the kind that would cheat or flirt with others.<br />
Since the day Precious Hairpin met her, Precious Hairpin knew that she lived in poverty. Also, others parents were virtuous old people but hers were penniless rats who cared little for their daughter. Lady City’s concern were treating her more out of courtesy, simply making a show of affection. Cave Cloud were elegant and Welcome-Spring were honest. They couldn't even take good care of themselves, let alone look after her counsin.<br />
--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 03:35, 25 May 2022 (UTC)<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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凡闺阁中家常一应需用之物，或有亏乏，无人照管，他又不与人张口。宝钗倒暗中每相体贴接济，也不敢与邢夫人知道，也恐怕是多心闲话之故。如今却是众人意料之外奇缘作成这门亲事。岫烟心中先取中宝钗，有时仍与宝钗闲话，宝钗仍以姊妹相呼。这日宝钗因来瞧黛玉，恰值岫烟也来瞧黛玉，二人在半路相遇。宝钗含笑唤他到跟前，二人同走。至一块石壁后，宝钗笑问他：“这天还冷的很，你怎么倒全换了夹的了？”岫烟见问，低头不答。宝钗便知道又有了原故，因又笑问道：“必定是这个月的月钱又没得？凤姐姐如今也这样没心没计了。”<br />
Whenever Cave Cloud ran short of any daily necessities, there was no one to see to it, and she was too unassuming to mention it. Precious Hairpin Marshgrass accordingly often helped her in secret, not letting Lady City know for fear of giving offence, with the result that now that this unexpected match had been arranged Cave Cloud felt even more closely bound to Precious Hairpin than to Tadpole Marshgrass. She often went to chat with her, and Precious Hairpin continued to address her as "cousin."<br />
One day Precious Hairpin set out to call on Mascara Jade. Happening to meet Cave Cloud on the way, she beckoned her with a smile and they walked on together. As they skirted the back of a rockery, Precious Hairpin inquired: "Why have you changed out of padded clothes into lined ones, when the weather is still so cold?" Cave Cloud hung her head and said nothing.<br />
Sensing some reason for this Precious Hairpin continued, "Don't tell me this month's allowance was held up again? Cousin Phoenix really is growing rather thoughtless."<br />
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Whenever Cave Cloud ran short of any daily necessities, there was no one to see to it, and she was too unassuming to mention it. Precious Hairpin Marshgrass accordingly often helped her in secret, not letting Lady City know for fear of giving offence, with the result that now that this unexpected match had been arranged Cave Cloud felt even more closely bound to Precious Hairpin than to Tadpole Marshgrass. She often went to chat with her, and Precious Hairpin continued to address her as "cousin."<br />
One day Precious Hairpin set out to call on Mascara Jade. Happening to meet Cave Cloud on the way, she beckoned her with a smile and they walked on together. As they skirted the back of a rockery, Precious Hairpin inquired: "Why have you changed out of padded clothes into lined ones, when the weather is still so cold?" Cave Cloud hung her head and said nothing.<br />
Sensing some reason for this Precious Hairpin continued, "Don't tell me this month's allowance was held up again? Cousin Phoenix really is growing rather thoughtless."--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 10:27, 22 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
岫烟道：“他倒想着不错日子给，因姑妈打发人和我说道：一个月用不了二两银子，叫我省一两给爹妈送出去；要使什么，横竖有二姐姐的东西，能着些搭着就使了。姐姐想：二姐姐也是个老实人，也不大留心。我使他的东西，他虽不说什么，他那些妈妈丫头，那一个是省事的？那一个是嘴里不尖的？我虽在那屋里，却不敢很使唤他们，过三天五天，我倒得拿出钱来，给他们打酒买点心吃才好。因此一月二两银子还不够使，如今又去了一两。前日我悄悄的把棉衣服叫人当了几吊钱盘缠。”宝钗听了，愁叹道：“偏梅家又合家在任上，后年才进来。<br />
"She issued it on the right date," rejoined Cave Cloud. "But my aunt sent to tell me I shouldn't need two taels a month and must save one for my parents. She said if I was short of anything I could borrow from Spring Pleasure and make do. But, you see,Spring Pleasure is a simple soul who doesn't always think. She wouldn't mind my using her things, but those maids and nannies of hers are all troublemakers — you know what sharp tongues they have. Though I'm staying there, I dare not order them about; infact, every few days I have to spend money on wine and cakes for them. l can't manage even on two taels a month, and now it's been cut to one. So the other day I got someone, on the sly, to pawn my padded clothes for a few strings of cash."<br />
Hearing this, Precious Hairpin frowned and sighed in sympathy. "It's too bad that the Mei family have all gone to the new post and won't be back in the capital till the year after next," she said.<br />
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"She issued it on the right date,"rejoined Cave Cloud. "But my aunt sent to tell me I shouldn't need two taels a month and must save one for my parents. She said if I was short of anything I could borrow from Spring Pleasure and make do. But,you see,Spring Pleasure is a simple soul who doesn't always think. She wouldn't mind my using her things,but those maids and nannies of hers are all troublemakers — you know what sharp tongues they have. Though I'm staying there,I dare not order them about; in fact,every few days I have to spend money on wine and cakes for them. I can't manage even on two taels a month,and now it's been cut to one. So the other day I got someone,on the sly,to pawn my padded clothes for a few strings of cash."<br />
Hearing this,Precious Hairpin frowned and sighed in sympathy. "It's too bad that the Mei family have all gone to the new post and won't be back in the capital till the year after next,"she said.--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 00:26, 25 May 2022 (UTC)<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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若是在这里，琴儿过去了，好再商议你这事。离了这里就完了。如今不完了他妹妹的事，也断不敢先娶亲的。如今倒是一件难事。再迟两年，我又怕你熬煎出病来。等我和妈妈再商议。”宝钗又指他裙上一个璧玉珮问道：“这是谁给你的？”岫烟道：“这是三姐姐给的。”宝钗点头道：“他见人人皆有，独你一个没有，怕人笑话，故此送一个。这是他聪明细致之处。”岫烟又问：“姐姐此时那里去？”宝钗道：“我到潇湘馆去。你且回去，把那当票子叫丫头送来我那里，悄悄的取出来，晚上再悄悄的送给你去，早晚好穿；<br />
If they were here,we could arrange Precious String'wedding and then yours. Once you leave here you'll be all right. The trouble is that Tadpole Marshgrass won't consider getting married before his younge sister; yet if you have to put up with two more years of this,I'm afraid it may ruin your health. I must talk to my mother and see what can be done. Then Baochai pointed at the green jade pendant hanging from her skirt,"Who gave you that?" "It's a present from Cousin Spring-seeking." Precious Hairpin nodded. "She must have noticed that you were the only one with no jade to wear,so to stop people laughing at you she gave you this. It shows how thoughtful and observant she is. Cave Cloud assented then asked her where she was going. "To Bamboo Lodge," Precious Hairpin told her slip back and send a maid over to our place with the pawn ticket. I'll have the clothes redeemed quietly and sent to you this evening,so that you have something warm to wear.<br />
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==比较文学与跨文化研究 Mahzad 202021080004==<br />
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不然，风闪着还了得！但不知当在那里了？”岫烟道：“叫做什么恒舒典，是鼓楼西大街的。”宝钗笑道：“这闹在一家去了！伙计们倘或知道了，好说‘人没过来，衣裳先过来’了。”岫烟听说，便知是他家的本钱，也不答，红了脸一笑，二人走开。宝钗就往潇湘馆来。恰正值他母亲也来瞧黛玉，正说闲话呢。宝钗笑道：“妈妈多早晚来的？我竟不知道。”薛姨妈道：“我这几天忙，总没来瞧瞧宝玉和他。所以今日瞧他人，都也好了。”黛玉忙让宝钗坐了，因向宝钗道：“天下的事，真是人想不到的。拿着姨妈和大舅母说起，怎么又作一门亲家。”薛姨妈道：“我的儿，你们女孩儿家那里知道？<br />
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==外国语言文学 Muhammad Numan 202121080002==<br />
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自古道：‘千里姻缘一线牵。’管姻缘的有一<br />
位月下老人，预先注定，暗里只用一根红丝，把这两个人的脚绊住，凭你两家那<br />
怕隔着海国呢，若有姻缘的，终久有机会作了夫妇。这一件事，都是出人意料之<br />
外。凭父母本人都愿意了，或是年年在一处，已为是定了的亲事，若月下老人<br />
不用红线拴的，再不能到一处。比如你姐妹两个的婚姻，此刻也不知在眼前，也<br />
不知在山南海北呢！”宝钗道：“惟有妈妈说动话拉上我们！”一面说，一面伏在<br />
母亲怀里，笑说：“咱们走罢。”黛玉就笑道：“你瞧！这么大了，离了姨妈，他就<br />
是个最老到的；见了姨妈，他就撒娇儿。”<br />
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==英语语言文学 TOURE MARIAM 202021080005==<br />
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薛姨妈将手摩弄着宝钗，向黛玉叹道：<br />
“你这姐姐，就和凤哥儿在老太太跟前一样：有了正经事，就有话和他商量；没有<br />
了事，幸亏他开我的心。我见了他这样，有多少愁不散的。”黛玉听说，流泪叹道：“他偏在这里这样，分明是气我没娘的人，故意来形<br />
容我！”宝钗笑道：“妈妈，你瞧他这轻狂样儿，倒说我撒娇儿！”薛姨妈道：“也怨<br />
不得他伤心，可怜没父母，到底没个亲人。”又摩娑黛玉，笑道：“好孩子，别哭。<br />
你见我疼你姐姐，你伤心，你知我心里更疼你呢！你姐姐虽没了父亲，到底有我，<br />
有亲哥哥，这就比你强了。我常和你姐姐说，心里很疼你，只是外头不好带出来<br />
的。<br />
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==外国语言文学 UDDIN NIZAM 202121080007==<br />
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你这里人多嘴杂，说好话的人少，说歹话的人多：不说你无依靠，为人做人<br />
可配人疼；只说我们看老太太疼你了，我们也‘洑上水’去了。”黛玉笑道：“姨妈<br />
既这么说，我明日就认姨妈做娘，姨妈若是弃嫌，便是假意疼我。”薛姨妈道：<br />
“你不厌我，就认了。”宝钗忙道：“认不得的。”黛玉道：“怎么认不得？”宝钗笑<br />
道：“我且问你，我哥哥还没定亲事，为什么反将邢妹妹先说与我兄弟了？是什<br />
么道理？”黛玉道：“他不在家，或是属相生日不对，所以先说与兄弟了。”宝钗笑<br />
道：“不是这样。我哥哥已经相准了，只等来家就放定，也不必提出人来，我说<br />
你认不得娘，你细想去！”说着，便和他母亲挤眼儿发笑。<br />
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==翻译学 SAGARA SEYDOU 201911080004 ==<br />
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黛玉听了，便一头伏在薛姨妈身上，说道：“姨妈不打他，我不依！”薛姨妈<br />
搂着他笑道：“你别信你姐姐的话，他是和玩你呢。”宝钗笑道：“真个妈妈明儿<br />
和老太太求了，聘作媳妇，岂不比外头寻的好？”黛玉便拢上来要抓他，口内笑<br />
说：“你越发疯了。”薛姨妈忙笑劝，用手分开方罢。又向宝钗道：“连邢女儿我<br />
还怕你哥哥遭踏了他，所以给你兄弟，别说这孩子，我也断不肯给他。前日老太<br />
太因要把你妹妹说给宝玉，偏生又有了人家；不然，倒是门子好亲事。前日我说定<br />
了邢姑娘，老太太还取笑说：‘我原要说他的人，谁知他的人没到手，倒被他说了<br />
我们一个去了。’</div>Li Yuanhttps://bou.de/u/index.php?title=20220519_homework&diff=14337220220519 homework2022-05-25T04:37:53Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
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<div>Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]<br />
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Assignment 1: '''Click here''' [[Chinese Classics Translation 2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is '''Lessons to learn from the Classics: Integration or Sharpening the Cultural Profile? 刘唱 张国浩 张瑞 赵宇翔'''<br />
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Assignment 2: Please do the translation below here<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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四人道：“因老太太当作宝贝一样，他又生得白，老太太便叫作‘宝玉’。”贾母笑向李纨道：“偏也叫个‘宝玉’！”李纨等忙欠身笑道：“从古至今，同时隔代，重名的很多。”四人也笑道：“起了这小名儿之后，我们上下都疑惑，不知那位亲友家也倒是曾有一个的，只是这十来年没进京来，却记不得真了。”贾母笑道：“那就是我的孙子。人来！”众媳妇丫头答应了一声，走近几步。贾母笑道：“园里把咱们的宝玉叫了来，给这四个管家娘子瞧瞧，比他们的宝玉如何？”<br />
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“Precious so much as our old lady towards her grandson, who has the apple-blossom coloring just like a jade, so she gave him the name ‘Precious Jade’,” answered they. Grandma Merchant smiled at Silk Plum, “There should be another ‘Precious Jade’. What a coincidence!” “From ancient times to the present, many people of the same period but different generations are getting the same name. It is normal to see.” Silk Plum and the rest raised slightly and comforted, when the four women joined the topic, “We also wondered if there was also another ‘Precious Jade’ of some relative after his pet name was given. But we failed to remember it clearly because we hadn’t come into the capital for a decade.” “That relative is no other but my grandson. Is there some messenger?” The grandma asked. The wives and maids promised and stepped up. “You go to ask Precious Jade to come here for these four mistresses to have a look. To look compared with theirs, how our ‘Precious Jade’ is,” Grandma Merchant beamed.<br />
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“Precious so much as our old lady towards her grandson, who has the apple-blossom coloring just like a jade, so she gave him the name ‘Precious Jade’,” answered they. Grandma Merchant smiled at Silk Plum, “There should be another ‘Precious Jade’. What a coincidence!” “From ancient times to the present, many people of the same period or from different dynasties are getting the same name. It is normal to see.” Silk Plum and the rest raised slightly and comforted, when the four women joined the topic, “We also wondered if there was also another ‘Precious Jade’ of some relative after his pet name was given. But we failed to remember it clearly because we hadn’t come into the capital for a decade.” “That relative is no other but my grandson. Is there some messenger?” The grandma asked. The wives and maids promised and stepped up. “You go to ask Precious Jade to come here for these four mistresses to have a look. Look how does he compared with theirs,” Grandma Merchant beamed.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:54, 23 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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众媳妇听了，忙去了，半刻，围了宝玉进来。四人一见，忙起身笑道：“唬了我们一跳！若是我们不进府来，倘若别处遇见，还只当是我们的宝玉后赶着也进了京呢！”一面说，一面都上来拉他的手，问长问短。宝玉也笑问个好。贾母笑道：“比你们的长的如何？”李纨等笑道：“四位妈妈才一说，可知是模样相仿了。”贾母笑道：“那有这样巧事？大家子孩子们，再养得娇嫩，除了脸上有残疾十分丑的，大概看去都是一样齐整。这也没有什么怪处。”四人笑道：“如今看来，模样是一样！<br />
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The maids went away, returning together with Precious Jade, at sight of whom the four women rose to their feet. "Well, this is really a surprise for us!" they laughed. "If we’d met him somewhere excluding here, we’d have thought our Precious Jade had followed us to the capital." They came to Precious Jade, who extended his greeting with a smile, and taking his hand they asked him a succession of questions. "How does he compare with your boy?" inquired the Grandma Merchant. "In line with what the four nannies just said, these two must be rather alike in appearance," said Silk Plum. "That’s not a coincidence," Grandma Merchant amused, "If they had no disease causing disfigurements, the doted sons of great houses all look rather handsome. There’s definitely nothing strange at all." "They’re the mirror of each other," declared the four women.<br />
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The maids went away, returning together with Precious Jade, at sight of whom the four women rose to their feet. "Well, this is really a surprise for us!" they laughed. "If we’d met him somewhere excluding here, we’d have thought our Precious Jade had followed us to the capital." They came to Precious Jade, who extended his greeting with a smile, and taking his hand they asked him a succession of questions. "How does he compare with your boy?" inquired the Grandma Merchant. "In line with what the four nannies just said, these two must be rather alike in appearance," said Silk Plum. "That’s not a coincidence," Grandma Merchant amused, "If they had no disease causing disfigurements, the doted sons of great houses all look rather handsome. There’s definitely nothing strange at all." "They’re the mirror of each other," declared the four women.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 07:41, 23 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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据老太太说，淘气也一样；我们看来，这位哥儿，性情却比我们的好些。”贾母忙问：“怎见得？”四人笑道：“方才我们拉哥儿的手说话，便知道了。若是我们那一个，只说我们糊涂。慢说拉手，他的东西，我们略动一动，也不依。所使唤的人，都是女孩子们……”四人未说完，李纨姊妹等禁不住都失声笑出来。贾母也笑道：“我们这会子也打发人去见了你们宝玉，若拉他的手，他也自然勉强忍耐着。不知你我这样人家的孩子，凭他们有什么刁钻古怪的毛病，见了外人，必是要还出正经礼数来的。<br />
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‘According to what you say, both of them have been rather naughty; But your grandson seems to be the better-tempered of the two.’‘Why do you say that?’‘We found out that by holding his hands just now. Ours would have thought us silly. We're not allowed even to touch his things, let alone hold his hands. So all his maids are young girls...'This evoked laughter from Silk Plum and the girls.‘If I sent people to see Precious Jade, and if they took his hand, he’d have to put up with it too,’ chuckled the old lady. ‘No matter how perverse they may be,children from families like ours would always behave correctly to other people.'<br />
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‘According to what you say, both of them have been rather naughty; But your grandson seems to be the better-tempered of the two.’‘Why do you say that?’‘We found out that by holding his hands just now. Ours would have thought us silly. We're not allowed even to touch his things, let alone hold his hands. So all his maids are young girls...'This evoked laughter from Silk Plum and the girls.‘If I sent people to see Precious Jade, and if they took his hand, he’d have to put up with it too,’ chuckled the old lady. ‘No matter how perverse they may be,children from families like ours would always behave correctly to other people.'--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 14:02, 24 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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若他不还正经礼数，也断不容他刁钻去了。就是大人溺爱的，也因为他一则生的得人意儿；二则见人礼数，竟比大人行出来的更不错，使人见了可爱可怜，背地里所以才纵他一点子。若一味他只管没里没外，不与大人争光，凭他生的怎样，也是该打死的。”四人听了，都笑说：“老太太这话正是。虽然我们宝玉淘气古怪，有时见了客，规矩礼数，比大人还有趣，所以无人见了不爱，只说：‘为什么还打他？’殊不知他在家里无法无天，大人想不到的话偏会说，想不到的事偏要行，所以老爷太太恨的无法。<br />
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If he is not decent, he will not be allowed to be unruly. Even adults dote on, but also because of his a born satisfactory son; On the other hand, he was so polite that he was even better than a big man. He was so cute and pitiful that he secretly gave him the idea. If he does not strive for glory with his elders, he should be killed according to his birth." Hearing this, all four laughed and said, "That's exactly what the old lady said. Although Precious Jade Merchant was mischievous and eccentric, sometimes he was more interesting than the adults when he met guests and behaved in a polite way, no one loved him and said, 'Why are you still beating him? 'But he was a lawless man at home, saying and doing what grown-ups could not think of, and his lordship and his wife hated him.<br />
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If he is not decent, he will not be allowed to be unruly. We dote on him for he's a lovely boy; on the other hand, he is so polite that he is even better than an adult. He was so cute that we're willing to spoiler him. If he behaves badly outside and makes us lose face , he should be beaten to death no matter how lovely he is." Hearing this, all four laughed and said, "That's exactly what you said, madam. Although Precious Jade Merchant was mischievous and eccentric, sometimes he was more interesting than the adults when he met guests and behaved in a polite way. Everyone who meet him will love him and say, 'Why are you still beating him? ', not knowing that he is a lawless boy at home, saying and doing what grown-ups could not think of. And his lordship and his mistress are always angry with what he does.<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 15:19, 24 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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就是任性，也是小孩子的常情；胡乱花费，也是公子哥儿的常情；怕上学，也是小孩子的常情，都还治得过来。第一，天生下来这一种刁钻古怪的脾气，如何使得。”一语未完，人回：“太太回来了。”王夫人进来，问过安。他四人请了安，大概说了两句。贾母便命：“歇歇去罢。”王夫人亲捧过茶，方退出去。四人告辞了贾母，便往王夫人处来。说了一会子家务，打发他们回去，不必细说。这里贾母喜得逢人便告诉：也有一个宝玉，也都一般行景。众人都想着：天下的世宦大家，同名的这也很多，祖母溺爱孙者也是常事，不是什么罕事，皆不介意。<br />
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It is common that boys of noble families are wayward, extravagant and reluctant to go to school. All of these manners can be corrected. However, how should we do to deal with this perverse and eccentric disposition which is naturally born?" Before they finished, a man reported, "The Lady is back." Then Lady King came in and wished her mother-in-law good health. The four of them also paid their respects and they talked for a while. Then Grandma Merchant ordered, "You can go to have a rest." Lady King served the tea for Grandma Merchant and withdrew. The four took leave of the old dowager and follow Lady King to her room. After talking a little about household affairs, Lady King sent them away.It's no need going into more details. On the other hand, Grandma Merchant was happy to tell people she met: there was also a "Precious Jade" in another family who was like the one of their own. Everyone thought it not strange that there existed some namesakes in many official families who were doted by grandmother. So nobody really cared.<br />
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It is common that boys of noble families are wayward, extravagant and reluctant to go to school. All of these manners can be corrected. However, how should we do to deal with this perverse and eccentric disposition which is naturally born?" Before they finished, a man reported, "The Lady is back." Then Lady King came in and wished her mother-in-law good health. The four of them also paid their respects and they talked for a while. Then Grandma Merchant ordered, "You can go to have a rest." Lady King served the tea for Grandma Merchant and left then. The four took leave of the old dowager and follow Lady King to her room. After talking a little about household affairs, Lady King sent them away.It's no need going into more details. On the other hand, Grandma Merchant was happy to tell people she met: there was also a "Precious Jade" in another family who was like the one of their own. Everyone thought it not strange that there existed some namesakes in many official families who were doted by grandmother. So nobody really cared.--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 03:12, 24 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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独宝玉是个迂阔呆公子的性情，自为是那四人承悦贾母之词；后至园中去看湘云病去，史湘云因说他：“你放心闹罢，先还‘单丝不成线，独树不成林’，如今有了个对子。闹急了，再打很了，你好逃到南京找那一个去。”宝玉道：“那里的谎话，你也信了，偏又有宝玉了？”湘云道：“怎么列国有个蔺相如，汉朝又有个司马相如呢？”宝玉笑道：“这也罢了，偏又模样儿也一样，这是没有的事！”湘云道：“怎么匡人看见孔子，只当是阳货呢？”宝玉笑道：“孔子阳贷虽同貌，却不同名，蔺与司马虽同名，而又不同貌；偏我和他就两样俱同不成？”<br />
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However, Precious Jade was a dull and precious man in position and thought what the four people said were only to please Grandma Merchant. Then he went to the park to visit Fragrant-cloud, and she said:" Now you can do whatever you want to do. Prior to this, 'one strand of silk does not make a thread, one tree does not make a forest'. But now you have a company identical to you. You can escape to Nanjing to find your company if you fight noisily." Precious Jade said:"That’s a lie and you believed in that nonsense. How could the other Precious Jade exist in the world. "Fragrant-cloud said:"How could there were Lin Xiangru in the various states or nations while Sima Xiangru in Han dynasty." Precious Jade smiled:"It’s not just the identical name but the same appearance which seems impossible!" Fragrant-cloud said:" How could people in Spring and Autumn period mistake Confucius for Yang Dai?" Precious Jade smiled:"Confucius and Yang Dai shared appearance but had different name while Lin and Sima shared the name but looked different. However I and my company shared the both."<br />
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However, Precious Jade alone was a dull and unworldly man with a silver spoon and thought what the four people said was only to please Grandma Merchant. Then he went to the garden to visit Fragrant-cloud, and she said:" Now you can do whatever you want to do. Prior to this, 'one strand of silk does not make a thread, one tree does not make a forest'. But now you have a company identical to you. You can escape to Nanjing to find your company if you fight noisily." Precious Jade retorted: "That’s a lie and you believed in that nonsense. How could another Precious Jade exist in the world? "Fragrant-cloud said: "How could there was Lin Xiangru the Warring States Time while Sima Xiangru in Han dynasty?" Precious Jade smiled: "It’s not just the identical name but the same appearance, which is impossible!" Fragrant-cloud said:" How could people in Spring and Autumn period mistake Confucius for Yang Dai?" Precious Jade smiled: "Confucius and Yang Dai shared same appearance but had different names while Lin and Sima shared the name but looked different. However, I and my company shared them both."--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 09:16, 24 May 2022 (UTC)<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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湘云没了话答对，因笑道：“你只会胡搅，我也不和你分证。有也罢，没也罢，与我无干。说着，便睡下了。宝玉心中便又疑惑起来：“若说必无，也似必有；若说必有，又并无目睹。”心中闷闷，回至房中榻上，默默盘算，不觉昏昏睡去，竟到一座花园之内。宝玉咤异道：“除了我们大观园，竟又有这一个园子？”正疑惑间，忽然那边来了几个女孩儿，都是丫鬟，宝玉又咤异道：“除了鸳鸯、袭人、平儿之外，也竟还有这一干人？”只见那些丫鬟笑道：“宝玉怎么跑到这里来？”<br />
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Nothing to refute, Fragrant-cloud History smiled, “You’re just behaving at random, I refuse to argue with you. Whether it’s so or not, it has nothing to do with me.” Then, she fell asleep. Precious Jade felt uncertain in mind, “I may say this can’t be, yet I feel it seemed that it’s true. Yet how can I be sure, when I haven’t seen with my own eyes?” There was a feeling of depression around him so he returned to the bed to think. Soon he dozed off and dreamed that he was in a garden. Precious Jade marveled, “Is there another garden like this except Grand View Garden?” when he was puzzled, some maids approached. He said in surprise again, “There are more girls here except Mandarin Duck, Aroma, Patience.” The maids asked, “ What is Precious Jade coming here.”<br />
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Unable to refute him, Fragrant-cloud History smiled, “You’re just behaving at random, I refuse to argue with you. Whether it’s so or not, it has nothing to do with me.” Then, she fell asleep. Precious Jade felt uncertain in mind, “I may say this can’t be, yet I feel it seemed that it’s true. Yet how can I be sure, when I haven’t seen my trouble with my own eyes?” There was a feeling of depression around him, so he returned to the bed to think. Soon he dozed off and dreamed that he was in a garden. Precious Jade marveled, “Is there another garden like this except Grand View Garden?” As he was puzzling over, some girls all serving-maids approached. He exclaimed in surprise again, “So Mandarin Duck, Aroma, Patience aren’t the only fine girls.” The maids laughed at him, “ What is Precious Jade doing here? ”--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 02:58, 25 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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宝玉只当是说他，忙来陪笑说道：“因我偶步到此，不知是那位世交的花园？姐姐们带我逛逛。”众丫鬟都笑道：“原来不是咱们家的宝玉。他生得也还干净，嘴儿也倒乖觉。”宝玉听了，忙道：“姐姐们这里，也竟还有个宝玉？”丫鬟们忙道：“‘宝玉’二字，我们家是奉老太太、太太之命，为保佑他延年消灾的，我们叫他，他听见喜欢；你是那里远方来的小厮，也乱叫起来！仔细你的臭肉，打不烂了你的！”又一个丫鬟笑道：“咱们快走罢，别叫宝玉看见。”又说：“同这臭小子说了话，把咱们熏臭了！”说着，一径去了。<br />
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Precious Jade, assuming that they were talking about him, answered with a smile, ''I happened to ramble in here. I wonder which of my family's friends this garden belongs to. Will you show me round it, sisters?'' ''It isn't our Precious Jade after all,'' laughed the girls.'' ''He's not bad-looking though, and soft-spoken too.'' ''Is there another Precious Jade here, sisters?'' Precious Jade asked eagerly. ''It was the old lady and mistress who told us to call him Precious Jade as a means of bringing him luck,'' the girls rejoined. ''He likes it when we call him by his name. But how can a stinking young boy from far away like you to use it at random? You'd better watch out or we' ll beat you to a pulp!'' ''Let's go before Precious Jade sees him,'' urged another. ''Talking to this stinking wretch here had made us stink too.'' With that they hurried off.<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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宝玉纳闷道：“从来没有人如此荼毒我，他们如何竟这样的？莫不真也有我这样一个人不成？”一面想，一面顺步早到了一所院内。宝玉咤异道：“除了怡红院，也竟还有这么一个院落？”忽上了台阶，进入屋内，只见榻上有一个人卧着，那边有几个女儿做针线，也有嘻笑玩耍的。只见榻上那个少年叹了一声，一个丫鬟笑问道：“宝玉，你不睡，又叹什么？想必为你妹妹病了，你又胡愁乱恨呢。”宝玉听说，心下也便吃惊。只见榻上少年说道：“我听见老太太说，‘长安’都中也有个宝玉，和我一样的性情，我只不信。<br />
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Precious Jade wondered: “No one treats me like that, how could they? Does there any other like me?” While thinking, he walked into a yard. He was confused:” Is there a yard except for Happy Red Court?” Stepping on the stairs, he only saw a person lying on the bed in the room, with several maids knitting and playing. The boy on the bed sighed and one girl asked: “Precious Jade, why don’t you sleep and sigh? Are you worried about your ill sister?” Precious Jade heard and was shocked when the boy said: “Grandma said there is a Precious Jade in Changan quite like me, but I don’t buy for it.”--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 03:54, 22 May 2022 (UTC)<br />
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Precious Jade wondered: “No one treats me like that, how could they? Is it true that there is a person like me??” While thinking, he walked into a yard. He was confused:” Is there another yard just like Happy Red Court?” Stepping up the stairs, he only saw a person lying on the bed in the room, with several maids knitting and playing beside him. The boy on the bed sighed and one girl asked: “Precious Jade, why don’t you sleep but sigh? Are you worried about your ill sister?” Precious Jade heard and was shocked when the boy said: “Grandma said there is another Precious Jade in Changan quite like me, but I don’t buy for it.”--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 09:53, 22 May 2022 (UTC)<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
我才做了一个梦，竟梦中到了都中一个花园子里头，遇见几个姐姐，都叫我臭小厮，不理我。好容易找到他房里，偏他睡觉，空有皮囊，真性不知往那里去了。”宝玉听说，忙说道：“我因找宝玉来到这里。原来你就是宝玉？”榻上的忙下来拉住，笑道：“原来你就是宝玉！这可不是梦里了。”宝玉道：“这如何是梦？真而又真的！”一语未了，只见人来说：“老爷叫宝玉。”吓得二人皆慌了。一个宝玉就走，一个便忙叫：“宝玉快回来，宝玉快回来！”袭人在旁听他梦中自唤，忙推醒他，笑问道：“宝玉在那里？”<br />
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"I just had a dream. In that dream, I came to a garden in the capital, I met several maids who called me a stinky boy and ignored me. I exerted great effort to find his room, but he was sleeping. He only has good-looking but no temper." Precious Jade Merchant heard his words and said:" I came to here for looking for Precious Jade. So you are Precious Jade?" The one on the bed went down his bed and laughed:" So you are Precious Jade! This is not a dream." Precious Jade replied:" How can this be a dream? It's genuine!" Before he had finished his words, a servant said, "The master called for Precious Jade." They both panicked. One wanted to leave, and the other hurriedly shouted, "Precious Jade, come back!" Aroma next to him heard Precious Jade shouting in his dream, she woke him up and asked," Where is Precious Jade?"--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 09:48, 22 May 2022 (UTC)<br />
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"I just had a dream. In that dream, I came to a garden in the capital, I met several maids who called me a stinky boy and treated me badly. I exerted great effort to find his room, but he was sleeping. He only has good looking but no temper." Precious Jade Merchant heard his words and said:" I came here for looking for Precious Jade. So you are Precious Jade?" The one on the bed went down his bed and laughed:" So you are Precious Jade! This is not a dream." Precious Jade replied:" How can this be a dream? Everything is genuine!" Before he had finished his words, a servant said, "The master called for Precious Jade." They both panicked. One wanted to leave, and the other hurriedly shouted, "Precious Jade, come back!" Aroma next to him heard Precious Jade shouting in his dream, she woke him up and asked," Where is Precious Jade?"--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 09:59, 23 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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此时宝玉虽醒，神意尚恍惚，因向门外指说：“才出了不远。”袭人笑道：“那是你梦迷了。你揉眼细瞧，是镜子里照的你的影儿。”宝玉向前瞧了一瞧，原是那嵌的大镜对面相照，自己也笑了。早有丫鬟捧过漱盂茶卤来漱了口。麝月道：“怪道老太太常嘱咐说：‘小人儿屋里不可多有镜子，小人魂不全，有镜子照多了，睡觉惊恐做胡梦。’如今倒在大镜子那里安了一张床！有时放下镜套还好；往前去，天热困倦，那里想得到放他，比如方才就忘了，自然先躺下照着影儿玩来着，一时合上眼，自然是胡梦颠倒的，不然，如何叫起自己的名字来呢？<br />
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Precious Jade Merchant was awake, but still in a trance. He pointed out the door and said, "I haven't been out that long." Aroma replied with a smile, "You are drowsy. Look closely, it's you in the mirror." So he looked forward again and finally realized that he had a big mirror in front of him. He smiled too. The servant girl came with a spittoon for him to gargle. Musk Deer Month said to him, "No wonder the Old Lady used to say, 'There should not be too many mirrors in a room with children, because children's souls are not mature enough, and if you look too much in the mirror, you will have nightmares at night. But you have such a big mirror in your room! It's okay when you cover it in your daily life. There was a hot hot weather a few days before, so naturally it is difficult to remind people to take out the mirror cover. You know, you just forgot about it, and then you lied in bed, looked at yourself in the mirror, and then you fell asleep. So nightmares came. If it wasn't for this reason, why would you call out your name?<br />
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Precious Jade Merchant was awake, but still in a trance. He pointed out the door and said, "I haven't been out that long." Aroma replied with a smile, "You are drowsy. Look closely, it's you in the mirror." So he looked forward again and finally realized that there was a big mirror in front of him. He smiled too. A maid came with a spittoon for him to gargle. Musk Deer Month said to him, "No wonder the Old Lady used to say, 'There should not be too many mirrors in a room with children, because children's souls are not mature enough, and if they look too much in the mirror, they will have nightmares at night. But you have such a big mirror in your room! It's okay when you cover it in your daily life. There was a hot weather a few days before, so naturally it is difficult for people to remember to cover the mirror. You know, you just forgot about it, and then you lied in bed, looked at yourself in the mirror, and then you fell asleep, thus nightmares came. If it wasn't for this reason, why would you call out your name?--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 05:47, 23 May 2022 (UTC)<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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不如明儿挪进床来是正经。”一语未了，只见王夫人遣人来叫宝玉，不知有何话说，且听下回分解。<br />
◎第五十七回 慧紫鹃情辞试莽玉 慈姨妈爱语慰痴颦<br />
话说宝玉听王夫人唤他，忙至前边来，原来是王夫人要带他拜甄夫人去。宝玉自是欢喜，忙去换衣服，跟了王夫人到那里。见其家形景，自与荣宁不甚差别，或有一二稍盛者。细问，果有一宝玉。甄夫人留席，竟一日方回。宝玉不信。因晚间回家来，王夫人又吩咐预备上等的席面，定名班大戏，请过甄夫人母女。后二日，他母女便不作辞，回任去了，无话。<br />
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We might as well move the couch inside tomorrow." Before she finished speaking, Lady King sent someone to call Precious Jade. To know why she wanted him, read the next chapter. Chapter 57 Clever Nightingale Tests Precious Jade’s Feelings, Kindly Aunt Marshgrass Comforts Mascara Jade. After hearing Lady King had called him, Precious Jade hurried to his mother. It turned out that Lady King wanted to take him to visit Lady Truth. Precious Jade cheerfully changed his clothes and followed his mother there. The Truths’ house struck him as much like the Prosperity and Peace mansions, if not slightly grander. After careful inquiries, he learned that they did indeed have a young master also called Precious Jade. By the time they has spent the day there, for Lady Truth kept them to a meal, he was quite convinced of this. When he returned home in the evening, Lady King ordered the first-class banquet to be prepared and a celebrated opera company hired to entertain Lady Truth and her daughter. The next day they returned without saying a word.<br />
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We might as well move the couch inside tomorrow." Before she finished speaking, Lady King sent someone to call Precious Jade. To know why she wanted him, read the next chapter. Chapter 57 Clever Nightingale Tests Precious Jade’s Feelings, Kindly Aunt Marshgrass Comforts Mascara Jade. After hearing Lady King had called him, Precious Jade hurried to his mother. It turned out that Lady King wanted to take him to visit Lady Truth. Precious Jade changed his clothes cheerfully and followed his mother there. The Truths’ house struck him as much like the Prosperity and Peace mansions, if not slightly grander. After careful inquiries, he learned that they did indeed have a young master also called Precious Jade. By the time they has spent the day there, for Lady Truth kept them to a meal, he was quite convinced of this. When he returned home in the evening, Lady King ordered the first-class banquet to be prepared and a celebrated opera company hired to entertain Lady Truth and her daughter. The next day they returned without saying a word.<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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这日宝玉因见湘云渐愈，然后去看黛玉。正值黛玉才歇午觉，宝玉不敢惊动，因紫鹃正在回廊上手里做针线，便上来问他：“昨日夜里咳嗽的可好了？”紫鹃道：“好些了。”宝玉笑道：“阿弥陀佛！宁可好了罢。”紫鹃笑道：“你也念起佛来，真是新闻！”宝玉笑道：“所谓‘病笃乱投医’了。”一面说，一面见他穿着弹墨绫薄绵袄，外面只穿着青缎夹背心，宝玉便伸手向他身上抹了一抹，说道：“穿这样单薄，还在风口里坐着，时气又不好，你再病了，越发难了。”紫鹃便说道：“从此咱们只可说话，别动手动脚的：<br />
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When the Mascara Jade take a nap, the Precious Jade did not dare to disturb, because Fine (Nightingale) is sewing on the cloister, then came up and asked him: "How was she? Was her cough any better last night?""Better," Nightingale said. "Amitabha!" he said:"It's time to recover."Nightingale laughed that:"It's strange that you said Buddha,that's a news."He said:" A drawing man can catch at a straw."As well as he looked at her costume that she was wearing a thin padded silk tunic with black dots under a lined blue silk sleeveless jacket, he reached out to feel her clothes, he said:" You wear too thin to sit in a draught here for this time of year. If you go sick too, things here will be even worse." Nightingale retorted:" When we talk to each other, please keep your hand away from me."<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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一年大，二年小的，叫人看着不尊重。打紧的那起混帐行子们背地里说你；你总不留心，还只管和小时一般行为，如何使得。姑娘常常吩咐我们，不叫和你说笑。你近来瞧他，远着你还恐远不及呢。”说着，便起身携了针线进别的房里去了。宝玉见了这般景况，心中像浇了一盆冷水一般，只瞅着竹子发了一回呆。因祝妈正在那里挖刨土种竹，扫竹叶子，顿觉一时魂魄失守，随便坐在一块山石上出神，不觉滴下泪来。直呆了一顿饭工夫，千思万想，总不知如何是可。偶值雪雁从王夫人房中取了人参来，从此经过，忽扭头看见桃花树下石上一人，手托着腮颊，正出神呢：<br />
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"As we grow up, this kind of behavior will be not proper. Although they have always been speaking ill of you behind your back, you still turn a deaf ear to that and keep doing those things when we were little. This is out of place now. The mistress has always been telling us not to talking and playing with you. She is trying her best to hide from you recently when you come to visit her, and hiding from you will be not enough at all," she said and then got into another room with the needling stuff. Hearing what she said and seeing what she acted, Precious Jade felt like being poured with a basin of cold water in his heart and then just stared at the bamboos pondering. At that moment, Nanny Wish was digging there to plant bamboos and cleaning out the fallen leaves. It was dawned on him that his soul went out of his body. He sat on a rock with his mind wandering, and he then could not help shedding tears. He thought again and again and still did not know what to do until the meal time passed. Snow Goose passed here by accident when she just fetched the ginseng from Lady King's place, and saw the person thinking on the rock with his hand on his cheeks when she suddenly raised her head.<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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不是别人，却是宝玉。雪雁疑惑道：“怪冷的，他一个人在这里做什么？春天凡有残疾的人肯犯病，敢是他也犯了呆病了？”一边想，一边便走过来，蹲下来笑道：“你在这里做什么呢？”宝玉忽见了雪雁，便说道：“你又做什么来找我？你难道不是女儿？他既防嫌，不许你们理我，你又来寻我，倘被人看见，岂不又生口舌？你快家去罢。”雪雁听了，只当是他又受了黛玉的委屈，只得回至房中。黛玉未醒，将人参交给紫鹃。紫鹃因问他：“太太做什么呢？”雪雁道：“也睡中觉呢，所以等了这半日。<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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姐姐，你听笑话儿：我因等太太的工夫，和玉钏儿姐姐坐在下房里说话儿，谁知赵姨奶奶招手儿叫我。我只当有什么话说，原来他和太太告了假，出去给他兄弟伴宿坐夜，明日送殡去。跟他的小丫头子小吉祥儿没衣裳，要借我的月白绫子袄儿。我想：他们一般也有两件子的，往这地方去，恐怕弄坏了，自己的舍不得穿，故此借别人的。借我的，弄坏了也是小事，只是我想他素日有什么好处到咱们跟前，所以我说：我的衣裳簪环，都是姑娘叫紫鹃姐姐收着呢。如今先得去告诉他，还得回姑娘，费多少事，别误了你老人家出门，不如再转借罢。”<br />
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“sister, I tell you a story: I chat with Jade Bracelet in the servant's room when waiting the lady to wake up. Who knows concubine Zhao beckoned me. I suppose she has something to say. It turned out that she had taken a leave of absence to go out to sit with her brothers for the night, and sent the funeral tomorrow. As her personal servant girl Little Auspicious has no decent coat, she wanted to borrow my Moon-white Ayako jacket. But I thought they usually have several coats. And they may be afraid their coats will be contaminated in that place, so they are reluctant to wear their own clothes and seek to borrow others. Now that they came to borrow from me. Though it doesn't matter to have my clothes broken, I remember she barely think of us when she get some good things. Then I replied to her: My clothes are all collected by the girl named Purple Crane. Now I have to tell her first and then go back to tell that girl. That process takes your a long time. Why not go to ask others. ”<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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紫鹃笑道：“你这个小东西儿，倒也巧。你不借给他，你推我和姑娘身上，好叫人怨不着你。他这会子就去啊，还是等明日一早才去呢？”雪雁道“这会子就去的，只怕此时已去了。”紫鹃点头。雪雁道：“姑娘还没醒呢，是谁给了宝玉气受？坐在那里哭呢。”紫鹃听了，忙问：“在那里？”雪雁道：“在沁芳亭后头桃花底下呢。”紫鹃听说，忙放下针线，又嘱咐雪雁：“好生听叫。若问我，答应我就来。”说着，便出了潇湘馆，一径来寻宝玉，走至宝玉跟前，含笑说道：“我不过说了那两句话，为的是大家好，你就一气，跑了这风地里来哭，弄出病来还了得！”<br />
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Nightingale smiled:" So smart of you! you didn't borrow it to him and asked him to came to me and the lady so that he wouldn't be angry with you, right? When will he go? Now or tomorrow." Snowgoose said:"he has left just now." Nightingale nodded to Snowgoose and Snowgoose said:"he is watching the peach blossom in the Aroma Pivillion. Heard that, Nightingale just stopped the needlework and said to Snowgoose:" You just stay here and if anybody asks about me, you just say that I'll be here in a minute." Meanwhile, She left the bamboo lodge and went to Precious Jade straightly. She smiled and said:"I said those words for the good of all of us. you shouldn't come here and cry. What if you get sick!" --[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 06:34, 21 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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宝玉忙笑道：“谁赌气了！我因为听你说得有理，我想你们既这样说，自然别人也是这样说，将来渐渐的都不理我了，我所以想到这里，自己伤起心来了。”紫鹃也便挨他坐着。宝玉笑道：“方才对面说话，你尚走开，这会子如何又来挨我坐着？”紫鹃道：“你都忘了？几日前，你们姊妹两个正说话，赵姨娘一头走了进来，我才听见他不在家，所以我来问你。正是前日你和他才说了一句‘燕窝’，就歇住了，总没提起，我正想着问你。”宝玉道：“也没什么要紧。不过我想着宝姐姐也是客中，既吃燕窝，又不可间断，若只管和他要，也太托实。<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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虽不便和太太要，我已经在老太太跟前略露了个风声，只怕老太太和凤姐姐说了。我告诉他的，竟不告诉完。如今我听见一日给你们一两燕窝，这也就完了。”紫鹃道：“原来是你说了，这又多谢你费心。我们正疑惑，老太太怎么忽然想起来叫人每一日送一两燕窝来呢？这就是了。”宝玉笑道：“这要天天吃惯了，吃上三二年就好了。”紫鹃道：“在这里吃惯了，明年家去，那里有这闲钱吃这个。”宝玉听了，吃了一惊，忙问：“谁家去？”紫鹃道：“妹妹回苏州去。”宝玉笑道：“你又说白话。苏州虽是原籍，因没了姑母，无人照看，才接了来的；<br />
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As it’s no use asking my mother. I dropped a hint to the old lady, and I suspect she must have told Sister Phoenix. That was what I started explaining. I understand an ounce of bird’s nest is being sent over to you every day now, so that’s all right.” “So it was you who suggested that, was it?” said Nightingale “That was very good of you. We’ve been wondering what made the old lady suddenly start sending an ounce every day, so that’s the reason.” Precious Jade said with a smile,“If she takes it regularly every day, after two or three years her health should be much better.” The maid replied, “She can have some every day here, but where will the money come from to continue the cure when she goes home next year?” Precious Jade starlted, “Who’s going to which home?” She responded, “Your cousin—back to Suzhou.” “Nonsense!” Precious Jade chuckled. “Suzhou may be her hometown, but she came here because there was no one there to look after her after her parents’ death.<br />
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On the other hand it would be rather awkward to have to ask Sister Phoenix for it; so I dropped a hint to Grandma, and I rather think that she had a word on the subject with Sister Phoenix. That was what I started explaining. I understand an ounce of bird’s nest is being sent over to you every day now, so that’s all right.” “So it was you who suggested that, was it?” said Nightingale “That was very good of you. We’ve been wondering what made the old lady suddenly start sending an ounce every day, so that’s the reason.” Precious Jade said with a smile,“If she takes it regularly every day, after two or three years her health should be much better.” The maid replied, “She can have some every day here, but where will the money come from to continue the cure when she goes home next year?” Precious Jade starlted, “Who’s going to which home?” She responded, “Your cousin—back to Suzhou.” “Nonsense!” Precious Jade chuckled. “Suzhou may be her hometown, but she came here because there was no one there to look after her after her parents’ death.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 12:24, 23 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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明年回去找谁？可见是扯谎。”紫鹃冷笑道：“你太看小了人。你们贾家独是大族，人口多的；除了你家，别人只得一父一母，房族中真个再无人了不成？我们姑娘来时，原是老太太心疼他年小，虽有叔伯，不如亲父母，故此接来住几年。大了该出阁时，自然要送还林家的，终不成林家女儿在你贾家一世不成？林家虽贫到没饭吃，也是世代书宦人家，断不肯将他家的人丢与亲戚，落的耻笑，所以早则明年春天，迟则秋天，这里纵不送去，林家亦必有人来接的。前日夜里姑娘和我说了，叫我告诉你，将从前小时玩的东西，有他送你的，叫你都打点出来还他；<br />
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Whom could she go back to next year? You must be lying.” “What a poor opinion you have of other people!” Zijuan snorted, “I suppose you think yours is the only big family in the world. According to you, I suppose, other people only have fathers and mothers: they couldn't possibly have uncles and aunts on their father's side like you do. Our young lady was brought here for a few years while she was still only a child, because the old lady felt for her and didn't think her uncles could take the place of her parents. But it was only ever her intention to keep her here for a few years. As soon as she's old enough to be married, she'll have to go back to the Lin family. You could hardly expect a Lin family girl to spend the rest of her days among the Merchant family, now could you? Even if the Lins were desperately poor, for generations they've been a family of scholars and officials: they'd never expose themselves to ridicule by abandoning a daughter to relatives. So next spring or next autumn at the latest, even if your family doesn't send her back, the Lins are sure to send to fetch her. The other evening our young lady told me to ask you for all the little gifts and souvenirs she's given you since you were children.“<br />
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Whom could she go back to next year? You must be lying.” “What a poor opinion you have of other people!” Nightingale snorted, “I suppose you think yours is the only big family in the world. According to you, I suppose, other people only have fathers and mothers: they couldn't possibly have uncles and aunts on their father's side like you do. Our young lady was brought here for a few years while she was still only a child, because the old lady felt for her and didn't think her uncles could take the place of her parents. But it was only ever her intention to keep her here for a few years. As soon as she's old enough to be married, she'll have to go back to the Lin family. You could hardly expect a Lin family girl to spend the rest of her days among the Merchant family, now could you? Even if the Lins were desperately poor, for generations they've been a family of scholars and officials: they'd never expose themselves to ridicule by abandoning a daughter to relatives. So next spring or next autumn at the latest, even if your family doesn't send her back, the Lins are sure to send to fetch her. The other evening our young lady told me to ask you for all the little gifts and souvenirs she's given you since you were children.--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 10:25, 24 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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他也将你送他的打点在那里呢。”宝玉听了，便如头顶上响了一个焦雷一般。紫鹃看他怎样回答，等了半天，见他只不作声，才要再问，只见晴雯找来，说：“老太太叫你呢。谁知在这里。”紫鹃笑道：“他这里问姑娘的病症。我告诉了他半日，他只不信。你倒拉他去罢。”说着，自己便走回房去了。晴雯见他呆呆的，一头热汗，满脸紫胀，忙拉他的手一直到怡红院中。袭人见了这般，慌起来了，只说时气所感，热身被风扑了。无奈宝玉发热事犹小可，更觉两个眼珠儿直直的起来；口角边津液流出，皆不知觉；给他个枕头，他便睡下；扶他起来，他便坐着；<br />
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she means to return all yours to you as well.” Precious Jade was thunderstruck. Nightingale waited for him to answer, but not a word could he utter. And just then Sunny Cloud Formation came up.“so here you are, baoyu!” she cried. “the old lady wants you.”“he’s been inquiring after miss Mascara Jade’s health, and i’ve been reassuring him,” Nightingale remarked. “but he won’t believe me. you’d better take him away.” with that she returned to her room. Sunny Cloud Formation noticed Precious Jade’s distraught look, the hectic flush on his cheeks and the sweat on his forehead. she at once led him by the hand to happy red court where his appearance horrified Aroma, who imagined he must have caught a chill in the wind while overheated. a fever was not too alarming, but his eyes were fixed and staring, saliva was trickling from the corners of his lips, and he seemed in a state of stupefaction. he would lie down if a pillow was put for him, would sit up if pulled,<br />
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she means to return all yours to you as well.” Precious Jade was thunderstruck. Nightingale waited for him to answer, but not a word could he utter. And just then Sunny Cloud Formation came up.“so here you are, baoyu!” she cried. “the old lady wants you.”“he’s been inquiring after miss Mascara Jade’s health, and i’ve been reassuring him,” Nightingale remarked. “but he won’t believe me. you’d better take him away.” with that she returned to her room. Sunny Cloud Formation noticed Precious Jade’s distraught look, the hectic flush on his cheeks and the sweat on his forehead. she at once led him by the hand to happy red court where his appearance horrified Aroma, who imagined he must have caught a chill in the wind while overheated. a fever was not too alarming, but his eyes were fixed and staring, saliva was trickling from the corners of his lips, and he seemed in a state of stupefaction. he would lie down if a pillow was put for him, would sit up if pulled,--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 14:31, 24 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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倒了茶来，他便吃茶。众人见他这样，一时忙乱起来，又不敢造次去回贾母，先要差人去请李嬷嬷来。一时李嬷嬷来了，看了半日：问他几句话，也无回答；用手向他脉上摸了摸，嘴唇人中上着力掐了两下，掐得指印如许来深，竟也不觉疼。李嬷嬷只说了一声：“可了不得了！”“呀”的一声，便搂头放声大哭起来。急得袭人忙拉他说：“你老人家瞧瞧可怕不怕？且告诉我们，去回老太太、太太去。你老人家怎么先哭起来？”李嬷嬷捶床捣枕说：“这可不中用了！我白操了一世心了！”袭人因他年老多知，所以请他来看；<br />
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And drink tea if it was brought.1His condition threw them all into a panic, but not daring to report this too hastily to the Lady Dowager they first sent for his old nurse, Nanny Li.Nanny Li, arriving presently, examined Baoyu carefully.When he made no answer to any of her questions she felt his pulse, then pinched his upper lip so hard that her fingers left deep imprints--yet he felt no pain.At that she gave a great cry of despair and, taking him in her arms, started weeping and wailing.Aroma, beside herself with anxiety, tugged imploringly at her sleeve:‘Nannie, Nannie, have another look at him and tell us how serious it is, so that we know what to say to Their Ladyships.Don't just cry!”Nannie Li hammered the bed with her fists:‘It's all up with him, I tell you.A life-time of care gone for nothing!”Aroma and the girls who, whatever else they might think of Nannie Li, respected her age and experience, assumed that she must know what she was talking about.<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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如今见他这般一说，都信以为实，也哭起来了。晴雯便告诉袭人方才如此这般，袭人听了，便忙到潇湘馆来，见紫鹃正伏侍黛玉吃药，也顾不得什么，便走上来问紫鹃道：“你才和我们宝玉说了些什么话？你瞧瞧他去！你回老太太去，我也不管了！”说着，便坐在椅上。黛玉忽见袭人满面急怒，又有泪痕，举止大变，更不免也着了忙，因问：“怎么了？”袭人定了一回，哭道：“不知紫鹃姑奶奶说了些什么话，那个呆子眼也直了，手脚也冷了，话也不说了，李嬷嬷掐着也不疼了，已死了大半个了！<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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连李嬷嬷都说不中用了，那里放声大哭，只怕这会子都死了！”黛玉听此言，李嬷嬷乃久经老妪，说不中用了，可知必不中用，“哇”的一声，将所服之药，一口呕出，抖肠搜肺、灸胃扇肝的，哑声大嗽了几阵：一时面红发乱，目肿筋浮，喘的抬不起头来。紫鹃忙上来捶背，黛玉伏枕喘息半晌，推紫鹃道：“你不用捶！你竟拿绳子来勒死我，是正经。”紫鹃哭道：“我并没说什么，不过是说了几句玩话，他就认真了。”袭人道：“你还不知道他那傻子，每每玩话认了真。”黛玉道：“你说了什么话？趁早儿去解说，他只怕就醒过来了。”<br />
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Even Nanny Li said there is no cure for him. Just listen to the cries from his room, I’m afraid he has died!” Hearing this, Mascara Jade knew that there is definitely nothing can be done to save him now that the sophisticated Nanny Li said so. The bad news made her vomit out all the medicine she had taken and have a fit of coughing before turning in to a red face and swollen eyes, and the severe gasp made it difficult for her to raise her head. Then Purple Cuckoo came up to thump on her back. After gasping on her pillow for quite a long time, she pushed Purple Cuckoo away and said, “ You don’t need to do that! The first priority for you is to strangle me with a rope!” Then her poor maid cried, “ I said nothing bad. I was just joking, but he took it seriously.” Aroma refuted, “ Don’t you understand that blockhead’s temper? He is always taking jokes seriously.” And Mascara Jade asked, “ What did you say to him? Just go to clarify it to him as soon as possible, maybe there is a possibility that he would come to.”<br />
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Even Nanny Li said there is no cure for him. Just listen to the cries from his room, I’m afraid he has died!” Hearing this, Mascara Jade knew that there was definitely nothing can be done to save him as the sophisticated Nanny Li said so. The bad news made her vomit out all the medicine she had taken and have a fit of coughing before turning in to a red face and swollen eyes, and the severe gasp made it difficult for her to raise her head. Then Ningtingale came up to thump on her back. After gasping on her pillow for quite a long time, she pushed Ningtingale away and said, “ You don’t need to do that! You just need to strangle me with a rope!” Aroma refuted, “ Don’t you understand that blockhead’s temper? He is always taking jokes seriously.” And Mascara Jade asked, “ What did you say to him? Just go to clarify it to him as soon as possible, maybe there is a possibility that he would come to.”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 01:39, 21 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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紫鹃听说，忙下床，同袭人到了怡红院。谁知贾母王夫人等已都在那里了。贾母一见了紫鹃，便眼内出火，骂道：“你这小蹄子，和他说了什么？”紫鹃忙道：“并没敢说什么，不过说几句玩话。”谁知宝玉见了紫鹃，方“嗳呀”了一声，哭出来了。众人一见，都放下心来。贾母便拉住紫鹃，只当他得罪了宝玉，所以拉紫鹃命他赔罪。谁知宝玉一把拉住紫鹃，死也不放，说：“要去连我也带了去。”众人不解，细问起来，方知紫鹃说要回苏州去，一句玩话引出来的。贾母流泪道：“我当有什么要紧大事，原来是这句玩话。”<br />
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When hearing what Mascara Jade've just said, Ningtingale jumped out of the bed quickly and headed for the Happy Red Court with Aroma. To their surprise, Grandma Merchant, Lady Wang and others were already there. When at the sight of Ningtingale, Grandma Merchant just abused and shouted at her with great fury, "What did you, such a hussy, say to Precious Jade on earth?" "Nothing but a few jokes", Ningtingale hurriedly responded. And who knows that Precious Jade burst into tears right after sighing with Ah the moment he saw Ningtingale. The crowd were all relieved when they saw that. And then keeping hold of her hands and just thinking she dispeased Precious Jade , Grandma Merchant let Ningtingale to make an apology to him. And everyone didn't expect that Precious Jade grabbed Ningtingale and refused to let her go, saying, "If you go, well then take me with you". Being puzzled, everyone questioned them closely what was going on and then realized that all these were caused by one of Ningtingale' s jokes that she would go back to Suzhou for fun. Then Grandma Merchant said with tears welling up from her eyes, "What a major matter I've just thought, it turns out to this joke originally."<br />
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When hearing what Mascara Jade've just said, Nightingale jumped out of the bed quickly and headed for the Happy Red Court with Aroma. To their surprise, Grandma Merchant, Lady King and others were already there. At the sight of Nightingale, Grandma Merchant just shouted at her with great fury, " You hussy, what did you say to Precious Jade on earth?" "Nothing but a few jokes", Nightingale hurriedly responded. And Precious Jade finally burst into tears right after sighing with "Ah" the moment he saw Nightingale. The crowd were all relieved when they saw that. And then holding her hands and just thinking she must have displeased Precious Jade, Grandma Merchant ordered Nightingale to make an apology to him. And everyone didn't expect that Precious Jade suddenly grabbed Nightingale and refused to let her go, saying, "If you go, well then take me with you". Being puzzled, everyone asked them what happened and then realized that all those things were caused by one of Nightingale' s jokes that they would go back to Suzhou. Then Grandma Merchant said with tears welling up from her eyes, " I thought it was something important, and it turns out to be this joke."--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 02:06, 21 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
又向紫鹃道：“你这孩子，素日是个伶俐聪敏的，你又知道他有个呆根子，平白的哄他作什么？”薛姨妈劝道：“宝玉本来心实，可巧林姑娘又是从小儿来的，他姊妹两个一处长得这么大，比别的姊妹更不同。这会子热刺刺的说一个去，别说他是个实心的傻孩子，便是冷心肠的大人，也要伤心。这并不是什么大病，老太太和姨太太只管万安，吃一两剂药就好了。”正说着，人回：“林之孝家的，赖大家的，都来瞧哥儿来了。”贾母道：“难为他们想着，叫他们来瞧瞧。”宝玉听了一个“林”字，便满床闹起来，<br />
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"You've always been a smart girl." then Grandma Merchant told Nightingale, "But why did you tease him for no reason, knowing that he is such a bullheaded boy?" "Precious Jade is born innocent. It happened that Mascara Jade has come here since she was little, and they are naturally different from other siblings as growing up together. Today he was told that she would go back home in an anxious way, and even an indifferent grown-up will feel sad when hearing that, let alone this simpleminded boy. Grandma and Lady King just rest assured. It's nothing serious, and he will recover with one or two doses of medicine." persuaded Aunt Marshgrass aside. While speaking, a message was delivered in that both Filial Piety Forest's wife and Big Rely's wife came here to visit Precious Jade. "It's so kind of them to care about him. Let them in." said Grandma Merchant. However, Precious Jade began to make a scene on the bed as he heard a word "Forest".<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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说：“了不得了，林家的人接他们来了，快打出去罢！”贾母听了，也忙说：“打出去罢。”又忙安慰说：“那不是林家的人。林家的人都死绝了，没人来接他的，你只放心罢。”宝玉哭道：“凭他是谁，除了林妹妹，都不许姓林的！”贾母道：“没姓林的来，凡姓林的都打出去了。”一面吩咐众人：“以后别叫林之孝家的进园来，你们也别说‘林’字。孩子们，你们听了我这一句话罢！”众人忙答应，又不敢笑。一时宝玉又一眼看见了十锦槅子上陈设的一双金西洋自行船，便指着乱说：“那不是接他们来的船来了？湾在那里呢！”<br />
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he shouted from his bed.“The Forests have come to fetch her.Drive them away!”Hastily chiming in,“Drive them away!”his grandmother assured him.“They’re not from the Forest family.All those Forests are dead. Nobody will ever come to fetch her. Don’t you worry.”“Never mind who they are,”stormed Precious Jade tearfully.“No one but Cousin Mascara Jade should have the name Forest.”“There are no Forests here,”repeated the old lady.“They’re all been driven away.” She ordered the attendants,“In future don’t let Filial Piety Forest's Wife into the Garden.And never mention the name Forest again.Mind you all do as I say like good children.”Suppressing their smiles at this, the others assented.Precious Jade’s eye now fell on a golden boat with an engine, a toy from the West, which was on his cabinet.“Isn’t that the boat coming to fetch them?”he shouted, pointing at it.“It’s mooring there.”<br />
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he shouted from his bed. “The Forests have come to fetch her. Drive them away!” Hastily chiming in, “Drive them away!” his grandmother assured him. “They’re not from the Forest family. All those Forests are dead. Nobody will ever come to fetch her. Don’t you worry.” “Never mind who they are,” stormed Precious Jade tearfully. “No one but Cousin Mascara Jade should have the name Forest.” “There are no Forests here,” repeated the old lady. “They’re all been driven away.” She ordered the attendants, “In future don’t let Filial Piety Forest's Wife into the Garden. And never mention the name Forest again. Mind you all do as I say like good children.” Suppressing their smiles at this, the others assented.. Presently Precious Jade 's eye chanced to light on a little metal self-propelling boat - a West Ocean toy - which stood on one of the alcove shelves in the carved partition. Immediately he became excited again. ‘Look!” #4 he said, pointing, ‘the ship that's come to fetch her. “It’s mooring there.”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 03:21, 21 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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贾母忙命拿下来。袭人忙拿下来，宝玉伸手要，袭人递过去，宝玉便掖在被中，笑道：“这可去不成了！”一面说，一面死拉着紫鹃不放。一时人回：“大夫来了。”贾母忙命：“快进来。”王夫人、薛姨妈、宝钗等暂避入里间。贾母便端坐在宝玉身旁。王太医进来，见许多的人，忙上去请了贾母的安，拿了宝玉的手，诊了一回。那紫鹃少不得低了头。王太医也不解何意，起身说道：“世兄这症，乃是急痛迷心。古人曾云：‘痰迷有别：有气血亏柔饮食不能熔化痰迷者，有怒恼中痰急而迷者，有急痛壅塞者。’<br />
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The Grandma Merchant ordered its instant removal. and when Precious Jade reached out for it Aroma gave it to him. He tucked it under his bedding. “Now they won't be able to sail away,” he laughed. Seizing tight hold of Nightingale he refused to let her go. The doctor's arrival was announced and the old lady ordered him to be brought straight in Lady King, Hairpin Marshgrass and Hairpin Marshgrass withdrew to the inner room while the Grandma Merchant seated herself by Precious Jade. As her attendants also remained, there were a good many people in the room when the doctor entered. It was Dr. Wang. He paid his respects to the old lady before proceeding to take Precious Jade’s pulse, while Nightingale had to stand there with lowered head, to the doctor's astonishment. After feeling the pulse for a while, Dr. Wang rose to his feet. ‘The young gentleman is suffering from delirium caused by a phlegmatic occlusion of the cardiac orifices. The ancients recognized three main types of this form of dementia: in the first type the delirium is associated with an anemic deficiency when the body is failing to absorb its nourishment; in the second, it is brought on by some violent emotional disturbance, such as anger; in the third, the occlusion occurs as a result of shock.<br />
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The Grandma Merchant ordered servants to take its instant removal. and when Precious Jade reached out for it Aroma gave it to him. He tucked it under his bedding. “Now they won't be able to sail away,” he laughed. Seizing tight hold of Nightingale he refused to let her go. The doctor's arrival was announced and the old lady ordered him to be brought straight in Lady King, Hairpin Marshgrass and Hairpin Marshgrass withdrew to the inner room while the Grandma Merchant seated herself by Precious Jade. As her attendants also remained, there were a good many people in the room when the Dr.Wang entered. He paid his respects to the old lady before proceeding to take Precious Jade’s pulse, while Nightingale had to stand there with lowered head, to the doctor's astonishment. After feeling the pulse for a while, Dr. Wang stands up and said, ‘The young gentleman is suffering from delirium caused by a phlegmatic occlusion of the cardiac orifices. The ancients recognized three main types of this form of dementia: in the first type the delirium is associated with an anemic deficiency when the body is failing to absorb its nourishment; in the second, it is brought on by some violent emotional disturbance, such as anger; in the third, the occlusion occurs as a result of shock.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 13:49, 24 May 2022 (UTC)<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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此亦痰迷之症，系急痛所致，不过一时壅蔽，较诸痰迷似轻。”贾母道：“你只说怕不怕，谁同你背药书呢！”王太医忙躬身笑道：“不妨，不妨。”贾母道：“果真不妨？”王太医道：“实在不妨。都在晚生身上。”贾母道：“既如此，请到外面坐，开药方。吃好了，我另外预备好谢礼，叫他亲自捧了，送去磕头；若耽误了，我打发人去拆了太医院大堂。”王太医只躬身笑说：“不敢，不敢。”他原听了说：“另具上等谢礼命宝玉去磕头”，故满口说“不敢”，竟未听见贾母后来说“拆太医院”之戏语，犹说“不敢”，贾母与众人反倒笑了。<br />
This is also a phlegm confusion, which is caused by acute pain, but it is temporarily hidden, and it is lighter than that of phlegm fans. The Grandma Merchant said, "You only said that you are afraid and not afraid, who will carry the medicine book with you?" Dr. Wang hurriedly leaned forward and smiled, "May as well, may as well." The Grandma Merchant said, "Surely?" Doctor Wang said, "It's really okay." All in the late birth. The Grandma Merchant said, "Even so, please sit outside and prescribe medicine." After eating, I prepared another thank you gift, asked him to hold it personally, and sent it to kowtow; if it was delayed, I sent someone to demolish the lobby of the hospital. Dr. Wang only leaned forward and smiled and said, "Don't dare, don't dare." He had originally heard it and said: "Another superior ordered Precious Jade to kowtow", so he said "don't dare", but he did not hear The Grandma Merchant's joke of "demolishing the Hospital" later, and said "don't dare", The Grandma Merchant and the crowd laughed instead.<br />
<br />
This is also a phlegm confusion, which is caused by acute pain, but it is temporarily hidden, and it is lighter than that of phlegm fans. The Grandma Merchant said, "You only said that you are afraid or not, who will carry the medicine book with you?" Dr. King hurriedly leaned forward and smiled, "May as well, may as well." The Grandma Merchant said, "Surely?" Doctor King said, "It's really okay." All in the late birth. The Grandma Merchant said, "Even so, please sit outside and prescribe medicine." After eating, I prepared another thank you gift, asked him to hold it personally, and sent it to kowtow; if it was delayed, I sent someone to demolish the lobby of the hospital. Dr. Wang only leaned forward and smiled and said, "Don't dare, don't dare." He had originally heard it and said: "Another superior ordered Precious Jade to kowtow", so he said "don't dare", but he did not hear The Grandma Merchant's joke of "demolishing the Hospital" later, and said "don't dare", The Grandma Merchant and the crowd laughed instead.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 14:22, 24 May 2022 (UTC)<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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一时按方煎药，药来服下，果觉比先安静。无奈宝玉只不肯放紫鹃，只说：“他去了，便是要回苏州去了。”贾母王夫人无法，只得命紫鹃守着他，另将琥珀去伏侍黛玉。黛玉不时遣雪雁来探消息。这晚间宝玉稍安，贾母王夫人等方回去了。一夜还遣人来问信几次。李奶妈带宋妈等几个年老人用心看守，紫鹃、袭人、晴雯等日夜相伴。有时宝玉睡去，必从梦中惊醒，不是哭了，说黛玉已去，便是说有人来接。每一惊时，必得紫鹃安慰一番方罢。彼时贾母又命将祛邪守灵丹及开窍通神散各样上方秘制诸药，按方饮服。<br />
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After taking the medicine as prescribed, he felt better than before. But Precious Jade refused to release Nightingale, only said: "Once left, she is to go back to Suzhou." Mother Merchant and Lady King had no choice but to order Nightingale to accompany him, and Amber to serve Jade Forest. Jade Forest sent Snowgoose ask the physical condition of him from time to time. This evening, Lady King and other parties didn’t go back until Precious Jade felt better. A few times a night she sent servants to ask. Nanny Plum with Nanny Sone and several other elderly people to watch with care, Nightingale, Aroma, Sunny Cloud Formation and other elderly people care for him. Sometimes he waked up from a dream, crying Jade Forest has gone, or that someone came to pick him up. Each time the alarm, must have Nightingale comforted. At that time, Mother Merchant ordered him to take all kinds of secret medicine according to the formula.<br />
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After taking the medicine as prescribed, Precious Jade felt better than before. Yet he still won’t let go of Nightingale, crying"Once she left, she is bound to go back to Suzhou." Grandma Merchant and Lady King had no choice but to order Nightingale to accompany him and send Amber to serve Mascara Jade. From time to time Jade Forest would send Snowgoose to check the physical condition of Precious Jade. Seeing that Precious Jade was feeling better this evening, Grandma Merchant and Lady King, along with all the elders went back to their quarters respectively. However, they wouldn’t be reassured without the information of Precious Jade’s condition brought by the servants they sent. There were Nanny Plum with Nanny Sone and several other elderly people watching him with care, and Nightingale, Aroma, Sunny Cloud Formation and other little maids taking care for him. Sometimes Precious Jade would wake up from a nightmare either crying that Mascara Jade has gone or that someone came to pick her up. Each time he did this they must have Nightingale comfort him. Meanwhile Grandma Merchant sent him all kinds of secret medicine and ordered the maids to coax Precious Jade into taking them according to the formula.--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 01:08, 25 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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次日又服了王太医药，渐次好了起来。宝玉心下明白，因恐紫鹃回去，倒故意作出佯狂之态。紫鹃自那日也着实后悔，如今日夜辛苦，并没有怨意。袭人等皆心安神定，因向紫鹃笑道：“都是你闹的，还得你来治。也没见我们这位呆子，‘听了风就是雨’，往后怎么好。”暂且按下。且说此时湘云之症已愈，天天过来瞧看，见宝玉明白了，便将他病中狂态形容与他瞧，引得宝玉自己伏枕而笑：原来他起先那样，竟是不知的；如今听人说，还不信。无人时，紫鹃在侧，宝玉又拉他的手，问道：“你为什么唬我？”<br />
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After taking the medication prescribed by Doctor King the next day, Precious Jade was on the road to recovery. Conscious of that, Precious Jade pretended to be ill all the same for fear of losing Nightingale, who regretted her lies about Mascara Jade the other day and worked day and night without grudges taking care of him. Servants of Aroma and others now felt much relieved at the scene, smiling "Now let’s see who’s the victim of her own scheming! Poor young master to have believed what you said. What’s left to do with it in the long run?" Details of her jokes shall not be discussed. Now that Fragrant-history had recovered from her disease too, she paid a visit to Precious Jade’s place every day elaborating his rampage in the disease, which made Precious Jade himself laughed against the pillow. It turned out that he had not been aware of what he did and remained skeptical of the story. When nobody else’s around, he would secretly took Nightingale by the hand, asking "Why did you lie to me?"<br />
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Next day, after another dose of Dr King's medicine, Precious Jade was distinctly better.Conscious of that, Precious Jade pretended to be ill all the same for fear of losing Nightingale, who regretted her lies about Mascara Jade the other day and worked day and night without grudges taking care of him. Servants of Aroma and others now felt much relieved at the scene, smiling "Now let’s see who’s the victim of her own scheming! Poor young master to have believed what you said. What’s left to do with it in the long run?" Details of her jokes shall not be discussed. Now that Fragrant-history had recovered from her disease too, she paid a visit to Precious Jade’s place every day elaborating his rampage in the disease, which made Precious Jade himself laughed against the pillow. It turned out that he had not been aware of what he did and remained skeptical of the story. When nobody else’s around, he would secretly took Nightingale by the hand, asking "Why did you lie to me?"--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 16:19, 23 May 2022 (UTC)<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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紫鹃道：“不过是哄你玩的，你就认真了。”宝玉道：“你说得那样有情有理，如何是玩话呢？”紫鹃笑道：“那些玩话，都是我编的。林家实没了人口；纵有，也是极远的族中，也都不在苏州住，各省流寓不定。纵有人来接，老太太也必不放去的。”宝玉道：“便老太太放去，我也不依！”紫鹃笑道：“果真的不依？只怕是口里的话。你如今也大了，连亲也定下了，过二三年再娶了亲，你眼里还有谁了？”宝玉听了，又惊问：“谁定了亲，定了谁？”紫鹃笑道：“年里我就听见老太太说要定了琴姑娘呢；不然，那么疼他？”<br />
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“I only did it for fun,” Nightingale replied.“But you took it seriously.”“That was no joke,”said Precious Jade. “It was too well-reasoned.Nightingale laughed. ”I made it all up.There is no people in the Forest family.If there is, they're very, very distant relations, and not in SuZhou, either, but scattered all over the place, in different provinces.Even if one of them asked for her, the old lady would never let her go.”“Even if the old lady would let her go, I wouldn't.”said Precious Jade.”I wonder,“said Nightingale.“That's just talk, I'm afraid.You're growing up now and already engaged; in a couple of years you'll be marrying, and then you'll forget other people.”Precious Jade heard her with astonishment. “Betrothed?To whom?””Just before New Year I heard Old Lady say that she was betrothing you to Miss Harp. That's why she makes so much of her, isn't it?”Nightingale replied.<br />
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“I only did it for fun,” Nightingale replied.“But you took it seriously.”“You made it sound so convincing, how was I to know it was just a joke?”Precious Jade retorted. Nightingale laughed. “I made it all up. There is no people in the Forest family. If there is, they're very, very distant relations, and not in SuZhou, either, but scattered all over the place, in different provinces. Even if one of them asked for her, the old lady would never let her go.”“Even if the old lady would let her go, I wouldn't.”said Precious Jade.”I wonder,“said Nightingale.“That's just talk, I'm afraid. You're growing up now and already engaged; in a couple of years you'll be marrying, and then you'll forget other people.”Precious Jade heard her with astonishment. “Betrothed? To whom?””Just before New Year I heard Old Lady say that she was betrothing you to Miss Harp. That's why she makes so much of her, isn't it?”Nightingale replied.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 01:59, 24 May 2022 (UTC)<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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宝玉笑道：“人人只说我傻，你比我更傻！不过是句玩话，他已经许给梅翰林家了。果然定下了他，我还是这个形景了？先是我发誓赌咒，砸这劳什子，你都没劝过吗？我病的刚刚的这几日才好了，你又来怄我。”一面说，一面咬牙切齿的，又说道：“我只愿这会子立刻我死了，把心迸出来，你们瞧见了，然后连皮带骨，一概都化成一股灰，再化成一股烟，一阵大风，吹得四面八方，都登时散了，这才好！”一面说，一面又滚下泪来。紫鹃忙上来握他的嘴，替他擦眼泪，又忙笑解说道：“你不用着急。这原是我心里着急，故来试你。”<br />
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Precious Jade laughed.“People may call me crazy, but you're even crazier! That was just a joke. She's already engaged to the son of Academician Mei. If I were engaged to her, would I be in this state? Didn't you plead with me and say I was mad when I swore that oath and wanted to smash that silly jade? Now you've come to provoke me again just as I'm getting better.”Through clenched teeth he added.“I only wish I could die this very minute and tear out my heart to show you. Then all the rest of me, skin and bones, could be turned into ashes. No, ashes still have form better be turned into smoke. But smoke still congeals and can be seen by men it would have to be scattered in a flash, by a great wind, to the four quarters. That would be a good death.”Tears were running down his cheeks as he spoke. Nightingale hastily put her hand to his mouth, then wiped away his tears.“You needn't worry,”she urged.“I was putting you to the test because I was worried.”<br />
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Precious Jade said with a smile.“People says me crazy, but you're even crazier! That was just a joke. She's already engaged to the son of Academician Mei. If I were engaged to her, would I be in this state? Didn't you plead with me and say I was mad when I swore that oath and wanted to smash that silly jade? Now you've come to provoke me again just as I'm getting better.”Through clenched teeth he added.“I only wish I could die this very minute and tear out my heart to show you. Then all the rest of me, skin and bones, could be turned into ashes. No, ashes still have form better be turned into smoke. But smoke still congeals and can be seen by men it would have to be scattered in a flash, by a great wind, to the four quarters. That would be a good death.”Tears were running down his cheeks as he spoke. Nightingale hastily put her hand to his mouth, then wiped away his tears.“You needn't to worry about that,”she urged.“I was putting you to the test because I was worried.”--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 11:05, 24 May 2022 (UTC)<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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宝玉听了，更又咤异，问道：“你又着什么急？”紫鹃笑道：“你知道，我并不是林家的人，我也和袭人鸳鸯是一伙的，偏把我给了林姑娘使。偏生他又和我极好，比他苏州带来的还好十倍，一时一刻，我们两个离不开。我如今心里却愁他倘或要去了，我必要跟了他去的。我是合家在这里，我若不去，辜负了我们素日的情长；若去，又弃了本家。所以我疑惑，故说出这谎话来问你，谁知你就傻闹起来。”宝玉笑道：“原来是你愁这个，所以你是傻子。从此后再别愁了。我告诉你一句打趸儿的话：活着，咱们一处活着；不活着，咱们一处化灰，化烟。如何？”<br />
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Precious Jade asked in surprise，“You worried? Why?”“You know I don’t belong to the Forest family. Like Aroma and Mandarin Duck, I was given to Miss Forest. She treats me ten times better than her own maids brought from Suzhou; we can’t be seperated for a single moment. I’m worried now because, if she leaves, I shall have to go with her; but my whole family’s here. If I don’t go, I’ll be unworthy of all her goodness; if I do, I shall have to abandon my own family. That’s why, in my dilemma, I told you that lie to see how you felt about it. How was I know that you’d take it so hard?”“So that’s what’s worrying you,”Precious Jade smiled. “What a goose you are! Well, set your heart at rest. Let me just put it in a nutshell for you. If we live, we shall live together; and if we die, we shall turn into ashes and smoke together. How do you think？”<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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紫鹃听了，心下暗暗筹画。忽有人回：“环爷兰哥儿问候。”宝玉道：“就说难为他们，我才睡了，不必进来。”婆子答应去了。紫鹃笑道：“你也好了，该放我回去瞧瞧我们那一个去了。”宝玉道：“正是这话。我昨夜就要叫你去的，偏又忘了。我已经大好了，你就去罢。”紫鹃听说，方打迭叠铺盖妆奁之类。宝玉笑道：“我看见你文具里头有两三面镜子，你把那面小菱花的给我留下罢。我搁在枕头旁边，照着好睡，明日出门带着也轻巧。”紫鹃听说，只得与他留下，先命人将东西送过去，然后别了众人，自回潇湘馆来。<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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黛玉近日闻得宝玉如此形景，未免又添些病症，多哭几场。今儿紫鹃来了，问其原故，已知大愈，仍遣琥珀去伏侍贾母。夜间人静后，紫鹃已宽衣卧下之时，悄向黛玉笑道：“宝玉的心倒实，听见咱们去，就那样起来。”黛玉不答。紫鹃停了半晌，自言自语的说道：“一动不如一静，我们这里就算好人家，别的都容易，最难得的是从小儿一处长大，脾气情性都彼此知道的了。”黛玉啐道：“你这几天还不乏，趁这会子不歇一歇，还嚼什么蛆！”紫鹃笑道：“倒不是白嚼蛆，我倒是一片真心为姑娘。<br />
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Hearing Precious Jade had a bad time, Mascara Jade cried a few more times and was more weak in illness. Today Nightingale came and asked the reason, she got to know that Mascara Jade was much better now, but she still send Amber to serve Merchant Grandma. At tranquil night, when Nightingale was undressed and lying down, she smiled at Mascara Jade and said, "Precious Jade is very sincere. He still struggled to get up when he heard we came." Mascara Jade did not answer. Nightingale stopped for a long time and said to herself, "It is better to keep quiet than to move. We consider ourselves a good family here. Everything else is easy. What is the rarest is that we grew up together in one place, so we know each other’s temperament well.” Mascara Jade scolded her, "Are you not tired in these days? Just take a break now and stop talking the nonsense!" Nightingale said with a smile, "What I am talking about is not nonsense and I have your best interests at heart.”<br />
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Hearing Precious Jade had experienced a disorder, Mascara Jade cried a few more times and was more weak in illness. At thins time, Nightingale came back and she asked the reason. She learned that Mascara Jade was much better now and sent Amber to serve Merchant Grandma. At a tranquil night, when Nightingale was undressed and laid down, she whispered to Mascara Jade, “Precious Jade is very sincere. He had fell ill like that when he just heard we were leaving.” Mascara Jade did not response. Nightingale stopped for a while and said to herself, “It is better to keep quiet than to move. This is a good family anyway. Everything else is easy. What is the rarest is that we grew up together in one place, so we know each other’s temperament well.” Mascara Jade scolded her, “Aren’t you tired in these days? Why don’t you sleep instead of talking such nonsense!” “It is not nonsense. I am thinking for you!”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 10:35, 20 May 2022 (UTC)<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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替你愁了这几年了：无父母无兄弟，谁是知疼着热的人？趁早儿，老太太还明白硬朗的时节，作定了大事要紧。俗语说，‘老健春寒秋后热。’倘或老太太一时有个好歹，那时虽也完事，只怕耽误了时光，还不得趁心如意呢。公子王孙虽多，那一个不是三房五妾，今儿朝东，明儿朝西？娶一个天仙来，也不过三夜五夜，也就撂在脖子后头了，甚至于怜新弃旧，反目成仇的。若娘家有人有势的，还好些；若姑娘这样的人，有老太太一日还好，一日若没了老太太，也只是凭人去欺负罢了。所以说，拿主意要紧。<br />
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I have been worried about you for several years. You have no parents or brothers to care for you. So it is important to settle you marriage affair in a good time, while Grandma Merchant is still healthy and clear-headed. As an old saying goes, “The healthiest old people last as long as a chilly spring or a hot autumn.” If something happens to Grandma Merchant, you marriage will be delayed or you will marry a people you don not wish. There are many young lordlings, but they both want to have many wives and concubines. There affection is not constant and may change from one to another. Even though they get a girl as a fairy as his wife, they may cast her off after several days. Someone may treat her as an enemy for the sake of another new concubine. If her family is powerful and wealthy, it may be not so bad; but for someone like you, you life will be good as long as Grandma Merchant still lives. However, someday once she pass away, you will live under others’ treatment. Therefore, it is important to make up your mind.<br />
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“It isn’t nonsense. I was thinking of you. I’ve felt worried for you all these years with no father, mother or brothers to care for you. The important thing is to settle the main affair of your life in good time, while the old lady’s still clear-headed and healthy. The proverb says, ‘The healthiest old people last as long as a chilly spring or a hot autumn.’ If anything should happen to the old lady your marriage might be delayed, or else not turn out in the way you hoped. There’s no lack of young lordlings, but they all want three wives and five concubines and their affections change from one day to the next. They may bring home a wife as lovely as a fairy, yet after four or five nights they cast her off, treating her like an enemy for the sake of a concubine or a slave girl. If her family’s large and powerful, that’s not so bad; and for someone like you, miss, so long as the old lady lives you’ll be all right. Once she’s gone, you’ll have to put up with ill treatment. So it’s important to make up your mind.”--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 02:47, 22 May 2022 (UTC)<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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姑娘是个明白人，岂不闻俗语说的‘万两黄金容易得，知心一个也难求’！”黛玉听了，便说道：“这丫头今日可疯了，怎么去了几日，忽然变了一个人？我明儿必回老太太，退回你去，我不敢要你了。”紫鹃笑道：“我说的是好话，不过叫你心里留神，并没叫你去为非作歹。何苦回老太太，叫我吃了亏，又有什么好处？”说着，竟自己睡了。黛玉听了这话，口内虽如此说，心内未尝不伤感。待他睡了，便直哭了一夜，至天明，方打了一个盹儿。次日，勉强盥漱了，吃了些燕窝粥。便有贾母等亲来看视了，又嘱咐了许多话。<br />
“You’ve sense enough to understand the saying, ‘The thousand taels of gold are easier come by than an understanding heart.” “The girl’s crazy!” exclaimed Mascara Jade. “A few days away, and you’ve suddenly changed into a different person. Tomorrow I shall ask the old lady to take you back. I no longer dare keep you.” “I meant well,” was the smiling answer. “I just wanted you to look out for yourself, not to do anything wrong. What good will it do if you report me to the old lady and get me into trouble?” With that Nightingale closed her eyes. Although Mascara Jade had spoken so sharply, this talk had distressed her. After Nightingale went to sleep she wept all night, no dozing off until dawn. The next morning she found it an effort to wash herself, rinse her mouth and swallow her bird’s-nest broth. Then the Lady Merchant and others called to see her and urged her to take better care of herself.<br />
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“You’ve sensed enough to understand the saying,‘The thousand taels of gold are easier to come by than an understanding heart.” “The girl’s crazy!” exclaimed Mascara Jade. “A few days away, and you’ve suddenly changed into a different person. Tomorrow I shall ask the elder lady to take you back. I no longer dare keep you."“I meant well,” was the smiling answer. “I just wanted you to look out for yourself, not to do anything wrong. What good will it do if you report me to the old lady and get me into trouble?” With that Nightingale closed her eyes. Although Mascara Jade had spoken so sharply, this talk had distressed her. After Nightingale went to sleep she wept all night, no dozing off until dawn. The next morning she found it an effort to wash herself, rinse her mouth and swallow her bird’s-nest broth. Then Lady Merchant and others called to see her and urged her to take better care of herself.--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 05:21, 23 May 2022 (UTC)<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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目今是薛姨妈的生日，自贾母起，诸人皆有祝贺之礼，黛玉也只得备了两色针线送去。是日也定了一班小戏，请贾母与王夫人等。独有宝玉与黛玉二人不曾去得。至晚散时，贾母等顺路又瞧了他二人一遍，方回房去。次日，薛姨妈家又命薛蝌陪诸伙计吃了一天酒，连忙了三四天，方才完备。因薛姨妈看见邢岫烟生得端雅稳重，且家道贫寒，是个钗荆裙布的女儿，便欲说与薛蟠为妻。因薛蟠素昔行止浮奢，又恐遭踏了人家的女儿，正在踌躇之际，忽想起薛蝌未娶，看他二人，恰是一对天生地设的夫妻，因谋之于凤姐儿。<br />
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Now that it was Aunt Marshgrass's birthday, everyone,beginning with Grandma Merchant had a congratulatory gift。And Mascara Jade had to prepare two-color needles and threads to send. On the same day, a small drama was also scheduled, and Grandma Merchant and Lady King were invited to watch. It was only Baoyu and Daiyu who didn't arrive. At the end of the night, Grandma Merchant and the others paid a visit to them before they went back to the room. The next day, Aunt Marshgrass's family ordered Tadpole Marshgrass to accompany the families to drink for a day, and it took three or four days to complete. Because Aunt Marshgrass thought that Cave Cloud Marshgrass was born elegant and stable in a poor family. Aunt Marshgrass wanted her to be married to Dragon Marshgrass. Because Dragon Marshgrass had done a lot of extravagance in the past, and was afraid of trampling on the daughter of others, so she was hesitating. Then she suddenly recalled that Tadpole Marshgrass was not yet married, and seeing that the two of them were just a couple born to be set up. Then she went to plan it with Sister Phoenix.<br />
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Now that it was Aunt Marshgrass's birthday, everyone, beginning with Grandma Merchant had a congratulatory gift. And Mascara Jade had to prepare two-color needles and threads to send. On the same day, a small drama was also scheduled, and Grandma Merchant and Lady King were invited to watch. It was only Precious Jade and Mascara Jade who didn't arrive. At the end of the night, Grandma Merchant and the others paid a visit to them before they went back to the room. The next day, Aunt Marshgrass's family ordered Tadpole Marshgrass to accompany the families to drink for a day, and it took another three or four days to complete. Because Aunt Marshgrass thought that Cave Cloud City was born elegant and stable in a poor family. Aunt Marshgrass wanted her to be married to Dragon Marshgrass. But because Dragon Marshgrass had done a lot of extravagance in the past, and she was afraid of trampling on the daughter of others, so she was hesitating. Then she suddenly recalled that Tadpole Marshgrass was not yet married, and seeing that the two of them were just a couple born to be set up. Then she went to plan it with Sister Phoenix.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 13:33, 23 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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凤姐儿笑道：“姑妈素知我们太太有些左性的，这事等我慢谋。”因贾母去瞧凤姐儿时，凤姐儿便和贾母说：“薛姑妈有件事求老祖宗，只是不好启齿的。”贾母忙问：“何事。”凤姐便将求亲一事说了。贾母笑道：“这有什么不好启齿，这是极好的好事，等我和你婆婆说了，怕他不依？”因回房来，即刻就命人来请邢夫人过来，硬作保山。邢夫人想了一想：薛家根基不错，且现今大富；薛蝌生得又好，且贾母硬作保山，将机就计，便应了。贾母十分喜欢，忙命人请了薛姨妈来。二人见了，自然有许多谦辞。<br />
Sister Phoenix laughed, "You know that my mother-in-low has an eccentric disposition, so we need discuss about this matter slowly." When Grandma Merchant stopped by Siter Phoenix's house, she said to Grand Merchant, "Aunt Marshgrass wants you to do her a favor, but she feels embarrassed to tell you." Grand Merchant asked, "What is it?" Sister Phoenix told her the matter of the Marshgrass Family seeking a marriage alliance. Hearing this, Grand Merchant laughed, "What a wonderful thing it is! Your mother-in-law will agree when I tell her about it." After Grandma Merchant went back to her room, she ordered a servant to invite Lady City to come right now. She told Lady City about the marriage and guaranteed for it. Lady City thought to herself: "The Marshgrass Family has a good foundation and is rich now. And Tadpole Marshgrass is also a man of striking appearance." With the guarantee from Grandma Merchant, she agreed to the marriage between Tadpole Marshgrass and Cave Cloud City. Grandma Merchant was very happy and invited Aunt Marshgrass to come. And there came naturally lots of self-depreciatory words between them.<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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邢夫人即刻命人去告诉邢忠夫妇。他夫妇原是此来投靠邢夫人的，如何不依，早极口的说：“妙极。”贾母笑道：“我最爱管闲事，今儿又管成了一件事，不知得多少谢媒钱？”薛姨妈笑道：“这是自然的。纵抬了整万银子来，只怕不希罕。但只一件，老太太既是作媒，还得一位主亲才好。”贾母笑道：“别的没有，我们家折腿烂手的人还有两个。”说着，便命人去叫过尤氏婆媳二人来。贾母告诉他原故，彼此忙都道喜。贾母吩咐道：“咱们家的规矩，你是尽知的，从没有两亲家‘争礼争面’的。<br />
Lady City lost no time in informing her brother Faithfulness City and his wife; and since they had come there to throw themselves upon her bounty, they were naturally more than happy to give their approval.'I love meddling in other people’s affairs,’ said the Grandma Merchant. ‘Now that I’ve fixed this up, how much are you going to pay your go-between?’‘Don’t worry about that,’ replied Aunt Marshgrass. ‘Even if we brought you a hundred thousand taels of silver, I don’t suppose it would mean much to you. But since you’re the go-between, madam, will you find us someone to take charge of the betrothal ceremony?’‘Whatever else we’re short of, we can produce one or two helpers of a sort, ‘the Grandma Merchant chuckled.She sent for Treasure Merchant’s wife and daughter-in-law. When they heard the news from her they offered their congratulations.‘You know our family ways,’ she told Madam Outstanding. ‘The two families never squabble over betrothal gifts.<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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如今你算替我在当中料理，也不可太省，也不可太费，把他两家的事周全了回我。”尤氏忙答应了。薛姨妈喜之不尽，回家命写了请帖，补送过宁府。尤氏深知邢夫人情性，本不欲管，无奈贾母亲自嘱咐，只得应了，惟有忖度邢夫人之意行事。薛姨妈是个无可无不可的人，倒还易说。这且不在话下。如今薛姨妈既定了邢岫烟为媳，合宅皆知。邢夫人本欲接出岫烟去住，贾母因说：“这又何妨，两个孩子又不能见面，就是姨太太和他一个大姑子，一个小姑子，又何妨？况且都是女孩儿，正好亲近些呢。”<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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邢夫人方罢。那薛蝌岫烟二人，前次途中，曾有一面之遇，大约二人心中皆如意，只是那岫烟未免比先时拘泥了些，不好与宝钗姐妹共处闲语；又兼湘云是个爱取笑的，更觉不好意思。幸他是个知书达礼的，虽有女儿，还不是那种佯羞诈鬼、一味轻薄造作之辈。宝钗自那日见他起，想他家业贫寒；二则别人的父母皆是年高有德之人，独他的父母偏是酒糟透了的人，于女儿分中平常；邢夫人也不过是脸面之情，亦非真心疼爱；且岫烟为人雅重，迎春是个老实人，连他自己尚未照管齐全，如何能照管到他身上，<br />
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Lady City then relented. Tadpole Marshgrass and Cave Cloud Marshgrass had met before in one of their trips. They both were satisfied with each other. It was just that Cave Cloud was shier than the last time and didn't feel relaxed to chat with Precious Hairpin and other ladies. More than that, Fragrant-cloud History loved cracking jokes, which made her felt more uncomfortable. Luckily, she was highly cultured and stepped in propriety. Though a lady, he was not the kind that would cheat or flirt with others. Since the day Precious Hairpin met her, Precious Hairpin knew that she lived in poverty. Also, others parents were all aged and virtuous but hers were bad, which made her unique among all the ladies. Lady City's concern were out of courtesy rather than sincerity. Cave Cloud were elegant and Welcome-Spring were honest. They couldn't even take good care of themselves, how could they concern her.<br />
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Lady City then relented. Tadpole Marshgrass and Cave Cloud had met before in one of their trips. They both were satisfied with the match, but that made Cave Cloud shier than before and reserved in the presence of Precious Hairpin and other girls. More than that, Fragrant-cloud History loved cracking jokes, which made her feel even more shy. Luckily, she was well-educated and stepped in propriety. Though a lady, she was not the kind that would cheat or flirt with others.<br />
Since the day Precious Hairpin met her, Precious Hairpin knew that she lived in poverty. Also, others parents were virtuous old people but hers were penniless rats who cared little for their daughter. Lady City’s concern were treating her more out of courtesy, simply making a show of affection. Cave Cloud were elegant and Welcome-Spring were honest. They couldn't even take good care of themselves, let alone look after her counsin.<br />
--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 03:35, 25 May 2022 (UTC)<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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凡闺阁中家常一应需用之物，或有亏乏，无人照管，他又不与人张口。宝钗倒暗中每相体贴接济，也不敢与邢夫人知道，也恐怕是多心闲话之故。如今却是众人意料之外奇缘作成这门亲事。岫烟心中先取中宝钗，有时仍与宝钗闲话，宝钗仍以姊妹相呼。这日宝钗因来瞧黛玉，恰值岫烟也来瞧黛玉，二人在半路相遇。宝钗含笑唤他到跟前，二人同走。至一块石壁后，宝钗笑问他：“这天还冷的很，你怎么倒全换了夹的了？”岫烟见问，低头不答。宝钗便知道又有了原故，因又笑问道：“必定是这个月的月钱又没得？凤姐姐如今也这样没心没计了。”<br />
Whenever Cave Cloud ran short of any daily necessities, there was no one to see to it, and she was too unassuming to mention it. Precious Hairpin Marshgrass accordingly often helped her in secret, not letting Lady City know for fear of giving offence, with the result that now that this unexpected match had been arranged Cave Cloud felt even more closely bound to Precious Hairpin than to Tadpole Marshgrass. She often went to chat with her, and Precious Hairpin continued to address her as "cousin."<br />
One day Precious Hairpin set out to call on Mascara Jade. Happening to meet Cave Cloud on the way, she beckoned her with a smile and they walked on together. As they skirted the back of a rockery, Precious Hairpin inquired: "Why have you changed out of padded clothes into lined ones, when the weather is still so cold?" Cave Cloud hung her head and said nothing.<br />
Sensing some reason for this Precious Hairpin continued, "Don't tell me this month's allowance was held up again? Cousin Phoenix really is growing rather thoughtless."<br />
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Whenever Cave Cloud ran short of any daily necessities, there was no one to see to it, and she was too unassuming to mention it. Precious Hairpin Marshgrass accordingly often helped her in secret, not letting Lady City know for fear of giving offence, with the result that now that this unexpected match had been arranged Cave Cloud felt even more closely bound to Precious Hairpin than to Tadpole Marshgrass. She often went to chat with her, and Precious Hairpin continued to address her as "cousin."<br />
One day Precious Hairpin set out to call on Mascara Jade. Happening to meet Cave Cloud on the way, she beckoned her with a smile and they walked on together. As they skirted the back of a rockery, Precious Hairpin inquired: "Why have you changed out of padded clothes into lined ones, when the weather is still so cold?" Cave Cloud hung her head and said nothing.<br />
Sensing some reason for this Precious Hairpin continued, "Don't tell me this month's allowance was held up again? Cousin Phoenix really is growing rather thoughtless."--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 10:27, 22 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
岫烟道：“他倒想着不错日子给，因姑妈打发人和我说道：一个月用不了二两银子，叫我省一两给爹妈送出去；要使什么，横竖有二姐姐的东西，能着些搭着就使了。姐姐想：二姐姐也是个老实人，也不大留心。我使他的东西，他虽不说什么，他那些妈妈丫头，那一个是省事的？那一个是嘴里不尖的？我虽在那屋里，却不敢很使唤他们，过三天五天，我倒得拿出钱来，给他们打酒买点心吃才好。因此一月二两银子还不够使，如今又去了一两。前日我悄悄的把棉衣服叫人当了几吊钱盘缠。”宝钗听了，愁叹道：“偏梅家又合家在任上，后年才进来。<br />
"She issued it on the right date," rejoined Cave Cloud. "But my aunt sent to tell me I shouldn't need two taels a month and must save one for my parents. She said if I was short of anything I could borrow from Spring Pleasure and make do. But, you see,Spring Pleasure is a simple soul who doesn't always think. She wouldn't mind my using her things, but those maids and nannies of hers are all troublemakers — you know what sharp tongues they have. Though I'm staying there, I dare not order them about; infact, every few days I have to spend money on wine and cakes for them. l can't manage even on two taels a month, and now it's been cut to one. So the other day I got someone, on the sly, to pawn my padded clothes for a few strings of cash."<br />
Hearing this, Precious Hairpin frowned and sighed in sympathy. "It's too bad that the Mei family have all gone to the new post and won't be back in the capital till the year after next," she said.<br />
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"She issued it on the right date,"rejoined Cave Cloud. "But my aunt sent to tell me I shouldn't need two taels a month and must save one for my parents. She said if I was short of anything I could borrow from Spring Pleasure and make do. But,you see,Spring Pleasure is a simple soul who doesn't always think. She wouldn't mind my using her things,but those maids and nannies of hers are all troublemakers — you know what sharp tongues they have. Though I'm staying there,I dare not order them about; in fact,every few days I have to spend money on wine and cakes for them. I can't manage even on two taels a month,and now it's been cut to one. So the other day I got someone,on the sly,to pawn my padded clothes for a few strings of cash."<br />
Hearing this,Precious Hairpin frowned and sighed in sympathy. "It's too bad that the Mei family have all gone to the new post and won't be back in the capital till the year after next,"she said.--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 00:26, 25 May 2022 (UTC)<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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若是在这里，琴儿过去了，好再商议你这事。离了这里就完了。如今不完了他妹妹的事，也断不敢先娶亲的。如今倒是一件难事。再迟两年，我又怕你熬煎出病来。等我和妈妈再商议。”宝钗又指他裙上一个璧玉珮问道：“这是谁给你的？”岫烟道：“这是三姐姐给的。”宝钗点头道：“他见人人皆有，独你一个没有，怕人笑话，故此送一个。这是他聪明细致之处。”岫烟又问：“姐姐此时那里去？”宝钗道：“我到潇湘馆去。你且回去，把那当票子叫丫头送来我那里，悄悄的取出来，晚上再悄悄的送给你去，早晚好穿；<br />
If they were here,we could arrange Precious String'wedding and then yours. Once you leave here you'll be all right. The trouble is that Tadpole Marshgrass won't consider getting married before his younge sister; yet if you have to put up with two more years of this,I'm afraid it may ruin your health. I must talk to my mother and see what can be done. Then Baochai pointed at the green jade pendant hanging from her skirt,"Who gave you that?" "It's a present from Cousin Spring-seeking." Precious Hairpin nodded. "She must have noticed that you were the only one with no jade to wear,so to stop people laughing at you she gave you this. It shows how thoughtful and observant she is. Cave Cloud assented then asked her where she was going. "To Bamboo Lodge," Precious Hairpin told her slip back and send a maid over to our place with the pawn ticket. I'll have the clothes redeemed quietly and sent to you this evening,so that you have something warm to wear.<br />
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==比较文学与跨文化研究 Mahzad 202021080004==<br />
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不然，风闪着还了得！但不知当在那里了？”岫烟道：“叫做什么恒舒典，是鼓楼西大街的。”宝钗笑道：“这闹在一家去了！伙计们倘或知道了，好说‘人没过来，衣裳先过来’了。”岫烟听说，便知是他家的本钱，也不答，红了脸一笑，二人走开。宝钗就往潇湘馆来。恰正值他母亲也来瞧黛玉，正说闲话呢。宝钗笑道：“妈妈多早晚来的？我竟不知道。”薛姨妈道：“我这几天忙，总没来瞧瞧宝玉和他。所以今日瞧他人，都也好了。”黛玉忙让宝钗坐了，因向宝钗道：“天下的事，真是人想不到的。拿着姨妈和大舅母说起，怎么又作一门亲家。”薛姨妈道：“我的儿，你们女孩儿家那里知道？<br />
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==外国语言文学 Muhammad Numan 202121080002==<br />
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自古道：‘千里姻缘一线牵。’管姻缘的有一<br />
位月下老人，预先注定，暗里只用一根红丝，把这两个人的脚绊住，凭你两家那<br />
怕隔着海国呢，若有姻缘的，终久有机会作了夫妇。这一件事，都是出人意料之<br />
外。凭父母本人都愿意了，或是年年在一处，已为是定了的亲事，若月下老人<br />
不用红线拴的，再不能到一处。比如你姐妹两个的婚姻，此刻也不知在眼前，也<br />
不知在山南海北呢！”宝钗道：“惟有妈妈说动话拉上我们！”一面说，一面伏在<br />
母亲怀里，笑说：“咱们走罢。”黛玉就笑道：“你瞧！这么大了，离了姨妈，他就<br />
是个最老到的；见了姨妈，他就撒娇儿。”<br />
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==英语语言文学 TOURE MARIAM 202021080005==<br />
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薛姨妈将手摩弄着宝钗，向黛玉叹道：<br />
“你这姐姐，就和凤哥儿在老太太跟前一样：有了正经事，就有话和他商量；没有<br />
了事，幸亏他开我的心。我见了他这样，有多少愁不散的。”黛玉听说，流泪叹道：“他偏在这里这样，分明是气我没娘的人，故意来形<br />
容我！”宝钗笑道：“妈妈，你瞧他这轻狂样儿，倒说我撒娇儿！”薛姨妈道：“也怨<br />
不得他伤心，可怜没父母，到底没个亲人。”又摩娑黛玉，笑道：“好孩子，别哭。<br />
你见我疼你姐姐，你伤心，你知我心里更疼你呢！你姐姐虽没了父亲，到底有我，<br />
有亲哥哥，这就比你强了。我常和你姐姐说，心里很疼你，只是外头不好带出来<br />
的。<br />
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==外国语言文学 UDDIN NIZAM 202121080007==<br />
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你这里人多嘴杂，说好话的人少，说歹话的人多：不说你无依靠，为人做人<br />
可配人疼；只说我们看老太太疼你了，我们也‘洑上水’去了。”黛玉笑道：“姨妈<br />
既这么说，我明日就认姨妈做娘，姨妈若是弃嫌，便是假意疼我。”薛姨妈道：<br />
“你不厌我，就认了。”宝钗忙道：“认不得的。”黛玉道：“怎么认不得？”宝钗笑<br />
道：“我且问你，我哥哥还没定亲事，为什么反将邢妹妹先说与我兄弟了？是什<br />
么道理？”黛玉道：“他不在家，或是属相生日不对，所以先说与兄弟了。”宝钗笑<br />
道：“不是这样。我哥哥已经相准了，只等来家就放定，也不必提出人来，我说<br />
你认不得娘，你细想去！”说着，便和他母亲挤眼儿发笑。<br />
<br />
==翻译学 SAGARA SEYDOU 201911080004 ==<br />
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<br />
黛玉听了，便一头伏在薛姨妈身上，说道：“姨妈不打他，我不依！”薛姨妈<br />
搂着他笑道：“你别信你姐姐的话，他是和玩你呢。”宝钗笑道：“真个妈妈明儿<br />
和老太太求了，聘作媳妇，岂不比外头寻的好？”黛玉便拢上来要抓他，口内笑<br />
说：“你越发疯了。”薛姨妈忙笑劝，用手分开方罢。又向宝钗道：“连邢女儿我<br />
还怕你哥哥遭踏了他，所以给你兄弟，别说这孩子，我也断不肯给他。前日老太<br />
太因要把你妹妹说给宝玉，偏生又有了人家；不然，倒是门子好亲事。前日我说定<br />
了邢姑娘，老太太还取笑说：‘我原要说他的人，谁知他的人没到手，倒被他说了<br />
我们一个去了。’</div>Li Yuanhttps://bou.de/u/index.php?title=20220519_culture&diff=14336920220519 culture2022-05-25T03:32:12Z<p>Li Yuan: /* 英语笔译 李颖 Li Ying 202170081578 */</p>
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<div>Quicklinks:[[Chinese Language and Culture 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Joint_translation_terms]]<br />
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[[20220519_culture|culture of session 13 for session 14 May 19]]<br />
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'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is <br />
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38 Opera: Peking Opera 52% 谢晓莹 Xie Xiaoying<br />
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41 Opera: Peking Opera Actor Mei Lanfang 50% 郑冬琴 Zheng Dongqin<br />
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42 Opera: Hunan Flower-drum Opera (Huagu Opera) 50% 熊嘉玲 Xiong Jia ling<br />
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'''Assignment 2''': '''Click here''' to answer the questions of the topics below <br />
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38 Opera: Peking Opera 52%<br />
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41 Opera: Peking Opera Actor Mei Lanfang 50% <br />
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42 Opera: Hunan Flower-drum Opera (Huagu Opera) 50% <br />
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Due before 4:30 pm May. 26<br />
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'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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Due before 6:00 pm May. 25<br />
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IN PREPARATION<br />
<br />
=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
<br />
Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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紫鹃进来看时，只见黛玉被窝又蹬下来，复又给他轻轻盖上。一宿晚景不提。次日，黛玉清早起来，也不叫人，独自一个，呆呆的坐着。紫鹃醒来，看见黛玉已起，便惊问道：“姑娘怎么这么早？”黛玉道：“可不是！睡得早，所以醒得早。”紫鹃连忙起来，叫醒雪雁，伺候梳洗。那黛玉对着镜子，只管呆呆的自看。看了一回，那泪珠儿断断连连，早已湿透了罗帕。正是：瘦影正临春水照，卿须怜我我怜卿。紫鹃在旁也不敢劝，只怕倒把闲话勾引旧恨来。迟了好一会，黛玉才随便梳洗了，那眼中泪渍，终是不干。又自坐了一会，叫紫鹃道：“你把藏香点上。”<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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紫鹃道：“姑娘，你睡也没睡得几时，如何点香？不是要写经？”黛玉点点头儿。紫鹃道：“姑娘今日醒得太早，这会子又写经，只怕太劳神了罢。”黛玉道：“不怕！早完了早好！况且我也并不是为经，倒借着写字解解闷儿。以后你们见了我的字迹，就算见了我的面儿了。”说着，那泪直流下来。紫鹃听了这话，不但不能再劝，连自己也掌不住滴下泪来。原来黛玉立定主意，自此以后，有意遭塌身子，茶饭无心，每日渐减下来。宝玉下学时，也常抽空问候。只是黛玉虽有万千言语，自知年纪已大，又不便似小时可以柔情挑逗，所以满腔心事，只是说不出来。<br />
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“You've slept only for a very short period of time, my ladyship. Why do you want incense? To copy more scriptures?” worried Nightingale. Mascara Jade nodded. “You woke up too early. If you want to copy scriptures now, I’m afraid it will drain your brains.” opposed Nightingale. “Put your mind at ease. I want to finish it as soon as possible. Besides, it’s not the scriptures I’m thinking about, but writing helps divert me from boredom. And later, when I'm not here anymore, seeing my calligraphy will be like seeing me again”. Comforted Mascara Jade, with tears streaming down her face. Knowing that she is not persuadable, Nightingale could not hold back her own tears any longer, too. Now that Mascara Jade had made up her mind to lavish her health, she ate less every day and gradually became emaciated. Precious Jade often took time off to visit her after school; although she was dying to pour out her inner emotion, now that they were no longer children she could hardly tease him playfully as before or express her constrained feelings straightly.<br />
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“You've slept only for a very short period of time, my ladyship. Why do you want incense? To copy more scriptures?” worried Nightingale. Mascara Jade nodded. “You woke up too early. If you want to copy scriptures now, I’m afraid it will drain your brains.” opposed Nightingale. “Put your mind at ease. I want to finish it as soon as possible. Besides, it’s not the scriptures I’m thinking about, but writing helps divert me from boredom. And later, when I'm not here anymore, seeing my calligraphy will be like seeing me again”. Comforted Mascara Jade, with tears streaming down her face. Knowing that she is not persuadable, Nightingale could not hold back her own tears any longer, too. Now that Mascara Jade had made up her mind to lavish her health, she ate less every day and gradually became emaciated. Precious Jade often took time off to visit her after school; although she was dying to pour out her inner emotion, now that they were no longer children she could hardly tease him playfully as before or express her constrained feelings straightly.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 15:34, 24 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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宝玉欲将实言安慰，又恐黛玉生嗔，反添病症。两个人见了面，只得用浮言劝慰，真真是”亲极反疏“了。那黛玉虽有贾母王夫人等怜恤，不过请医调治，只说黛玉常病，那里知他的心病？紫鹃等虽知其意，也不敢说。从此，一天一天的减。到半月之后，肠胃日薄一日，果然粥都不能吃了。黛玉日间听见的话，都似宝玉娶亲的话；看见怡红院中的人，无论上下，也像宝玉娶亲的光景。薛姨妈来看，黛玉不见宝钗，越发起疑心。索性不要人来看望，也不肯吃药，只要速死。睡梦之中，常听见有人叫“宝二奶奶”的。一片疑心，竟成蛇影。一日竟是绝粒，粥也不喝，恹恹一息，垂毙殆尽。<br />
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Precious Jade wanted to console her, yet he feared this might offend her and make her illness worse.When they met each other they could only express their concern in the most superficial way. Truly, theirs was a case of “devotion leading to alienation.”Grandma Merchant and Lady King were fond of Mascara Jade, simply called in doctors to attend her as she was so often ill, with no inkling that she was wasting away for love. And though Nightingale knew the truth, she dared not reveal it. So for a fortnight Mascara Jade ate daily less, till her appetite had so diminished that she could not even swallow a mouthful of congee. Any talk she heard she suspected concerned Precious Jade’s marriage. Anyone from Happy Red Court, whether master or maid, made her think of his impending marriage too. When Aunt Marshgrass called on her without Precious Hairpin, this made her still more suspicious. She even wished everyone would keep away, and refused to take any medicine in the hope of hastening her death. In her dreams, she kept hearing people refer to “Madam Precious Hairpin.” Suspicion poisoned her mind. And at last the day came when, refusing both rice and congee, she was at her last gasp and almost death’s door.<br />
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==英语笔译 崔晓凡 Cui Xiaofan 202170081566==<br />
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却说黛玉自立意自戕之后，渐渐不支，一日竟至绝粒。从前十几天内，贾母等轮流看望，他有时还说几句话；这两日索性不大言语。心里虽有时昏晕，却也有时清楚。贾母等见他这病不似无因而起，也将紫鹃雪雁盘问过两次。两个那里敢说？便是紫鹃欲向侍书打听消息，又怕越闹越真，黛玉更死得快了，所以见了侍书，毫不提起。那雪雁是他传话弄出这样缘故来，此时恨不得长出百十个嘴来说“我没说”，自然更不敢提起。到了这一天黛玉绝粒之日，紫鹃料无指望了，守着哭了会子，因出来偷向雪雁道：“你进屋里来，好好儿的守着他。我去回老太太、太太和二奶奶去。<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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今日这个光景，大非往常可比了。”雪雁答应，紫鹃自去。这里雪雁正在屋里伴着黛玉，见他昏昏沉沉，小孩子家那里见过这个样儿，只打谅如此便是死的光景了，心中又痛又怕，恨不得紫鹃一时回来才好。正怕着，只听窗外脚步走响，雪雁知是紫鹃回来，才放下心了，连忙站起来，掀着里间帘子等他。只见外面帘子响处，进来了一个人，却是侍书。那侍书是探春打发来看黛玉的，见雪雁在那里掀着帘子，便问道：“姑娘怎么样？”雪雁点点头儿，叫他进来。侍书跟进来，见紫鹃不在屋里，睄了睄黛玉，只剩得残喘微延，唬的惊疑不止，因问：“紫鹃姐姐呢？”雪雁道：“告诉上屋里去了。”<br />
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It's not what it used to be." Snowgoose promised, and Nightingale left. Here snow goose is in the house with Mascara Jade Forest, see him in a daze, children have seen such a look, I just think that is the scene of death, the heart of pain and fear, I wish Nightingale back for a while. As he was afraid, he heard the sound of footsteps outside the window. The snow goose knew it was Nightingale coming back, and he was relieved. He stood up and lifted the curtain between the inner room and waited for him. Outside the curtain rang, a man came in, but it was a page. Seeking-Spring Merchant had sent the servant to visit Mascara Jade Forest. Seeing the snow goose holding the curtains open, he asked, "How is the girl?" Snowgoose nodded and called him in. Book Server follow come in, see Nightingale is not in the house, Mascara Jade Forest, only have the remnants of breathing micro delay, frighten more than, because ask: "Nightingale elder sister?" The snow goose said, "Tell me to go to the house."<br />
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It's not what it used to be." Snowgoose promised, and Nightingale left. Here Snowgoose is in the house with Mascara Jade Forest, see him in a daze, children have seen such a look, I just think that is the scene of death, the heart of pain and fear, I wish Nightingale back for a while. As he was afraid, he heard the sound of footsteps outside the window. Snowgoose knew it was Nightingale coming back, and he was relieved. He stood up and lifted the curtain between the inner room and waited for him. Outside the curtain rang, a man came in, but it was a page. Seeking Spring Merchant had sent the servant to visit Mascara Jade Forest. Seeing the Snowgoose holding the curtains open, he asked, "How is the girl?" Snowgoose nodded and called him in. Book Server follow come in, see Nightingale is not in the house, Mascara Jade Forest, only have the remnants of breathing micro delay, frighten more than, because ask: "Nightingale elder sister?" Snowgoose said, "Tell me to go to the house."--[[User:Gao Zhihui|Gao Zhihui]] ([[User talk:Gao Zhihui|talk]]) 02:43, 25 May 2022 (UTC)<br />
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==英语笔译 高智慧 Gao Zhihui 202170081568==<br />
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那雪雁此时只打谅黛玉心中一无所知了，又见紫鹃不在面前，因悄悄的拉了侍书的手问道：“你前日告诉我说的什么王大爷给这里宝二爷说了亲，是真话么？”侍书道：“怎么不真！”雪雁道：“多早晚放定的？”侍书道：“那里就放定了呢？那一天我告诉你时，是我听见小红说的。后来我到二奶奶那边去，二奶奶正和平姐姐说呢，道：‘那都是门客们借着这个事讨老爷的喜欢，往后好拉拢的意思。别说大太太说不好，就是大太太愿意，说那姑娘好，那大太太眼里看的出什么人来？再者，老太太心里早有了人了，就在咱们园子里的，大太太那里摸的着底呢？老太太不过因老爷的话，不得不问问罢咧。’<br />
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Snowgoose decided to take advantage of Nightingale’s absence to question Scribe. Taking her by the hand, she asked in a whisper: ‘Did you really mean what you said the other day about Mr Wang, and Master Bao’s betrothal?’ ‘Of course I did!’ replied Scribe. ‘When was it settled?’ ‘I never said it was! What I told you was just what I’d heard from Crimson. Later I was at Mrs Lian’s myself, and heard her say to Patience that the whole thing was something the Master’s literary gentlemen had thought up, to please him and provide themselves with a connection. As it happened Lady Xing didn’t even think it a good match. But even if she had approved, everyone knows how unreliable her judgement is. Besides, Her Old Ladyship already has someone else in mind for Master Bao, someone here in the Garden. Lady Xing had no idea of that, of course, and Her Old Ladyship only allowed them to go ahead with the normal inquiries for the Master’s sake.<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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又听见二奶奶说：‘宝玉的事，老太太总是要亲上作亲的，凭谁来说亲，横竖不中用。’”雪雁听到这里，也忘了神了，因说道：“这是怎么说！白白的送了我们这一位的命了！”侍书道：“这是从那里说起？”雪雁道：“你还不知道呢！前日都是我和紫鹃姐姐说来着，这一位听见了，就弄到这步田地了。”侍书道：“你悄悄儿的说罢，看仔细他听见了。”雪雁道：“人事都不省了，睄睄罢，左不过在这一两天了。”正说着，只见紫鹃掀帘进来说：“这还了得！你们有什么话，还不出去说，还在这里说！索性逼死他就完了。”侍书道：“我不信有这样奇事。”<br />
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"Then I heard the second madam Phoenix said, 'As for Precious Jade, the old lady is bound to choose a relative to be his wife. There's no other possibility no matter who wants to act as a matchmaker. '" When Snowgoose heard this, she also forgot herself and said, "Why? Our young lady’s dying for no reason!" "What do you mean?" Snowgoose said, "You don't know yet! It was me and sister Nightingale who talked about it the other day. She overheard about it, and that's why she's becoming increasingly depressed." Book Server said, "Speak quietly, in case she will hear you." Snowgoose replied, "She is unconscious and can hardly last for more than one or two days." Just then, Nightingale lifted the curtain and said, "What are you doing! What do you have to say here? Just go out and say anything you like. Or you're simply forcing her to die!" "I don't believe in such things," said Book Server.<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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紫鹃道：“好姐姐，不是我说，你又该恼了。你懂得什么呢！懂得也不传这些舌了。”这里三个人正说着，只听黛玉忽然又嗽了一声，紫鹃连忙跑到炕沿前站着，侍书雪雁也都不言语了。紫鹃弯着腰，在黛玉身后轻轻问道：“姑娘，喝口水罢？”黛玉微微答应了一声。雪雁连忙倒了半钟滚白水，紫鹃接了托着，侍书也走近前来。紫鹃和他摇头儿，不叫他说话，侍书只得咽住了。站了一回，黛玉又嗽了一声。紫鹃趁势问道：“姑娘，喝水呀？”黛玉又微微应了一声，那头似有欲抬之意，那里抬得起？紫鹃爬上炕去，爬在黛玉旁边，端着水，试了冷热，送到唇边，扶了黛玉的头，就到碗边，喝了一口。<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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紫鹃才要拿时，黛玉意思还要喝一口，紫鹃便托着那碗不动。黛玉又喝了一口，摇摇头儿，不喝了。喘了一口气，仍旧躺下。半日，微微睁眼，说道：“刚才说话不是侍书么？”紫鹃答应道：“是。”侍书尚未出去，因连忙过来问候。黛玉睁眼看了，点点头儿，又歇了一歇，说道：“回去问你姑娘好罢。”侍书见这番光景，只当黛玉嫌烦，只得悄悄的退出去了。原来那黛玉虽则病势沉重，心里却还明白。起先侍书雪雁说话时，他也模糊听见了一半句，却只作不知，也因实无精神答理。及听了雪雁侍书的话，才明白过前头的事情原是议而未成的。<br />
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As Mascara Jade was eager for more water, instead of removing the cup Nightingale held it there so she took another sip. Then Mascara Jade shook her head, meaning it's enough, and lay down again with a sigh. After a while, opening her eyes slightly, she asked: "Was that Book Server?" "Yes," said Nightingale. Book Server had not left, hurriedly came over to greet her. Mascara Jade opened her eyes and nodded to her. Taking a short break, she said, "When you return home, extend my regards to your mistress." Guessing that Mascara Jade wanted to rest alone, Book Server sneaked out. Now Mascara Jade was seriously ill but she had been clear in her mind. She had heard a sentence vaguely but she pretended to know nothing about it, owing to her weakness. From what she overheard she realized that the match proposed had not been agreed to.<br />
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As Mascara Jade was eager for more water, instead of removing the cup Nightingale held it there while she took another sip. Then Mascara Jade shook her head, meaning it's enough, and lay down again with a sigh. After a while, opening her eyes slightly, she asked: "Was that Book Server talking just now?" "Yes, miss." said Nightingale. Book Server, who had not yet left, hurriedly came over to greet her. Mascara Jade opened her eyes and nodded to her. After taking a short break, she said, "When you return home, extend my regards to your mistress." Guessing that Mascara Jade wanted to rest alone, Book Server sneaked out. Now Mascara Jade was seriously ill but she had been clear in her mind. She had heard a sentence vaguely from Book Server and Nightingale, but she pretended to know nothing about it, owing partly to sheer weakness. From what she overheard she realized that the match proposed had not been agreed to.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 03:12, 25 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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又兼侍书说是凤姐说的，老太太的主意，亲上作亲，又是园中住着的，非自己而谁？因此一想，阴极阳生，心神顿觉清爽许多，所以才喝了两口水，又要想问侍书的话。恰好贾母、王夫人、李纨、凤姐听见紫鹃之言都赶着来看。黛玉心中疑团已破，自然不似先前寻死之意了。虽身体软弱，精神短少，却也勉强答应一两句了。凤姐因叫过紫鹃，问道：“姑娘也不至这样。这是怎么说，你这样唬人。”紫鹃道：“实在头里看着不好，才敢去告诉的。回来见姑娘竟好了许多，也就怪了。”贾母笑道：“你也别怪他。他懂得什么？看见不好就言语，这倒是他明白的地方。小孩子家不嘴懒脚懒就好。”<br />
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And then Book Server had quoted Splendid Phoenix as saying that Grandma Merchant intended to marry Precious Jade to one of his relatives from the girls in the Garden. But who could that be if not her? At this thought, her despair gave way to joy and her mind became clearer too. Therefore, she drank some water and even wanted to question Book Server. Just then the old lady arrived with Lady King, Silk Plum and Splendid Phoenix who had hurried over after hearing Nightingale's report. Mascara Jade, her fears set at rest now, naturally no longer wanted to die. Though still weak and low in spirits, she managed to in reply to their inquiries briefly. Seeing this, Splendid Phoenix called Nightingale over and asked her. "Your young lady's not in such a bad way after all. What do you mean by frightening us like that?" "Honestly, she really looked bad," replied Nightingale. "Otherwise I wouldn't have dared to brother you. But now, coming back, I'm quite amazed to find her so much better." "Don't take what she says so seriously. What does she understand?" said Grandma Merchant with a smile. "When something's wrong, it shows good sense to report it. I like a girl who's not too lazy to say a word or do anything."<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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说了一回，贾母等料着无妨，也就去了。正是：心病终须心药治，解铃还是系铃人。不言黛玉病渐减退。且说雪雁紫鹃背地里都念佛。雪雁向紫鹃说道：“亏他好了，只是病的奇怪，好的也奇怪。”紫鹃道：“病的倒不怪，就只好的奇怪。想来宝玉和姑娘必是姻缘，人家说的：‘好事多磨。’又说道：‘是姻缘棒打不回’。这样看起来，人心天意，他们两个竟是天配的了。再者，你想那一年，我说了林姑娘要回南去，把宝玉没急死了，闹得家翻宅乱；如今一句话又把这一个弄得死去活来：可不说的‘三生石上’百年前结下的么？”说着，两个悄悄的抿着嘴笑了一回。<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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雪雁又道：“幸亏好了！咱们明儿再别说了，就是宝玉娶了别的人家儿的姑娘，我亲见他在那里结亲，我也再不露一句话了。”紫鹃笑道：“这就是了。”不但紫鹃和雪雁在私下里讲究，就是众人也都知道黛玉的病也病得奇怪，好也好得奇怪，三三两两，唧唧哝哝议论着。不多几时，连凤姐儿也知道了，邢王二夫人也有些疑惑，倒是贾母略猜着了八九。那时正值邢王二夫人、凤姐等在贾母房中说闲话，说起黛玉的病来。贾母道：“我正要告诉你们，宝玉和林丫头是从小儿在一处的，我只说小孩子们，怕什么？以后时常听得林丫头忽然病，忽然好，都为有了些知觉了。<br />
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Snowgoose said again: "Fortunately, Mascara Jade Forest recovers from her illness! Let's not talk about it afterward. Even if I saw Precious Jade Merchant married a girl from another family, I won't say a word again." Nightingale smiled, "That's right." Not only did Nightingale and Snowgoose talk about it in private, but everyone thought that Mascara Jade Forest got ill and recovered from illness strangely, people gathered in groups muttering about it. After a while, even Splendid Phoenix King knew it, Lady City and Lady King also had some doubts, but Grandma Merchant probably had guessed the reason. At that time, Lady City and Lady King were gossiping with Splendid Phoenix King in Grandma Merchant's room and talking about Mascara Jade Forest's illness. Grandma Merchant said, "I was just about to tell you that Precious Jade and Mascara Jade Forest have been together since childhood. I just want to say that children don't need to be afraid? From then on, I often heard that Mascara Jade Forest often fell ill and got better unexpectedly, all that because she became conscious again." --[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 14:20, 24 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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所以我想他们若尽着搁在一块儿，毕竟不成体统。你们怎么说？”王夫人听了，便呆了一呆，只得答应道：“林姑娘是个有心计儿的。至于宝玉，呆头呆恼，不避嫌疑是有的。看起外面，却还都是个小孩儿形像。此时若忽然或把那一个分出园外，不是倒露了什么痕迹了么。古来说的：‘男大须婚，女大须嫁。’老太太想，倒是赶着把他们的事办办也罢了。”贾母皱了一皱眉，说道：“林丫头的乖僻，虽也是他的好处，我的心里不把林丫头配他，也是为这点子；况且林丫头这样虚弱，恐不是有寿的。只有宝丫头最妥。”<br />
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I think it's inappropriate to keep the two of them together all the time. What do you think? Lady King was stunned for a while, and replied, "Mascara Jade Forest is a scheming person. Precious Jade Merchant, on the other hand, was dumbfounded and did not shy away from staying with him. Both of them looked like children in appearance. But wouldn't it be too deliberate to let the two of them live in different places at this time? As the old saying goes: 'Both men and women need to get married when they are grown-ups.' I think you can consider about marriage for the two of them. "Grandma Merchant frowned and said, "Mascara Jade Forest has an eccentric personality. Although this is also her strength, I think it is also because of this that he doesn’t deserve Precious Jade Merchant." Moreover, Mascara Jade Forest is frail and may not live long, while Precious Jade Merchant is healthy. ”--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 12:38, 24 May 2022 (UTC)<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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王夫人道：“不但老太太这么想，我们也是这样。但林姑娘也得给他说了人家儿才好。不然，女孩儿家长大了，那个没有心事？倘或真与宝玉有些私心，若知道宝玉定下宝丫头，那倒不成事了。”贾母道：“自然先给宝玉娶了亲，然后给林丫头说人家。再没有先是外人、后是自己的。况且林丫头年纪到底比宝玉小两岁。依你们这样说，倒是宝玉定亲的话，不许叫他知道倒罢了。”凤姐便吩咐众丫头们道：“你们听见了？宝二爷定亲的话，不许混吵嚷；若有多嘴的，提防着他的皮！”贾母又向凤姐道：“凤哥儿，你如今自从身上不大好，也不大管园里的事了。我告诉你，须得经点儿心。<br />
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Lady King said, "Not only the Old Lady thinks so, but so do we. But we must arrange a marriage for Mascara Jade too. Otherwise, A growing girl is bound to have some secrets her heart. If she really has some affairs with Precious Jade and hears that he’s engaged to Precious Hairpin, we’re going to have a problem on our hands." Grandma Merchant said, "Naturally, we should arrange a marriage for Precious Jade first, and then arrange for Mascara Jade. Who ever heard of arranging a marriage for someone else’s child before one’s own? Besides, Mascara Jade is two years younger than Precious Jade. Still, there’s truth in what you said, so Precious Jade's engagement must not be made known to him." Sister Phoenix then commanded the maids: "Did you hear that? Mind you don’t gossip about Master Precious’s engagement. If anyone talks, she should be careful to be punished!" Grandma Merchant said to Sister Phoenix: "Sister Phoenix, since you are ill now, and do not take care of what goes on in the Garden. I'm telling you, you have to be careful.<br />
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"Not only the Old Lady thinks so, but so do we,"Lady King said, "But we must arrange a marriage for Mascara Jade too. Otherwise, A growing girl is bound to have some secrets her heart. If she really has some affairs with Precious Jade and hears that he’s engaged to Precious Hairpin, we’re going to have a problem on our hands." Grandma Merchant said, "Naturally, we should arrange a marriage for Precious Jade first, and then arrange for Mascara Jade. Who ever heard of arranging a marriage for someone else’s child before one’s own? Besides, Mascara Jade is two years younger than Precious Jade. Still, there’s truth in what you said, so Precious Jade's engagement must not be made known to him." Sister Phoenix then commanded the maids: "Did you hear that? Mind you don’t gossip about Master Precious’s engagement. If anyone talks, she should be careful to be punished!" Grandma Merchant said to Sister Phoenix: "Sister Phoenix, since you are ill now, and do not take care of what goes on in the Garden. I'm telling you, you have to be careful.<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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不但这个，就像前年那些人喝酒耍钱，都不是事。你还精细些，少不得多分点心儿，严紧严紧他们才好。况且我看他们也就只还服你。”凤姐答应了。娘儿们又说了一回话，方各自散了。从此，凤姐常到园中照料。一日，刚走进大观园，到了紫菱洲畔，只听见一个老婆子在那里嚷。凤姐走到跟前，那婆子才瞧见了，早垂手侍立，口里请了安。凤姐道：“你在这里闹什么？”婆子道：“蒙奶奶们派我在这里看守花果，我也没有差错，不料邢姑娘的丫头说我们是贼。”凤姐道：“为什么呢？”婆子道：“昨儿我们家的黑儿跟着我到这里顽了一回，他不知道，又往邢姑娘那边去瞧了一瞧，我就叫他回去了。<br />
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Not only this, but also things just like the year before those servants were drinking and gambling are disgraceful.You observed careful than the rest of us, so we are bond to keep them under stricter control.They are just obedient to you."Sister Splendid acquiesced.And after a little talk, they dispersed.From then on, Sister Splendid often went to the check up the garden.One day, just as she entered in, she heard an old woman at Purple Water Chestnut Island speaking loudly. When Xi-feng came up to her, the old woman caught sight of her and stood by her side with her hands down. She greeted her respects, and Xi-feng said:"What are you arguing for?" The old woman said:"The Grainy Meng put me in charge of the flower and fruits here.I haven't made any mistakes, yet Lady King accused me were thieves!" "Why?"Sister Splendid said."My son followed me come here to play yesterday, he was unfamiliar with here, and he had a look at Lady King, then I let him come back home."<br />
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Apart from this, just like the year before those servants who drank and gambled were disgraceful.You observe more carefully than the rest of us, so we are bond to keep them under stricter control. They are just obedient to you" Sister Splendid acquiesced. And after a little talk, they dispersed. From then on, Sister Splendid often went to check up the Garden. One day, just as she entered there, she heard an old woman at Purple Water Chestnut Island speaking loudly. When she came up to her, the old woman caught sight of her and stood by her side with her hands down. She greeted her for respect, and Sister Splendid said: "What are you arguing for?" The old woman said: "The Grainy Meng put me in charge of the flowers and fruits here.I haven't made any mistakes, but the maid of Lady City accused me of being a thief!" "Why?" Sister Splendid asked."My son followed me here to play yesterday, but he was unfamiliar with here. He had a look at Lady City's place, and then I let him come back home," that woman replied.--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 03:32, 25 May 2022 (UTC)<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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今儿早起，听见他们丫头说，丢了东西了。我问他丢了什么，他就问起我来了。”凤姐道：“问了你一声，也犯不着生气呀。”婆子道：“这里园子，到底是奶奶家里的，并不是他们家里的。我们都是奶奶派的，贼名儿怎么敢认呢？”凤姐照脸啐了一口，厉声道：“你少在我跟前唠唠叨叨的！你在这里照看，姑娘丢了东西，你们就该问哪，怎么说出这些没道理的话来？把老林叫了来，撵出他去。”丫头们答应了。只见邢岫烟赶忙出来，迎着凤姐陪笑道：“这使不得，没有的事，事情早过去了。”凤姐道：“姑娘，不是这个话。倒不讲事情，这名分上太岂有此理了。”<br />
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Early this morning, I heard their maid say that they lost something. Then, I asked what it was, and she began to ask me about that," she said. "You don't need to be angry about their asking," Sister Phoenix said. "This Garden belongs to the Lady's family, not to hers. We serve the Lady, so how dare I admit the slander of being a thief?" the old woman said. Sister Phoenix spat at her face and spoke to her with a harsh tone. "Stop your nonsense! You take care of this place, so you should be responsible for that if the mistress lost something. How could you say something like this? Call Old Forest to send her out," she said. At this moment, Cave Cloud City came out in a hurry. "There is no need to do this. It's nothing, and it's gone," she said to Sister Phoenix with smile. "Mistress. it's not this case. Put this thing away for a moment, and the servants need to know their place," Sister Phoenix said.<br />
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==英语笔译 李梓婕 Li Zijie 202170081580==<br />
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岫烟见婆子跪在地下告饶，便忙请凤姐到里边去坐。凤姐道：“他们这种人，我知道他，除了我，其余都没上没下的了。”岫烟再三替他讨饶，只说自己的丫头不好。凤姐道：“我看着邢姑娘的分上，饶你这一次。”婆子才起来磕了头，又给岫烟磕了头，才出去了。这里二人让了坐，凤姐笑问道：“你丢了什么东西了？”岫烟笑道：“没有什么要紧的，是一件红小袄儿，已经旧了的。我原叫他们找，找不着就罢了。这小丫头不懂事，问了那婆子一声，那婆子自然不依了。这都是小丫头糊涂不懂事，我也骂了几句。已经过去了，不必再提了。”<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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凤姐把岫烟内外一瞧，看见虽有些皮绵衣服，已是半新不旧的，未必能暖和，他的被窝多半是薄的。至于房中桌上摆设的东西，就是老太太拿来的，却一些不动，收拾的干干净净。凤姐心上便狠爱敬他，说道：“一件衣服，原不要紧。这时候冷，又是贴身的，怎么就不问一声儿呢？这撒野的奴才，了不得了！”说了一回，凤姐出来，各处去坐了一坐，就回去了。到了自己房中，叫平儿取了一件大红洋绉的小袄儿，一件松花色绫子一抖珠儿的小皮袄，一条宝蓝盘锦镶花绵裙，一件佛青银鼠褂子，包好叫人送去。那时岫烟被那老婆子聒噪了一场，虽有凤姐来压住，心上终是不安。<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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想起“许多姐妹们在这里，没有一个下人敢得罪他的，独自我这里，他们言三语四，刚刚凤姐来碰见”。想来想去，终是没意思，又说不出来。正在吞声饮泣，看见凤姐那边的丰儿送衣服过来。岫烟一看，决不肯受。丰儿道：“奶奶吩咐我说：‘姑娘要嫌是旧衣裳，将来送新的来。’”岫烟笑谢道：“承奶奶的好意。只是因我丢了衣服，他就拿来，我断不敢受。拿回去，千万谢你们奶奶！承你奶奶的情，我算领了。”倒拿个荷包给了丰儿，那丰儿只得拿了去了。不多时，又见平儿同着丰儿过来，岫烟忙迎着问了好，让了坐。平儿笑说道：“我们奶奶说：姑娘特外道的了不得！”<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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岫烟道：“不是外道，实在不过意。”平儿道：“奶奶说，姑娘要不收这衣裳，不是嫌太旧，就是瞧不起我们奶奶。刚才说了：我要拿回去，奶奶不依我呢。”岫烟红着脸笑谢道：“这样说了，叫我不敢不收。”又让了一回茶。平儿同丰儿回去，将到凤姐那边，碰见薛家差来的一个老婆子，接着问好。平儿便问道：“你那里来的？”婆子道：“那边太太、姑娘叫我来请各位太太、奶奶、姑娘们的安。我才刚在奶奶前问起姑娘来，说姑娘到园中去了。可是从邢姑娘那里来么？”平儿道：“你怎么知道？”婆子道：“方才听见说，真真的二奶奶和姑娘们的行事叫人感念！”<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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平儿笑了一笑说：“你回来坐着罢。”婆子道：“我还有事，改日再过来瞧姑娘罢。”说着走了。平儿回来，回复了凤姐。不在话下。且说薛姨妈家中被金桂搅得翻江倒海，看见婆子回来，说起岫烟的事，宝钗母女二人不免滴下泪来。宝钗道：“都为哥哥不在家，所以叫邢姑娘多吃几天苦。如今还亏凤姐姐不错。咱们底下也得留心，到底是咱们家里人。”说着，只见薛蝌进来说道：“大哥哥这几年在外头相与的都是些什么人！连一个正经的也没有，来一起子，都是些狐群狗党。我看他们那里是不放心，不过将来探探消息儿罢咧。这两天都被我赶出去了。以后吩咐了门上，不许传进这种人来。”<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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薛姨妈道：“又是蒋玉菡那些人哪？”薛蝌道：“蒋玉菡却倒没来，倒是别人。”薛姨妈听了薛蝌的话，不觉又伤心起来，说道：“我虽有儿，如今就像没有的了。就是上司准了，也是个废人。你虽是我侄儿，我看你还比你哥哥明白些，我这后辈子全靠你了。你自己从今更要学好。再者，你聘下的媳妇儿，家道不比往时了。人家的女孩儿出门子不是容易，再没别的想头，只盼着女婿能干，他就有日子过了。若邢丫头也像这个东西……”说着，把手往里头一指，道：“我也不说了。邢丫头实在是个有廉耻有心计儿的，又守得贫，耐得富。<br />
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“Are they Jiang Yuhan’s lot?” asked Aunt Marshgrass.“No, Jiang Yuhan hasn’t come. These are some others.” Dragon Marshgrass’s outburst had further lowered Aunt Marshgrass’s spirits.“Though I have a son, it’s as if I had none,” she sighed. “Even if the authorities let him off, he’ll be useless. Though you’re my nephew, and not so close, I can see that you have more sense than Pan and will be my only prop in my old age. It’s up to you to make a success of your life. Especially as the family of your betrothed isn’t as well off as before. It’s hard for a girl to leave home and get married, and all she hopes for is an able husband who will provide for her. If Tadpole Marshgrass were like that creature....”—she pointed towards the inner rooms— “well, enough said! But Tadpole is truly modest, sensible too. She can put up with poverty, and wealth wouldn’t spoil her either.<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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只是等咱们的事过去了，早些儿把你们的正经事完结了，也了我一宗心事。”薛蝌道：“琴妹妹还没有出门子，这倒是太太烦心的一件事。至于这个，可算什么呢。”大家又说了一回闲话，薛蝌回到自己房中，吃了晚饭，，终是寄人篱下；况且又穷，日用起居不想可知。况兼当初一路同来，模样儿，性格儿，都知道的。可知天意不均：如夏金桂这种人，偏叫他有钱，娇养得这般泼辣；邢岫烟这种人，偏叫他这样受苦。阎王判命的时候，不知如何判法的？想到闷来，也想吟诗一首，写出来出出胸中的闷气，又苦自己没有工夫，只得混写道：<br />
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Once this trouble blows over we must hurry up and arrange your wedding, and that will be one less thing on my mind.” “Don't forget that Bao-qin is still waiting to be married,” Xue Ke reminded his aunt. “As for mine, don't worry about it.” After some more talk Xue Ke went back to his room for supper. He thought to himself, “Xiuyan's living in the Jias' Garden as a dependent, and being a poor relation she must be having a thin time of it. As we travelled here together, I know her character and what she's like. Heaven is really unjust, giving a spoilt bitch like Xia Jingui money while a girl like Xiuyan is so badly off. What was in the mind of the Great Arbiter Yama when he made such a dispensation? He wanted to write a poem to vent his frustration, but as he had no training in versification he could only pen the following doggerel:<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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蛟龙失水似枯鱼，两地情怀感索--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 14:30, 24 May 2022 (UTC)居。同在泥涂多受苦，不知何日向清虚。写毕，看了一回，意欲拿来粘在壁上，又不好意思，自己沉吟道：“不要被人看见笑话。”又念了一遍，道：“管他呢，左右粘上自己看着解闷儿罢。”又看了一回，到底不好，拿来夹在书里。又想：“自己年纪可也不小了，家中又碰见这样飞灾横祸，不知何日了局。致使幽闺弱质，弄得这般凄凉寂寞。正在那里想时，只见宝蟾推进门来，拿着一个盒子，笑嘻嘻放在桌上。薛蝌站起来让坐。宝蟾笑着向薛蝌道：“这是四碟果子，一小壶儿酒：大奶奶叫给二爷送来的。”<br />
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A dragon stranded, a fish high and dry; Apart we think of each other, you and I. In mud and slime our bitter days are passed; When will we find clear water at long last? This written, he read it through and was tempted to paste it on the wall but diffidently told himself, “I don’t want people seeing it to laugh at me.” After a second reading he thought, “Never mind! I may as well paste it up for my own amusement.” Reading it once more, however, he decided it really was no good and put it between the pages of a book. “I’m no longer a boy,” he mused, “but now our family’s run into this bad trouble and there’s no knowing when it will blow over. It’s keeping that sweet, gentle girl so sad and lonely!” His reflections were cut short by the arrival of Precious Toad with a hamper which she put on the table, smiling. Tadpole Marshgrass got up and invited her to be seated. “Here are four dishes of sweetmeats and one small pot of wine,” she announced archly. “My mistress told me to bring them to you.”<br />
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A dragon stranded, a fish high and dry; Apart we think of each other, you and I. In mud and slime our bitter days are passed; When will we find clear water at long last? This written, he read it through and was tempted to paste it on the wall but diffidently told himself, “I don’t want people seeing it to laugh at me.” After a second reading he thought, “Never mind! I may as well paste it up for my own amusement.” Reading it once more, however, he decided it really was no good and put it between the pages of a book. “I’m no longer a boy,” he mused, “but now our family’s run into this bad trouble and there’s no knowing when it will blow over. It’s keeping that sweet, gentle girl so sad and lonely!” His reflections were cut short by the arrival of Precious Toad with a hamper which she put on the table, smiling. Tadpole Marshgrass got up and invited her to be seated. “Here are four dishes of sweetmeats and one small pot of wine,” she announced archly. “My mistress told me to bring them to you.”--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 14:30, 24 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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薛蝌陪笑道：“大奶奶费心！但是叫小丫头们送来就完了，怎么又劳动姐姐呢？”宝蟾道：“好说。自家人，二爷何必说这些套话？再者，我们大爷这件事，实在叫二爷操心，大奶奶久已要亲自弄点什么儿谢二爷，又怕别人多心。二爷是知道的，咱们家里都是言合意不合，送点子东西没要紧，倒没的惹人七嘴八舌的讲究。所以今日些微的弄了一两样果子，一壶酒，叫我亲自悄悄儿的送来。”说着，又笑瞅了薛蝌一眼，道：“明儿二爷再别说这些话，叫人听着怪不好意思的。我们不过也是底下的人；伏侍的着大爷，就伏侍的着二爷，这有何妨呢？”<br />
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“It's most kind of her,” replied Ke,but surely she could have sent one of the younger maids?#2 She didn't need to bother you, Miss Moonbeam.”"We're one family, so why stand on ceremony?Besides, you've put yourself out so much over Master Pan's business, our mistress has long been wanting to show her appreciation, but she was afraid people might suspect her motives.You know how it is in our family — all sweet talk hiding inward disagreement. It shouldn't matter sending you a small present, but it might give rise to a whole lot of gossip.So today she simply prepared a couple of dishes and a pot of wine and told me to bring them to you secretly.”She glanced at him with a meaningful smile and added. “You mustn't talk in that formal way again, sir, or you'll embarrass me.She glanced at him with a meaningful smile and added. “You mustn't talk in that formal way again, sir, or you'll embarrass me. We are only here to serve, and if we can serve Mr Pan, then why not you as well?”<br />
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==英语笔译 龙翰良 Long Hanliang 202170081589==<br />
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薛蝌一则秉性忠厚，二则到底年轻，只是向来不见金桂和宝蟾如此相待，心中想到刚才宝蟾说为薛蟠之事，也是情理，因说道：“果子留下罢，这个酒儿，姐姐只管拿回去。我向来的酒上实在狠有限，挤住了，偶然喝一钟；平日无事，是不能喝的。难道大奶奶和姐姐还不知道么？”宝蟾道：“别的我作得主，独这一件事，我可不敢应。大奶奶的脾气儿，二爷是知道的：我拿回去，不说二爷不喝，倒要说我不尽心了。”薛蝌没法，只得留下。宝蟾方才要走，又到门口往外看看，回过头来向着薛蟾一笑；又用手指着里面说道：“他还只怕要来亲自给你道乏呢。”<br />
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Tadpole Marshgrass was a simple, honest young fellow. He had never been treated like this by Goldish Osmanthus and Precious Toad before; yet as the latter said it was to thank him for helping Dragon Marshgrass, this seemed to him quite natural. “Leave the dishes, sister,” he said. “But please take back the wine. I really can’t drink much, just a cup occasionally when I’m forced to, but ordinarily I never drink. Surely your mistress and you knew that?” “I can use my own discretion in other matters,” she replied, “but I can’t obey you in this. You know what our mistress is like. If I took it back, she wouldn’t think it’s because you don’t drink but because I’d been remiss.” So Tadpole Marshgrass had to let her leave the wine. Then Precious Toad went to the door and peeped outside. Turning back to smile at him, she pointed towards the inner rooms. “I dare say he’ll be coming herself to thank you,” she said.<br />
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==英语笔译 罗姚林 Luo Yaolin 202170081590==<br />
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薛蝌不知何意，反倒讪讪的起来，因说道：“姐姐替我谢大奶奶罢。天气寒，看凉着。再者，自己叔嫂也不必拘这些个礼。”宝蟾也不答言，笑着走了。薛蝌始而以为金桂为薛蟠之事，或者真是不过意，备此酒果给自己道乏，也是有的。及见了宝蟾这种鬼鬼祟祟、不尴不尬的光景，也觉了几分，却自己回心一想：“他到底是嫂子的名分，那里就有别的讲究了呢？或者宝蟾不老成，自己不好意思怎么样，却指着金桂的名儿，也未可知。然而到底是哥哥的屋里人，也不好……”忽又一转念：“那金桂素性为人，毫无闺阁理法，况且有时高兴，打扮得妖调非常，自以为美，又焉知不是怀着坏心呢？<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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不然，就是他和琴妹妹也有了什么不对的地方儿，所以设下这个毒法儿，要把我拉在浑水里，弄一个不清不白的名儿，也未可知。”想到这里，索性倒怕起来。正在不得主意的时候，忽听窗外“噗哧”的笑了一声，把薛蝌倒唬了一跳。话说薛蝌正在狐疑，忽听窗外一笑，唬了一跳，心中想道：“不是宝蟾，定是金桂。只不理他们，看他们有什么法儿。”听了半日，却又寂然无声。自己也不敢吃那酒果，掩上房门，刚要脱衣时，只听见窗纸上微微一响。薛蝌此时被宝蟾鬼混了一阵，心中七上八下，竟不知是如何是好，听见窗纸微响，细看时又无动静，自己反倒疑心起来，掩了怀，坐在灯前，呆呆的细想；<br />
Otherwise， there would be something wrong between Goldish Osmanthus and Precious Strings, so it would be impossible to know if he set up this poisonous method to drag me into muddy waters and damage my reputation. " When he thought of this, he just got scared. When he was out of his mind, he suddenly heard a giggle outside the window which took him aback. When Tadpole Marshgrass was suspicious, he suddenly listened to a smile outside the window and jumped, thinking to himself, "If it's not Precious Toad, it must be Goldish Osmanthus. Just ignore them and see what they can do. " Tadpole Marshgrass listened for a long time, but it was silent again. <br />
He dared not eat the wine and closed the door. When he was about to undress, he only heard a slight sound on the window paper. Tadpole Marshgrass was fooled around by the Precious Toad for a while. He was so upset that he didn't know what to do. He heard the window paper rattling slightly. However, when he looked at it, there was no movement. Instead, he became suspicious, sat in front of the lamp, and thought blankly with tight clothes.<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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又把那果子拿了一块，翻来覆去的细看。猛回头，看见窗上纸湿了一块。走过来觑着眼看时，冷不防外面往里一吹，把薛蝌唬了一大跳。听得“吱吱”的笑声，薛蝌连忙把灯吹灭了，屏息而卧。只听外面一个人说道：“二爷为什么不喝酒吃果子，就睡了？”这句话仍是宝蟾的语音，薛蝌只不作声装睡。又隔有两句话时，又听得外面似有恨声道：“天下那里有这样没造化的人！”薛蝌听了是宝蟾，又似是金桂的语音，这才知道他们原来是这一番意思。翻来覆去，直到五更后才睡着了。刚到天明，早有人来扣门。薛蝌忙问：“是谁？”外面也不答应。<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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薛蝌只得起来，开了门看时，却是宝蟾，拢着头发，掩着怀，穿一件片锦边琵琶襟小紧身，上面系一条松花绿半新的汗巾，下面并未穿裙，正露着石榴红洒花夹裤，一双新绣红鞋。原来宝蟾尚未梳洗，恐怕人见，赶早来取家伙。薛蝌见他这样打扮便走进来，心中又是一动，只得陪笑问道：“怎么这样早就起来了？”宝蟾把脸红着，并不答言，只管把果子折在一个碟子里，端着就走。薛蝌见他这般，知是昨晚的原故，心里想道：“这也罢了。倒是他们恼了，索性死了心，也省得来缠。”于是把心放下，唤人舀水洗脸，自己打算在家里静坐两天，一则养养心神，二则出去怕人找他。<br />
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Tadpole Marshgrass had no alternative but to get up to open the door, only to find Precious Toad standing in front of him. With hair pulled back and upper garment unbuttoned, Precious Toad was dressed in a straight-jacket adorned with Biwa collar and brocades, on top of this straight-jacket was attached with a nearly-new green handkerchief. Besides, she wore no skirt but a pair of garnet pants embroidered with flowers and new red embroidered shoes. It turned out that she had not freshened up yet, and being afraid of being encountered with others, she just fetched things as early as possible. It hit Tadpole Marshgrass when he was catching the sight of her such appearance. Then, with face wreathe in smiles, he asked, "Why are you up so early?" Face reddenng with embarrassment Precious Toad didn't reply but to put fruits into a saucer and just carried them away. Knowing the reason why she acted like this, Tadpole Marshgrass thought to himself, "Forget about it! It seems they are annoyed and just make them think no more of this matter so as not to bother me." Therefore, he was relieved and ordered a footboy to bring him water to wash his face then. And he planned to stay in home for two?days without any cogitations, cause he wanted to conserve his energy, and also feared that someone would look for him for another.<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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原来和薛蟠好的那些人，因见薛家无人，只有薛蝌在那里办事，年纪又轻，便生许多觊觎之心。也有想插在里头做跑腿的；也有能做状子的，认得一二个书役的，要给他上下打点的；甚至有叫他在内趁钱的；也有造作谣言恐吓的：种种不一。薛蝌见了这些人，远远躲避，又不敢面辞，恐怕激出意外之变，只好藏在家中听候传详，不提。且说金桂昨夜打发宝蟾送了些酒果去探探薛蝌的消息，宝蟾回来，将薛蝌的光景一一的说了。金桂见事有些不大投机，便怕白闹一场，反被宝蟾瞧不起；欲把两三句话遮饰，改过口来，又可惜了这个人，心里倒没了主意，怔怔的坐着。<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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那知宝蟾亦知薛蟠难以回家，正欲寻个头路，因怕金桂拿他，所以不敢透漏。今见金桂所为，先已开了端了，他便乐得借风使船，先弄薛蝌到手，不怕金桂不依，所以用言挑拨。见薛蝌似非无情，又不甚兜揽，一时也不敢造次。后来见薛蝌吹灯自睡，大觉扫兴，回来告诉金桂，看金桂有甚方法，再作道理。及见金桂怔怔的，似乎无技可施，他也只得陪金桂收拾睡了。夜里那里睡得着？翻来复去，想出一个法子来：不如明儿一早起来，先去取了家伙，却自己换上一两件动人的衣服，也不梳洗，越显出一番娇媚来；只看薛蝌的神情，自己反倒装出一番恼意，索性不理他；<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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那薛蝌若有悔心，自然移船泊岸，不愁不先到手。及至见了薛蝌，仍是昨晚这般光景，并无邪僻之意，自己只得以假为真，端了碟子回来；却故意留下酒壶，以为再来搭转之地。只见金桂问道：“你拿东西去，有人碰见么？”宝蟾道：“没有。”“二爷也没问你什么？”宝蟾道：“也没有。”金桂因一夜不曾睡着，也想不出一个法子来，只得回思道：“若作此事，别人可瞒，宝蟾如何能瞒？不如我分惠于他，他自然没有不尽心的。我又不能自去，少不得要他作脚，倒不如和他商量一个稳便主意。”因带笑说道：“你看二爷到底是个怎么样的人？”<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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宝蟾道：“倒像个糊涂人。”金桂听了笑道：“你如何说起爷们来了？”宝蟾也笑道：“他辜负奶奶的心，我就说得他！”金桂道：“他怎么辜负我的心？你倒得说说。”宝蟾道：“奶奶给他好东西吃，他倒不吃，这不是辜负奶奶的心么？”说着，却把眼溜着金桂一笑。金桂道：“你别胡想！我给他送东西，为大爷的事不辞劳苦，我所以敬他；又怕人说瞎话，所以问你。你这些话向我说，我不懂是什么意思。”宝蟾笑道：“奶奶别多心。我是跟奶奶的，还有两个心么？但是事情要密些，倘或声张起来，不是顽的。”<br />
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Bao Toad said, "It's like a stupid person." Jin Gui listened and laughed, "How do you talk about them?" Bao Toad also laughed: "He doesn't respect Grandma,so I will blame him!" Jin Gui said, "How did he disrespect me?" You have to talk about it. Bao Toad said, "Grandma gave him good things to eat, but he didn't eat them, isn't this a disgrace to Grandma's goodwill?" He said, but he smiled at Jin Gui. Jin Gui said, "Don't think about it! I sent him things, and I worked tirelessly for the affairs of the great master, so I respected him; and I was afraid that people would talk nonsense, so I asked you. You said these words to me, I don't understand what you mean. Bao Toad smiled and said, "Grandma don't worry too much." I'm the ally with Grandma, Would I ever betray you? But things should be more secret, and if they are known by others, it will be hard to deal with. ”<br />
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Precious Toad said, "It's like a stupid person." Golden Osmanthus listened and laughed, "How do you talk about them?" Precious Toad also laughed: "He doesn't respect Grandma,so I will blame him!" Golden Osmanthus said, "How did he disrespect me?" You have to talk about it. Precious Toad said, "Grandma gave him good things to eat, but he didn't eat them, isn't this a disgrace to Grandma's goodwill?" He said, but he smiled at Golden Osmanthus. Golden Osmanthus said, "Don't think about it! I sent him things, and I worked tirelessly for the affairs of the great master, so I respected him; and I was afraid that people would talk nonsense, so I asked you. You said these words to me, I don't understand what you mean. Precious Toad smiled and said, "Grandma don't worry too much." I'm the ally with Grandma, Would I ever betray you? But things should be more secret, and if they are known by others, it will be hard to deal with. ”--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 14:19, 24 May 2022 (UTC)<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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金桂也觉得脸飞红了，因说道：“你这个丫头，就不是个好货！想来你心里看上了，却拿我作筏子，是不是呢？”宝蟾道：“只是奶奶那么想罢咧，我倒是替奶奶难受。奶奶要真瞧二爷好，我倒有个主意。奶奶想，‘那个耗子不偷油’呢？他也不过怕事情不密，大家闹出乱子来不好看。依我想：奶奶且别性急，时常在他身上不周不备的去处，张罗张罗。他是个小叔子，又没娶媳妇儿，奶奶就多尽点心儿，和他贴个好儿，别人也说不出什么来。过几天，他感奶奶的情，他自然要谢候奶奶。那时奶奶再备点东西儿在咱们屋里，我帮着奶奶灌醉了他，怕跑了他？<br />
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Golden Osmanthu also felt his face quickly red, so said: "You girl, is not good! I think you have a crush on him in your heart, but you are using me as a raft, aren't you?" Precious Toad said: "It's just that grandmother thinks so much, but I feel bad for you. I have an idea for you if you really think the second master is good. Grandma thought, 'every rat steal oil' He is also afraid that the things didn’t do well and make a fool. I think: you are not be impatient, and help him deal with things. He is a brother-in-law, and not married. If you do more and get won well with him , others can not say anything. In a few days, he would appreciate you. At that time, You prepared some things in our house, I helped Grandma to get him drunk, so he won’t leave.<br />
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Goldish Osmanthus also blushed, saying "You are really a wicked girl to take advantage of me like that, aren’t you? Oh you must like him!" Precious Toad said, "Well that’s only your opinion, Mistress and I feel so sorry for you. If you really fancy him, I can help you with it——as there’s no cat in the world which doesn’t eat fish, there’s no man in the world that never cheats. He is merely afraid that he would have his reputation ruined once the affair is known. I’ll say that you’d better be patient, and help him deal with the things which he neglected. I’m sure being nice to an unmarried brother-in-law won’t incur much gossips. Day after day he would be bound to pay a visit and thank you for your kindness. When that day comes, you can prepare a little something in your room so that I may help you to get him drunk and he may not leave then.--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 01:51, 25 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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他要不应，咱们索性闹起来，就说他调戏奶奶。他害怕，他自然得顺着咱们的手儿。他再不应，他也不是人，咱们也不至白丢了脸面。奶奶想怎么样？”金桂听了这话，两颧早已红晕了，笑骂道：“小蹄子，你倒偷过多少汉子的是的，怪不得大爷在家时，离不开你。”宝蟾把嘴一撇，笑说道：“罢哟！人家倒替奶奶拉纤，奶奶倒往我们说这个话咧。”从此，金桂一心笼络薛蝌，倒无心混闹了，家中也少觉安静。当日宝蟾自去取了酒壶，仍是稳稳重重，一脸的正气。薛蝌偷眼看了，反倒后悔，疑心“或者是自己错想了他们，也未可知。<br />
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If he still rejects, we can make a big deal out of it blaming him for trying to hook you up. So long as he’s afraid, he is bound to obey. If he still refuses, then we still won’t lose our faces for nothing with his reputation ruined anyway. What do you say, Mistress?" Goldish Osmanthus flushed at her maids’ words, teasing "Sounds like you slut are very familiar with the affair things! No wonder my husband can’t live without you while at home." Precious Toad pouted as she joshed, "Never mind then. It seems someone just doesn’t know who’s good to her." Since then, Goldish Osmanthus stopped making a scene at home and shifted her focus to fawning on Tadpole Marshgrass. Precious Toad went to pick up the wine pot the other day, solemn and just. Taking a glimpse of her manners, Tadpole Marshgrass regretted his behavior and even thought that he himself might have misunderstood them.<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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果然如此，倒辜负了他这一番美意，保不住日后倒要和自己也闹起来，岂非自惹的呢？”过了两天，甚觉安静。薛蝌遇见宝蟾，宝蟾便低头走了，连眼皮儿也不抬；遇见金桂，金桂却一盆火儿的赶着。薛蝌见这般光景，反倒过意不去。这且不表。且说宝钗母女觉得金桂几天安静，待人忽亲热起来，一家子都为罕事。薛姨妈十分欢喜，想到：“必是薛蟠娶这媳妇时冲犯了什么，才败坏了这几年。目今闹出这样事来，亏得家里有钱，贾府出力，方才有了指望。媳妇儿忽然安静起来，或者是蟠儿转过运气来了，也未可知。”于是自己心里倒以为希有之奇。<br />
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"If so, that was a poor return for their kindness, and I've only myself to blame if they turn against me in future."A couple of days went by and all was quiet.Whenever he saw Precious Toad, she lowered her head and walked away without so much as a glance in his direction. Goldish Osmanthusi, on the other hand, pursued him with an eagerness.This made the young man feel rather ashamed of himself.But enough of this.Precious Hairpin Marshgrass and her mother, for their part, were most astonished by Goldish Osmanthusi's new sedateness and sudden cordiality to others.Aunt Marshgrass thought happily, “When Dragon Marshgrass married her, they must have transgressed somehow, which brought on all the trouble we've had these years.Now he's in a bad way but luckily we have money and, with the Merchant family helping, there's still some hope.His wife's sudden change for the better may mean that his luck will change too."It was in fact not far short of a miracle.<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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这日饭后，扶了同贵过来，到金桂房里瞧瞧。走到院中，只听一个男人和金桂说话。同贵知机，便说道：“大奶奶，老太太过来了。”说着，已到门口，只见一个人影儿在房门后一躲。薛姨妈一吓，倒退了出来。金桂道：“太太请里头坐。没有外人。他就是我的过继兄弟，本住在屯里，不惯见人。因没有见过太太，今儿才来，还没去请太太的安。”薛姨妈道：“既是舅爷，不妨见见。”金桂叫兄弟出来见了薛姨妈，作了一个揖，问了好。薛姨妈也问了好，坐下叙起话来。薛姨妈道：“舅爷上京几时了？”那夏三道：“前月我妈没有人管家，把我过继来的。前日才进京，今日来瞧姐姐。”<br />
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One day after lunch, leaning on Maid Wealth’s arm, she went to call on Goldish Osmanthus. When they entered the courtyard they heard her talking with a man. Maid Wealth was smart enough to call out, “Madam, here’s the old lady to see you!”By now they had reached the door. The sight of a figure flitting behind it made Aunt Marshgrass step back in alarm. “Please come in, madam!” called Goldish Osmanthus. “This is no stranger here but my stepbrother. He’s a villager, unused to company. As he has never called on you yet, he came today meaning to pay his respects.”“If it’s your brother,” said Aunt Marshgrass, “ask him to join us.”Goldish Osmanthus told the young man, whose name was Summer Three, to come out to meet her mother-in-law, and he raised clasped hands to greet her. She returned his greetings and they sat down to talk.“How long have you been in the capital?” asked Aunt Marshgrass.“My stepmother adopted me a couple of months ago, as she had no man in the house to see to things. I only came to the capital the day before yesterday; so I called on my sister today.”<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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薛姨妈看那人不尴尬，于是略坐坐儿，便起身道：“舅爷坐着罢。”回头向金桂道：“舅爷头上末下的来，留在咱们这里吃了饭再去罢。”金桂答应着，薛姨妈自去了。金桂见婆婆去了，便向夏三道：“你坐着。今日可是过了明路的了，省得我们二爷查考你。我今日还叫你买些东西，只别叫众人看见。”夏三道：“这个交给我就完了。你要什么，只要有钱，我就买得来。”金桂道：“且别说嘴，你买上了当，我可不收。”说着，二人又笑了一回，然后金桂陪夏三吃了晚饭，又告诉他买的东西，又嘱咐一回，夏三自去。从此夏三往来不绝。虽有个年老的门上人，知是舅爷，也不常回，从此生出无限风波。<br />
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As Aunt Marshgrass saw he looked rather embarrassed, after sitting there for a while she got up. “Just stay longer,” she said, then turned to tell Goldish Osmanthus, “because this is your brother’s first visit here, you must invite him for a meal.”Goldish Osmanthus assented to this and Aunt Marshgrass left. As soon as she had gone Goldish Osmanthus told Summer Three, “Sit down. Now we’re above-board, so Master Ke won’t have to pry into our affairs. I want you to buy something for me today, but don’t let anyone see it.”“Just leave it to me. If you have the money, I can get whatever you want.”“Don’t boast! If you get overcharged I’m not having it.”When they had exchanged some more banter, Goldish Osmanthus kept Summer Three for dinner, then gave him her commission and some instructions, then he left. Subsequently, Summer Three was a frequent visitor. And the old gatekeeper, having heard that this was Goldish Osmanthus’s brother, usually neglected to report his arrival. This led to endless trouble later.<br />
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==英语笔译 颜媛 Yan Yuan 202170081603==<br />
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这是后话不表。一日，薛蟠有信寄回，薛姨妈打开叫宝钗看时，上写：男在县里也不受苦，母亲放心。但昨日县里书办说，府里已经准详，想是我们的情到了。岂知府里详上去，道里反驳下来。亏得县里主文相公好，即刻做了回文顶上去了，那道里却把知县申饬。现在道里要亲提，若一上去，又要吃苦。必是道里没有托到。母亲见字，快快托人求道爷去。还叫兄弟快来，不然，就要解道。银子短不得。火速，火速！薛姨妈听了，又哭了一场，自不必说。薛蝌一面劝慰，一面说道：“事不宜迟。”<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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薛姨妈没法，只得叫薛蝌到县照料，命人即便收拾行李，兑了银子，家人李祥本在那里照应的，薛蝌又同了一个当中伙计，连夜起程。那时手忙脚乱，虽有下人办理，宝钗又恐他们思想不到，亲来帮着，直闹至四更才歇。到底富家女子娇养惯的，心上又急，又苦劳了一会，晚上就发烧，到了明日，汤水都吃不下。莺儿去回了薛姨妈。薛姨妈急来看时，只见宝钗满面通红，身如燔灼，话都不说。薛姨妈慌了手脚，便哭得死去活来。宝琴扶着劝薛姨妈。秋菱也泪如泉涌，只管叫着。宝钗不能说话，手也不能摇动，眼干鼻塞。叫人请医调治，渐渐苏醒回来。<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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薛姨妈等大家略略放心。早惊动荣宁两府的人，先是凤姐打发人送十香返魂丹来，随后王夫人又送至宝丹来，贾母邢王二夫人以及尤氏等都打发丫头来问候，却都不叫宝玉知道。一连治了七八天，终不见效。还是他自己想起“冷香丸”，吃了三丸，才得病好。后来宝玉也知道了，因病好了，没有瞧去。那时薛蝌又有信回来。薛姨妈看了，怕宝钗耽忧，也不叫他知道，自己来求王夫人，并述了一会子宝钗的病。薛姨妈去后，王夫人又求贾政。贾政道：“此事上头可托，底下难托，必须打点才好。”王夫人又提起宝钗的事来，因说道：“这孩子也苦了。<br />
Aunt Marshgrass and others were a little relieved. But it had already known to both Rong and Ning Houses, firstly Splendid Phoenix dispatched a person to send Ten Incense Strigoi Potion, then Lady King sent Treasure Elixir, and Grandma Merchant, Lady City and Lady King as well as madame You all sent girls to have a greeting without letting Precious Jade know. It lasted seven or eight days, but it didn't work. It was himself that thought of "Cold Fragrant Pills", and ate three pills of it and recovered from the illness. Later on, Precious Jade heard about this, but because she was well, he did not go to visit her. That time saw a letter from Tadpole Marshgrass. Aunt Marshgrass did not let Precious Hairpin know for the sake of worrying about him, so she herself came to beg Lady King for help and told her about her daughter’s illness. After Aunt Marshgrass had gone, Lady King asked for Politics Merchant’s help. He said: "We can trust it to the high class but do not count on the low status. And it is necessary to make an arrangement." Lady King brought up the story of Precious Jade again, and said, "The child is suffering too much.”<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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既是我家的人了，也该早些娶了过来才是，别叫他遭塌坏了身子。”贾政道：“我也是这么想。但是他家乱忙，况且如今到了冬底，已经年近岁逼，不无各自要料理些家务。今冬且放了定，明春再过礼。过了老太太的生日，就定日子娶。你把这番话先告诉薛姨太太。”王夫人答应了。到了明日，王夫人将贾政的话向薛姨妈述了，薛姨妈想着也是。到了饭后，王夫人陪着来到贾母房中，大家让了坐。贾母道：“姨太太才过来？”薛姨妈道：“还是昨儿过来的，因为晚了，没得过来给老太太请安。”王夫人便把贾政昨夜所说的话向贾母述了一遍，贾母甚喜。说着，宝玉进来了。<br />
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Lady King said: “She has been already one member of our family, and the sooner Precious Jade and she get married, the better the thing is. It is ruining her health now.” Master Merchant then said: “I agree with you. But her family are very disordered now, and it is approaching the year. We will be busy doing our affairs. I suppose that during this winter we can manage the betrothal and change presents early the next year. Their wedding ceremony can be held after Grandma Merchant’s birthday. You should deliver the message to your sister.” Lady King agreed with him. The next day she told Aunt Marshgrass, who also thought this proposal was good. After lunch, the two of them went to see Grandma Merchant. After the usual courtesies had been exchanged, Grandma Merchant asked Aunt Marshgrass, “Have you just come over?” “I was here yesterday,” replied Aunt Marshgrass, “because it was too late yesterday, so I was not able to come and greet you.” Lady King told what Master Merchant had said yesterday to Grandma Merchant, making her very happy. While they are talking, Precious Jade entered into the room.<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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贾母便问道：“吃了饭了没有？”宝玉道：“才打学房里回来，吃了，要往学房里去，先见见老太太。又听见说姨妈来了，过来给姨妈请请安。”因问：“宝姐姐可大好了？”薛姨妈笑道：“好了。”原来方才大家正说着，见宝玉进来，都煞住了。宝玉坐了坐，见薛姨妈情形不似从前亲热，“虽是此刻没有心情，也不犯大家都不言语。”满腹猜疑，自往学中去了。晚间回来，都见过了，便往潇湘馆来。掀帘进去，紫鹃接着。见里间屋内无人。宝玉道：“姑娘那里去了？”紫鹃道：“上屋里去了。知道薛姨妈过来，姑娘请安去了。二爷没有到上屋里去么？”<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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宝玉道：“我去了来的，没有见你姑娘。”紫鹃道：“这也奇了。”宝玉问：“姑娘到底那里去了？”紫鹃道：“不定。”宝玉往外便走，刚出屋门，只见黛玉带着雪雁，冉冉而来。宝玉道：“妹妹回来了。”缩身退步进来。黛玉进来，走入里间屋内，便请宝玉里头坐，紫鹃拿了一件外罩换上，然后坐下，问道：“你上去，看见姨妈没有？”宝玉道：“见过了。”黛玉道：“姨妈说起我没有？”宝玉道：“不但没有说起你，连见了我也不象先时亲热。今日我问起宝姐姐病来，他不过笑了一笑，并不答言。难道怪我这两天没有去瞧他么。”黛玉笑了一笑，道：“你去瞧过没有？”<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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宝玉道：“头几天不知道；这两天知道了，也没有去。”黛玉道：“可不是！”宝玉道：“老太太不叫我去，太太也不叫我去，老爷又不叫我去，我如何敢去？若是像从前这扇小门走得通的时候，要我一天瞧他十趟也不难，如今把门堵了，要打前头过去，自然不便了。”黛玉道：“他那里知道这个原故。”宝玉道：“宝姐姐为人是最体谅我的。”黛玉道：“你不要自己打错了主意。若论宝姐姐，更不体谅，又不是姨妈病，是宝姐姐病。向来在园中做诗，赏花，饮酒，何等热闹，如今隔开了，你看见他家里有事了，他病到那步田地，你像没事人一般，他怎么不恼呢？”<br />
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Precious Jade said, "I didn't onw that until these days, but I still didn't go to visit her." Mascara Jade said, "So it is!" Precious Jade said, "Grandma didn't ask me to go there, and nor did my mother and father. How dare I go? It would have been easy for me to visit her ten times a day if the small door had worked as well as it did before. But now it is blocked, it will be very inconvenient for me to go there through the front gate." Mascara Jade answered, "She doesn't know the reason." Precious Jade said, "Sister Precious Hairpin is the most considerate person to me." Mascara Jade said, "Don't make a wrong decision yourself. If I were her, I would not forgive you. It is not Aunt Marshgrass but Sister Precious Hairpin who is ill. What a lively scene it is when we're composing poems, enjoying flowers and drinking wine in the garden. Now we're separated, and you have already known what happened to her and her family. But you just behave as if it has nothing to do with you, how come won't she be angry?"<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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宝玉道：“这样，难道宝姐姐便不和我好了不成？”黛玉道：“他和你好不好，我却不知，我也不过是照理而论。”宝玉听了，瞪着眼呆了半晌。黛玉看见宝玉这样光景，也不睬他，只是自己叫人添了香，又翻出书来，细看了一会。只见宝玉把眉一皱，把脚一跺，道：“我想这个人，生他做什么！天地间没有了我，倒也干净！”黛玉道：“原是有了我，便有了人；有了人，便有无数的烦恼生出来：恐怖，颠倒，梦想，更有许多缠碍。才刚我说的，都是顽话。你不过是看见姨妈没精打彩，如何便疑到宝姐姐身上去？姨妈过来原为他的官司事情，心绪不宁，那里还来应酬你？<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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都是你自己心上胡思乱想，钻入魔道里去了。”宝玉豁然开朗，笑道：“狠是，狠是。你的性灵，比我竟强远了。怨不得前年我生气的时候，你和我说过几句禅语，我实在对不上来。我虽丈六金身，还藉你一茎所化。”黛玉乘此机会，说道：“我便问你一句话，你如何回答？”宝玉盘着腿，合着手，闭着眼，嘘着嘴道：“讲来。”黛玉道：“宝姐姐和你好，你怎么样？宝姐姐不和你好，你怎么样？宝姐姐前儿和你好，如今不和你好，你怎么样？今儿和你好，后来不和你好，你怎么样？你和他好，他偏不和你好，你怎么样？你不和他好，他偏要和你好，你怎么样？”<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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宝玉呆了半晌，忽然大笑道：“任凭弱水三千，我只取一瓢饮。”黛玉道：“瓢之漂水，奈何？”宝玉道：“非瓢漂水；水自流，瓢自漂耳。”黛玉道：“水止珠沉，奈何？”宝玉道：“禅心已作沾泥絮，莫向春风舞鹧鸪。”黛玉道：“禅门第一戒是不打诳语的。”宝玉道：“有如三宝。”黛玉低头不语。只听见檐外老鸹“呱呱”的叫了几声，便飞向东南上去。宝玉道：“不知主何吉凶？”黛玉道：“人有吉凶事，不在鸟音中。”忽见秋纹走来说道：“请二爷回去。老爷叫人到园里来问过，说：二爷打学里回来了没有？袭人姐姐只说：‘已经来了。’快去罢。”<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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吓得宝玉站起身来，往外忙走。黛玉也不敢相留。话说宝玉从潇湘馆出来，连忙问秋纹道：“老爷叫我作什么？”秋纹笑道：“没有叫。袭人姐姐叫我请二爷，我怕你不来，才哄你的。”宝玉听了，才把心放下，因说：“你们请我也罢了，何苦来唬我？”说着，回到怡红院内。袭人便问道：“你这好半天到那里去了？”宝玉道：“在林姑娘那边，说起薛姨妈宝姐姐的事来，便坐住了。”袭人又问道：“说些什么？”宝玉将打禅语的话述了一遍。袭人道：“你们再没个计较。正经说些家常闲话儿，或讲究些诗句，也是好的，怎么又说到禅语上了？又不是和尚。”<br />
Precious Jade sprang up in alarm and hurried out, and Mascara Jade did not venture to detain him.<br />
Precious Jade, as soon as he had left Bamboo Lodge, asked Autumn Vein, "What does my father want me for?""<br />
"He doesn't want you," she chuckled. "Sister Aroma sent me to fetch you, and for fear you wouldn't come I made that up."<br />
In relief he cried, "It's all very well to fetch me, but why give me such a fright?"<br />
Back in Happy Red Court, Aroma wanted to know where he had been all this time.<br />
"With Miss Lin. We got talking about Cousin Precious Hairpin; that's what kept me there so long."<br />
"What were you discussing?" He told her then about his catechism.<br />
"You two have no sense," scolded Aroma. "It's all right to chat about family affairs or discuss certain lines of poetry; but why go in for Buddhist cant? It's not as if you were a monk."<br />
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Precious Jade sprang up in alarm and hurried out, and Mascara Jade did not venture to detain him.<br />
Precious Jade, as soon as he had left Bamboo Lodge, asked Autumn Vein, "What does my father want me for?""<br />
"He doesn't want you," she chuckled. "Sister Aroma sent me to fetch you, and for fear you wouldn't come I made that up."<br />
In relief he cried, "It's all very well to fetch me, but why give me such a fright?"<br />
Back in Happy Red Court, Aroma wanted to know where he had been all this time.<br />
"With Miss Lin. We got talking about Cousin Precious Hairpin; that's what kept me there so long."<br />
"What were you discussing?" He told her then about his catechism.<br />
"You two have no sense," scolded Aroma. "It's all right to chat about family affairs or discuss certain lines of poetry; but why go in for Buddhist cant? It's not as if you were a monk."--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 01:04, 25 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
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宝玉道：“你不知道，我们有我们的禅机，别人是插不下嘴去的。”袭人笑道：“你们参禅参翻了，又叫我们跟着打闷葫芦了。”宝玉道：“头里我也年纪小，他也孩子气，所以我说了不留神的话，他就恼了。如今我也留神，他也没有恼的了。只是他近来不常过来，我又念书，偶然到一处，好像生疏了是的。”袭人道：“原该这么着才是。都长了几岁年纪了，怎么好意思还像小孩子时候的样子。”宝玉点头道：“我也知道。如今且不用说那个。我问你，老太太那里打发人来说什么来着没有？”袭人道：“没有说什么。”<br />
"You don't understand. We have our own esoteric talk which no oneelse can join in."<br />
"If your esoteric repartee leads to squabbles, we shall have to try toguess your riddles too," she answered teasingly.<br />
"In the past I was young and she was childish too, so if I spoke tact-lessly she used to flare up. Now that I'm more careful she never takes offence. But recently she's stopped coming here so often, and I have to go to school. That's why, when we do happen to meet, we feel rather like strangers."<br />
"That's how it should be," approved Aroma. "Now that you're both several years older, how can you go on behaving as if you were children?" He nodded. "I know. Never mind about that now. Tell me: Has the old lady sent any message for me?"<br />
"No, none."<br />
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"You don't understand. We have our own esoteric talk which no oneelse can join in." "If your esoteric repartee leads to squabbles,we shall have to try toguess your riddles too,"she answered teasingly. "In the past I was young and she was childish too,so if I spoke tact-lessly she used to flare up. Now that I'm more careful she never takes offence. But recently she's stopped coming here so often,and I have to go to school. That's why,when we do happen to meet,we feel rather like strangers." "That's how it should be,"approved Aroma. "Now that you're both several years older,how can you go on behaving as if you were children?" He nodded. "I know. Never mind about that now. Tell me: Has the old lady sent any message for me?" "No, none."--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 01:13, 25 May 2022 (UTC)<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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宝玉道：“必是老太太忘了。明儿不是十一月初一日么？年年老太太那里必是个老规矩，要办‘消寒会’，齐打伙儿坐下，喝酒说笑。我今日已经在学房里告了假了。这会子没有信儿，明儿可是去不去呢？若去了呢，白白的告了假；若不去，老爷知道了，又说我偷懒。”袭人道：“据我说，你竟是去的是。才念的好些儿了，又想歇着。依我说也该上紧些才好。昨儿听见太太说，兰哥儿念书真好，他打学房里回来，还各自念书作文章，天天晚上弄到四更多天才睡。你比他大多了，又是叔叔，倘或赶不上他，又叫老太太生气，倒不如明儿早起去罢。”<br />
"She must have forgotten. Tomorrow's the first of the eleventh month isn't it? It used to be her rule every year to hold a cold-dispelling party that day,getting everybody together to drink and have fun. Today I asked for leave from school. As no message has come shall I go tomorrow or not? If I do,I'll have asked for leave all for nothing. If I don't and my father knows,he'll call me an idler." "I think you'd better go," she said."You're just beginning to study seriously,yet here you are wanting to rest. My advice to you is to work harder. Yesterday I heard your mother praise Master Cymbidium for really concentrating on his books. Every evening after he comes back from school,he reads and writes essays on his own,not sleeping till nearly dawn. You're much older than he is,and his uncle too. If you lag behind him the old lady will be angry. So you'd better go to school tomorrow morning.<br />
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==英语口译 方楚晗 Fang Chuhan 202170081616==<br />
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麝月道：“这样冷天，已经告了假，又去，倒叫学房里说：既这么着，就不该告假呀。显见的是告谎假，脱滑儿。依我说落得歇一天。就是老太太忘记了，咱们这里就不消寒了么？咱们也闹个会儿不好么。”袭人道：“都是你起头儿，二爷更不肯去了。”麝月道：“我也是乐一天是一天，比不得你要好名儿，使唤一个月，再多得二两银子。”袭人啐道：“小蹄子！人家说正经话，你又来胡拉混扯的了。”麝月道：“我倒不是混拉扯，我是为你。”袭人道：“为我什么？”<br />
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==英语口译 胡雯雯 Hu Wenwen 202170081617==<br />
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麝月道：“二爷上学去了，你又该咕嘟着嘴想着，巴不得二爷早一刻儿回来，就有说有笑的了。这会儿又假撇清，何苦呢！我都看见了。”袭人正要骂他，只见老太太那里打发人来，说道：“老太太说了，叫二爷明儿不用上学去呢。明儿请了姨太太来给他解闷，只怕姑娘们都来家里的。史姑娘、邢姑娘、李姑娘们都请了，明儿来赴什么‘消寒会’呢。”宝玉没有听完，便喜欢道：“可不是？老太太最高兴的，明日不上学，是过了明路的了。”袭人也便不言语了。那丫头回去。宝玉认真念了几天书，巴不得顽这一天，又听见薛姨妈过来，想着宝姐姐自然也来。<br />
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==英语口译 黄天琪 Huang Tianqi 202170081618==<br />
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心里喜欢，便说：“快睡罢，明日早些起来。”于是一夜无话。到了次日，果然一早到老太太那里请了安，又到贾政王夫人那里请了安，回明了老太太今儿不叫上学。贾政也没言语，便慢慢退出来。走了几步，便一溜烟跑到贾母房中。见众人都没来，只有凤姐那边的奶妈子，带了巧姐儿，跟着几个小丫头，过来给老太太请了安，说：“我妈妈先叫我来请安，陪着老太太说说话儿。妈妈回来就来。”贾母笑着道：“好孩子，我一早就起来了。等他们总不来，只有你二叔叔来了。”那奶妈子便说：“姑娘，给你二叔叔请安。”宝玉也问了一声“妞妞好？”<br />
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==英语口译 李丹 Li Dan 202170081620==<br />
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巧姐儿道：“我昨夜听见我妈妈说，要请二叔叔去说话。”宝玉道：“说什么呢？”巧姐儿道：“我妈妈说，跟着李妈认了几年字，不知道我认得不认得。我说：‘都认得。我认给妈妈瞧。’妈妈说我瞎认，不信，说我一天尽子顽，那里认得！我瞧着那些字也不要紧，就是那《女孝经》也是容易念的。妈妈说我哄他，要请二叔叔得空儿的时候给我理理。”贾母听了，笑道：“好孩子，你妈妈是不认得字的，所以说你哄他。明儿叫你二叔叔理给他瞧瞧，他就信了。”宝玉道：“你认了多少字了？”巧姐儿道：“认了三千多字，念了一本《女孝经》，半个月头里又上了《列女传》。”<br />
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‘My Mama wants to see you, Uncle Bao,’ said Qiao-jie：’She said so yesterday.’ Bai-yu asked: ‘For what?’ ‘She says she wants to find out if I've learnt my characters properly after all my lessons with Nannie Li, and offered to read them out for her.#1 But she thought I was guessing and didn't believe me. #2 She said I couldn't have learnt them because all I do all day long is play. But I don't think learning characters is hard. I can even read my Girl's Classic of Filial Piety - it's ever so easy. Mama thinks I'm making it up, so she wants you to go over it with me when you've got the time.” Grandmother Jia laughed. “Bless you darling! Your mother can't read a word, that's why she couldn't tell if you were cheating her or not. Tomorrow your uncle Bao will go over it with you, and she can listen in. Then she'll have to believe you.” “How many characters do you know by now?” asked Bao-yu. “Over three thousand,' replied Qiao-jie. “I've finished the Girl's Classic, and a fortnight ago I started on Lives of Noble Women Present and Past.”<br />
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==英语口译 李立飞 Li Lifei 202170081621==<br />
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宝玉道：“你念了懂得吗？你要不懂，我倒是讲讲这个你听罢。”贾母道：“做叔叔的也该讲究给侄女儿听听。”宝玉道：“那文王后妃是不必说了。想来是知道的。那姜后脱簪待罪，齐国的无盐虽丑，能安邦定国，是后妃里头的贤能的。若说有才的，是曹大姑、班婕妤、蔡文姬、谢道韫诸人。孟光的荆钗裙布，鲍宣妻的提瓮出汲，陶侃母的截发留宾，还有画荻教子的，这是不厌贫的。那苦的里头，有乐昌公主破镜重圆，苏蕙的回文感主。那孝的是更多了，木兰代父从军，曹娥投水寻父的尸首等类也多，我也说不得许多。那个曹氏的引刀割鼻，是魏国的故事。<br />
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==英语口译 莫雨婷 Mo Yuting 202170081622==<br />
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那守节的更多了，只好慢慢的讲。若是那些艳的，王嫱、西子、樊素、小蛮、绛仙等，妒的是秃妾发、怨洛神等类也少，文君、红拂，是女中的……”贾母听到这里，说：“彀了，不用说了。你讲的太多，他那里还记得呢。”巧姐儿道：“二叔叔才说的，也有念过的，也有没念过的。念过的二叔叔一讲，我更知道了好些。”宝玉道：“那字是自然认得的了，不用再理。明儿我还上学呢。”巧姐儿道：“我还听见我妈妈昨儿说：我们家的小红，头里是二叔叔那里的，我妈妈要了来，还没有补上人呢。我妈妈想着要把什么柳家的五儿补上，不知二叔叔要不要。”<br />
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==英语口译 彭慧璇 Peng Huixuan 202170081623==<br />
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宝玉听了更喜欢，笑着道：“你听你妈妈的话，要补谁就补谁罢咧，又问什么要不要呢！”因又向贾母笑道：“我瞧大妞妞这个小模样儿，又有这个聪明儿，只怕将来比凤姐姐还强呢，又比他认的字。”贾母道：“女孩儿家认得字呢也好，只是女工针黹倒是要紧的。”巧姐儿道：“我也跟着刘妈妈学着做呢。什么扎花儿咧，拉锁子，我虽弄不好，却也学着会做几针儿。”贾母道：“咱们这样人家，固然不仗着自己做，但只到底知道些，日后才不受人家的拿捏。”巧姐儿答应着“是”，还要宝玉解说《列女传》，见宝玉呆呆的，也不敢再说。<br />
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==英语口译 时友洁 Shi Youjie 202170081624==<br />
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你道宝玉呆的是什么？只因柳五儿要进怡红院，头一次是他病了，不能进来；第二次王夫人撵了晴雯，大凡有些姿色的，都不敢挑；后来又在吴贵家看晴雯去，五儿跟着他妈给晴雯送东西去，见了一面，更觉娇娜妩媚。今日亏得凤姐想着，叫他补入小红的窝儿，竟是喜出望外了，所以呆呆的想他。贾母等着那些人，见这时候还不来，又叫丫头去请。回来李纨同着他妹子、探春、惜春、史湘云、黛玉都来了。大家请了贾母的安，众人厮见。独有薛姨妈未到，贾母又叫请去。果然姨妈带着宝琴过来。宝玉请了安，问了好，只不见宝钗邢岫烟二人。<br />
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==英语口译 伍佳惠 Wu Jiahui 202170081625==<br />
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黛玉便问起“宝姐姐为何不来？”薛姨妈假说身上不好。邢岫烟知道薛姨妈在坐，所以不来。宝玉虽见宝钗不来，心中纳闷，因黛玉来了，便把想宝钗的心暂且搁开。不多时，邢王二夫人也来了。凤姐听见婆婆们先到了，自己不好落后，只得打发平儿先来告假，说是：“正要过来，因身上发热，过一回儿就来。”贾母道：“既是身上不好，不来也罢。咱们这时候狠该吃饭了。”丫头们把火盆往后挪了一挪儿，就在贾母榻前一溜摆下两桌，大家序次坐下。吃了饭，依旧围炉闲谈，不须多赘。<br />
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Revision:“Why hasn't Cousin Precious Hairpin come?” asked Mascara Jade Forest. Aunt Marshgrass gave the excuse that she was unwell and Tadpole Marshgrass had naturally not come because her future in-laws were present. Precious Jade was disappointed by Precious Hairpin's absence, but as he had Mascara Jade's company he dismissed her from his mind. Soon Lady City and Lady King arrived too. When Sister Phoenix heard of this, as it would be remiss for her to lag behind Their Ladyships she sent Patience to excuse her, saying that she had a temperature but would come a little later. “If she's not well, she needn't come,” said Grandma Merchant. “It's time now for our meal.” Maids moved back the brazier and set out two tables in front of Grandma Merchant's couch. This done, the party sat down in due order. After dinner, they chatted around the fire, but there is no need to record their conversation.<br />
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==英语口译 夏晶 Xia Jing 202170081626==<br />
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且说凤姐因何不来？头里为着倒比邢王二夫人迟了不好意思，后来旺儿家的来回说：“迎姑娘那里打发人来请奶奶安，还说并没有到上头，只到奶奶这里来。”凤姐听了纳闷，不知又是什么事，便叫那人进来，问：“姑娘在家好？”那人道：“有什么好的！奴才并不是姑娘打发来的，实在是司棋的母亲央我来求奶奶的。”凤姐道：“司棋已经出去了，为什么来求我？”那人道：“自从司棋出去，终日啼哭。忽然那一日，他表兄来了。他母亲见了，恨得什么是的，说他害了司棋，一把拉住要打。那小子不敢言语。<br />
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Now what had kept Sister Phoenix away? In the beginning it was embarrassment at going later than Lady City and Lady King. And then Vigor's wife had arrived. “Miss Spring Pleasure has sent someone with her regards,” she announced. “And the woman says she's not called on Their Ladyships but come straight here.” Not knowing what to make of this, Sister Phoenix called the messenger in. “Is your mistress well?” she asked. “No, it wasn't Miss Spring Pleasure who sent me,” was the answer. “The fact is, Controlling Board's mother has begged me to come to ask you a favour, madam.”“Controlling Board has already been dismissed, so what can I do to help?” “After Controlling Board left here she kept weeping all day long. Then, the other day, that cousin of hers turned up. At sight of him, her mother was furious-she accused him of ruining her daughter's life and grabbed hold of him to beat him. Not a word did the young fellow say in self-defence.<br />
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Revision: Now what had kept Sister Phoenix away? In the beginning it was embarrassment at going later than Lady City and Lady King. And then Vigor's wife had arrived. “Miss Spring Pleasure has sent someone with her regards,” she announced. “And the woman says she's not called on Their Ladyships but come straight here.” Not knowing what to make of this, Sister Phoenix called the messenger in. “Is your mistress well?” she asked. “No, it wasn't Miss Spring Pleasure who sent me,” was the answer. “The fact is, Controlling Board's mother has begged me to come to ask you a favour, madam.”“Controlling Board has already been dismissed, so what can I do to help?” “After Controlling Board left here she kept weeping all day long. Then, the other day, that cousin of hers turned up. At sight of him, her mother was furious-she accused him of ruining her daughter's life and grabbed hold of him to beat him. Not a word did the young fellow say in self-defence.--[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 14:22, 24 May 2022 (UTC)<br />
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==英语口译 向师琦 Xiang Shiqi 202170081627==<br />
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谁知司棋听见了，急忙出来，老着脸，和他母亲道：‘我是为他出来的，我也恨他没良心。如今他来了，妈要打他，不如勒死了我。’他母亲骂他：‘不害臊的东西！你心里要怎么样？’司棋说道：‘一个女人配一个男人。我一时失脚，上了他的当，我就是他的人了，决不肯再失身给别人的。我恨他为什么这样胆小！‘一身作事一身当’，为什么要逃？就是他一辈子不来了，我也一辈子不嫁人的。妈要给我配人，我原拼着一死的。今儿他来了，妈问他怎么样。若是他不改心，我在妈跟前磕了头，只当是我死了，他到那里，我跟到那里，就是讨饭吃也是愿意的。’<br />
Siqi hearing this came running out, bold as brass.“‘It’s because of him that I was dismissed,’ she told her mother. ‘I hate him too for his heartlessness. If you want to beat him now that he’s come, you’d better strangle me first!“Her mother swore, ‘Shameless slut! What do you want to do?”’“Siqi said, ‘A woman can only marry once. I slipped up and let him take advantage of me, so now I belong to him, and I’ll never, never marry anyone else. But what makes me angry is his lack of guts. A man should be responsible for his actions. Why run away? If he’d never shown up, I’d have stayed single all my life. If you’d tried to marry me to someone else, ma, I should have killed myself. Now that he’s here, ask him what his intentions are. If he hasn’t had a change of heart, I’ll kowtow farewell to you, ma, and you can count me as dead, for wherever he goes I’ll go too, content even if we have to beg for food.<br />
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==英语口译 向望 Xiang Wang 202170081628==<br />
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他妈气得了不得，便哭着骂着说：‘你是我的女儿，我偏不给他，你敢怎么着？’那知道那司棋这东西糊涂，便一头撞在墙上，把脑袋撞破，鲜血直流，竟死了。他妈哭着，救不过来，便要叫那小子偿命。他表兄也奇：‘你们不用着急。我在外头原发了财，因想着他才回来的，心也算是真了。你们若不信，只管瞧。’说着，打怀里掏出一匣子金珠首饰来。他妈妈看见了，便心软了，说：‘你既有心，为什么总不言语？’他外甥道：‘大凡女人都是水性杨花，我若说有钱，他便是贪图银钱了。如今，他只为人就是难得的。我把金珠给你们，我去买棺盛殓他。’<br />
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==英语口译 徐舞 Xu Wu 202170081629==<br />
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那司棋的母亲接了东西，也不顾女孩儿了，便由着外甥去。那里知道他外甥叫人抬了两口棺材来。司棋的母亲看见，咤异说：‘怎么棺材要两口？’他外甥笑道：‘一口装不下，得两口才好。’司棋的母亲见他外甥又不哭，只当是他心疼的傻了。岂知他忙着把司棋收拾了，也不啼哭，眼错不见，把带的小刀子往脖子里一抹，也就抹死了。司棋的母亲懊悔起来，倒哭得了不得。如今坊上知道了，要报官。他急了，央我来求奶奶说个人情，他再过来给奶奶磕头。”凤姐听了，咤异道：“那有这样傻丫头，偏偏的就碰见这个傻小子！怪不得那一天翻出那些东西来，他心里没事人是的。<br />
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==英语口译 张静芝 Zhang Jingzhi 202170081630==<br />
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敢只是这么个烈性孩子。论起来，我也没这么大工夫管他这些闲事，但只你才说的，叫人听着，怪可怜见儿的。也罢了，你回去告诉他，我和你二爷说，打发旺儿给他撕掳就是了。”凤姐打发那人去了，才过贾母这边来。不提。且说贾政这日正与詹光下大棋，通局的输赢也差不多，单为着一只角儿，死活未分，在那里打结。门上的小厮进来回道：“外面冯大爷要见老爷。”贾政道：“请进来。”小厮出去请了，冯紫英走进门来，贾政即忙迎着。冯紫英进来，在书房中坐下，见是下棋，便道：“只管下棋，我来观局。”詹光笑道：“晚生的棋是不堪睄的。”<br />
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==日语笔译 曹梦然 Cao Mengran 202170081632==<br />
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冯紫英道：“好说，请下罢。”贾政道：“有什么事么？”冯紫英道：“没有什么话。老伯只管下棋，我也学几着儿。”贾政向詹光道：“冯大爷是我们相好的，既没事，我们索性下完了这一局再说话儿。冯大爷在旁边瞧着。”冯紫英道：“下采不下采？”詹光道：“下采的。”冯紫英道：“下采的是不好多嘴的。”贾政道：“多嘴也不妨，横竖他输了十来两银子，终久是不拿出来的。往后只好罚他做东便了。”詹光笑道：“这倒使得。”冯紫英道：“老伯和詹公对下么？”贾政笑道：“从前对下，他输了；如今让他两个子儿，他又输了。时常还要悔几着，不叫他悔，他就急了。”<br />
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“Don’t be so modest,” replied Feng. “Please carry on.”<br />
“Have you come on business?” Jia Zheng wanted to know.<br />
“Nothing of any importance. Please go on with your game, uncle, and I can learn by watching.”<br />
Jia Zheng told Zhan, “Master Feng is a good friend of ours. As he’s in no hurry, let’s finish this game and then we can have a chat. You can watch from the side, Master Feng.”<br />
“Are you playing for stakes?”<br />
“Yes, we are,” said Zhan.<br />
“In that case I mustn’t interfere.”<br />
“It doesn’t matter if you do,” joked Jia Zheng. “He’s lost over ten taels already, but he never pays up. I shall have to make him stand us a meal some day instead.”<br />
“That’s all right,” chuckled Zhan.<br />
“Do you gentlemen both play from scratch?” asked Feng.<br />
“We used to.” Jia Zheng smiled. “But he kept losing. Now I’m handi¬capped by giving him two pieces at the start, yet he still loses. From time to time he revokes too, and if I challenge him he gets worked up.--[[User:Hu Mengqi|Hu Mengqi]] ([[User talk:Hu Mengqi|talk]]) 15:05, 24 May 2022 (UTC)<br />
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==日语笔译 胡梦琪 Hu Mengqi 202170081633==<br />
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詹光也笑道：“没有的事。”贾政道：“你试试瞧。”大家一面说笑，一面下完了，做起棋来，詹光还了棋头，输了七个子儿。冯紫英道：“这盘终吃亏在打结里头。老伯劫少，就便宜了。”贾政对冯紫英道：“有罪，有罪。咱们说话儿罢。”冯紫英道：“小侄与老伯久不见面。一来会会，二来因广西的同知进来引见，带了四种洋货，可以做得贡的。一件是围屏，有二十四扇槅子，都是紫檀雕刻的。中间虽说不是玉，却是绝好的硝子石，石上镂出山水、人物、楼台、花鸟等物。一扇上有五六十个人，都是宫妆的女子，名为‘汉宫春晓’。<br />
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“That’s not true!” protested Light Zhan laughingly.<br />
“Just wait and see,” said Master Merchant.<br />
They played as they chatted, and when the game was finished they counted their pieces. After deducting the one with which he had opened, Zhan had lost by seven pieces.<br />
Feng remarked, “You lost out trying to enclose uncle’s pieces. And so, being less vulnerable, he got the upper hand.”<br />
“Excuse us for ignoring you,” Master Merchant apologized. “Now we can talk.”<br />
“I haven’t seen you for some time, uncle, so I called in the first place to pay my respects,” said Feng. “Another reason is that the vice-prefect of Guangxi has come to the capital with four novelties from the south or overseas, all fit to present to the court. One is a carved ebony screen with twenty-four leaves. They’re inlaid not with jade but with the finest marble carved with landscapes, figures, pavilions, flowers and birds. On each leaf are fifty to sixty girls in palace costume, so the screen is called ‘Spring Dawn in the Han Palace.’<br />
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“That’s not true!” protested Light Zhan laughingly.<br />
“Just wait and see,” said Master Merchant.<br />
They played as they chatted, and when the game was finished they counted their pieces. After deducting the one with which he had opened, Zhan had lost by seven pieces.<br />
Feng remarked, “You lost out trying to enclose uncle’s pieces. And so, being less vulnerable, he got the upper hand.”<br />
“Excuse us for ignoring you,” Master Merchant apologized. “Now shall we talk.”<br />
“I haven’t seen you for some time, uncle, so I called in the first place to pay my respect,” said Feng. “Another reason is that the vice-prefect of Guangxi has come to the capital with four novelties from the south or overseas, all fit to present to the court. One is a carved ebony screen with twenty-four leaves. They’re inlaid not with jade but with the finest marble carved with landscapes, figures, pavilions, flowers and birds. On each leaf are fifty to sixty girls in palace costume, so the screen is called ‘Spring Dawn in the Han Palace.’--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 19:15, 24 May 2022 (UTC)<br />
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==日语笔译 张白鹭 Zhang Bailu 202170081634==<br />
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人的眉、目、口、鼻以及出手、衣褶，刻得又清楚，又细腻。点缀布置，都是好的。我想尊府大观园中正厅上却可用得着。还有一个钟表，有三尺多高，也是一个小童儿拿着时辰牌，到了什么时候，他就报什么时辰；里头也有些人在那里打十番的。这是两件重笨的，却还没有拿来。现在我带在这里两件，却有些意思儿。”就在身边拿出一个锦匣子，见几重白绵裹着，揭开了绵子，第一层是一个玻璃盒子，里头金托子，大红绉绸托底，上放着一颗桂圆大的珠子，光华耀目。冯紫英道：“据说这就叫做‘母珠’。”因叫：“拿一个盘儿来。”<br />
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All the girls’ features, their hands and the draperies are most delicately carved. The embellishments and designs are excellent too. It seems to me just the thing for the main hall of your honourable Grand View Garden.<br />
“Then there’s a clock more than three feet high in the form of a boy holding a time-piece, which announces each hour in turn, while inside some clock-work figures play musical chimes. As both these are heavy objects, I didn’t bring them. But the two things I have with me are quite intriguing too.”<br />
With that he produced a brocade box swathed in white silk floss and, having removed some padding, showed them a glass case in which was a gold stand mounted on red crepe. On the stand lay a dazzling bright pearl, as large as a dried longan.<br />
“This is called a mother pearl,” Feng told them, then asked for a plate.<br />
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==朝鲜语笔译 刘安莉 Liu Anli 202170081635==<br />
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詹光即忙端过一个黑漆茶盘，道：“使得么？”冯紫英道：“使得。”便又向怀里掏出一个白绢包儿，将包儿里的珠子都倒在盘子里散着，把那颗母珠搁在中间，将盘置于桌上。看见那些小珠子儿，滴溜滴溜滚到大珠身边来，一回儿把这颗大珠子抬高了，别处的小珠子一颗也不剩，都粘在大珠上。詹光道：“这也奇怪！”贾政道：“这是有的，所以叫做‘母珠’，原是珠之母。”那冯紫英又回头看着他跟来的小厮道：“那个匣子呢？”那小厮赶忙捧过一个花梨木匣子来。大家打开看时，原来匣内衬着虎纹锦，锦上叠着一束蓝纱。詹光道：“这是什么东西？”<br />
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==朝鲜语笔译 王思佳 Wang Sijia 202170081636==<br />
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冯紫英道：“这叫做‘鲛绡帐’。”在匣子里拿出来时，叠得长不满五寸，厚不上半寸，冯紫英一层一层的打开，打到十来层，已经桌上铺不下了。冯紫英道：“你看，里头还有两褶，必得高屋里去，才张得下。这就是鲛丝所织。暑热天气，张在堂屋里头，苍蝇蚊子，一个不能进来，又轻又亮。”贾政道：“不用全打开，怕叠起来倒费事。”詹光便与冯紫英一层一层折好收拾。冯紫英道：“这四件东西，价儿也不狠贵，两万银他就卖。母珠一万，鲛绡帐五千，‘汉宫春晓’与自鸣钟五千。”贾政道：“那里买得起。”冯紫英道：“你们是个国戚，难道宫里头用不着么？”<br />
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==朝鲜语笔译 徐盖 Xu Gai 202170081638==<br />
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贾政道：“用得着的狠多，只是那里有这些银子？等我叫人拿进去给老太太瞧瞧。”冯紫英道：“狠是。”贾政便着人叫贾琏把这两件东西送到老太太那边去，并叫人请了邢王二夫人、凤姐儿都来瞧着，又把两件东西一一试过。贾琏道：“他还有两件：一件是围屏，一件是乐钟。共总要卖二万银子呢。”凤姐儿接着道：“东西自然是好的，但是那里有这些闲钱？咱们又不比外任督抚要办贡。我已经想了好些年了，像咱们这种人家，必得置些不动摇的根基才好：或是祭地，或是义庄，再置些坟屋。往后子孙遇见不得意的事，还是点儿底子，不到一败涂地。<br />
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==朝鲜语笔译 徐文慧 Xu Wenhui 202170081639==<br />
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我的意思是这样，不知老太太、老爷、太太们怎么样？若是外头老爷们要买只管买。”贾母与众人都说：“这话说的倒也是。”贾琏道：“还了他罢。原是老爷叫我送给老太太瞧，为的是宫里好进；谁说买来搁在家里？老太太还没开口，你便说了一大些丧气话！”说着，便把两件东西拿了出去，告诉贾政，只说：“老太太不要。”便与冯紫英道：“这两件东西，好可好，就只没银子。我替你留心，有要买的人我便送信给你去。”冯紫英只得收拾好，坐下说些闲话，没有兴头，就要起身。贾政道：“你在我这里吃了晚饭去罢。”冯紫英道：“罢了，来了就叨扰老伯吗！”<br />
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==比较文学与跨文化研究 Mahzad Heydarian 202021080004==<br />
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贾政道：“说那里的话！”正说着，人回：“大老爷来了。”贾赦早已进来。彼此相见，叙些寒温。不一时，摆上酒来，肴馔罗列，大家喝着酒。至四五巡后，说起洋货的话。冯紫英道：“这种货本是难消的。除非要像尊府这种人家，还可消得，其余就难了。”贾政道：“这也不见得。”贾赦道：“我们家里也比不得从前了，这回儿也不过是个空门面。”冯紫英又问：“东府珍大爷可好么？我前儿见他，说起家常话儿来，提到他令郎续娶的媳妇远不及头里那位秦氏奶奶了。如今后娶的到底是那一家的？我也没有问起。”<br />
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==外国语言文学 Akira 202121080009==<br />
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贾政道：“我们这个侄孙媳妇儿也是这里大家，从前做过京畿道的胡老爷的女孩儿。”冯紫英道：“胡道长我是知道的。但是他家教上也不怎么样。也罢了，只要姑娘好就好。”贾琏道：“听得内阁里人说起，雨村又要升了。”贾政道：“这也好，不知准不准？”贾琏道：“大约有意思的了。”冯紫英道：“我今儿从吏部里来，也听见这样说。雨村老先生是贵本家不是？”贾政道：“是。”冯紫英道：“是有服的，还是无服的？”贾政道：“说也话长。他原籍是浙江湖州府人，流寓到苏州，甚不得意。有个甄士隐和他相好，时常周济他。<br />
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==英语语言文学 Mariam Tourse 2020GBJ002301==<br />
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已后中了进士，得了榜下知县，便娶了甄家的丫头。如今的太太不是正配。岂知甄士隐弄到零落不堪，没有找处。雨村革了职以后，那时还与我家并未相识。只因舍妹丈林如海林公在扬州巡盐的时候，请他在家做西席，外甥女儿是他的学生。因他有起复的信，要进京来，恰好外甥女儿要上来探亲，林姑老爷便托他照应上来的。还有一封荐书托我吹嘘吹嘘。那时看他不错，大家常会。岂知雨村也奇：我家世袭起，从‘代’字辈下来，宁荣两宅，人口房舍，以及起居事宜，一概都明白。因此，遂觉得亲热了。”</div>Li Yuanhttps://bou.de/u/index.php?title=20220519_culture&diff=14336820220519 culture2022-05-25T03:23:02Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
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<div>Quicklinks:[[Chinese Language and Culture 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Joint_translation_terms]]<br />
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[[20220519_culture|culture of session 13 for session 14 May 19]]<br />
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'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is <br />
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38 Opera: Peking Opera 52% 谢晓莹 Xie Xiaoying<br />
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41 Opera: Peking Opera Actor Mei Lanfang 50% 郑冬琴 Zheng Dongqin<br />
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42 Opera: Hunan Flower-drum Opera (Huagu Opera) 50% 熊嘉玲 Xiong Jia ling<br />
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'''Assignment 2''': '''Click here''' to answer the questions of the topics below <br />
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38 Opera: Peking Opera 52%<br />
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41 Opera: Peking Opera Actor Mei Lanfang 50% <br />
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42 Opera: Hunan Flower-drum Opera (Huagu Opera) 50% <br />
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Due before 4:30 pm May. 26<br />
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'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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Due before 6:00 pm May. 25<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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紫鹃进来看时，只见黛玉被窝又蹬下来，复又给他轻轻盖上。一宿晚景不提。次日，黛玉清早起来，也不叫人，独自一个，呆呆的坐着。紫鹃醒来，看见黛玉已起，便惊问道：“姑娘怎么这么早？”黛玉道：“可不是！睡得早，所以醒得早。”紫鹃连忙起来，叫醒雪雁，伺候梳洗。那黛玉对着镜子，只管呆呆的自看。看了一回，那泪珠儿断断连连，早已湿透了罗帕。正是：瘦影正临春水照，卿须怜我我怜卿。紫鹃在旁也不敢劝，只怕倒把闲话勾引旧恨来。迟了好一会，黛玉才随便梳洗了，那眼中泪渍，终是不干。又自坐了一会，叫紫鹃道：“你把藏香点上。”<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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紫鹃道：“姑娘，你睡也没睡得几时，如何点香？不是要写经？”黛玉点点头儿。紫鹃道：“姑娘今日醒得太早，这会子又写经，只怕太劳神了罢。”黛玉道：“不怕！早完了早好！况且我也并不是为经，倒借着写字解解闷儿。以后你们见了我的字迹，就算见了我的面儿了。”说着，那泪直流下来。紫鹃听了这话，不但不能再劝，连自己也掌不住滴下泪来。原来黛玉立定主意，自此以后，有意遭塌身子，茶饭无心，每日渐减下来。宝玉下学时，也常抽空问候。只是黛玉虽有万千言语，自知年纪已大，又不便似小时可以柔情挑逗，所以满腔心事，只是说不出来。<br />
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“You've slept only for a very short period of time, my ladyship. Why do you want incense? To copy more scriptures?” worried Nightingale. Mascara Jade nodded. “You woke up too early. If you want to copy scriptures now, I’m afraid it will drain your brains.” opposed Nightingale. “Put your mind at ease. I want to finish it as soon as possible. Besides, it’s not the scriptures I’m thinking about, but writing helps divert me from boredom. And later, when I'm not here anymore, seeing my calligraphy will be like seeing me again”. Comforted Mascara Jade, with tears streaming down her face. Knowing that she is not persuadable, Nightingale could not hold back her own tears any longer, too. Now that Mascara Jade had made up her mind to lavish her health, she ate less every day and gradually became emaciated. Precious Jade often took time off to visit her after school; although she was dying to pour out her inner emotion, now that they were no longer children she could hardly tease him playfully as before or express her constrained feelings straightly.<br />
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“You've slept only for a very short period of time, my ladyship. Why do you want incense? To copy more scriptures?” worried Nightingale. Mascara Jade nodded. “You woke up too early. If you want to copy scriptures now, I’m afraid it will drain your brains.” opposed Nightingale. “Put your mind at ease. I want to finish it as soon as possible. Besides, it’s not the scriptures I’m thinking about, but writing helps divert me from boredom. And later, when I'm not here anymore, seeing my calligraphy will be like seeing me again”. Comforted Mascara Jade, with tears streaming down her face. Knowing that she is not persuadable, Nightingale could not hold back her own tears any longer, too. Now that Mascara Jade had made up her mind to lavish her health, she ate less every day and gradually became emaciated. Precious Jade often took time off to visit her after school; although she was dying to pour out her inner emotion, now that they were no longer children she could hardly tease him playfully as before or express her constrained feelings straightly.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 15:34, 24 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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宝玉欲将实言安慰，又恐黛玉生嗔，反添病症。两个人见了面，只得用浮言劝慰，真真是”亲极反疏“了。那黛玉虽有贾母王夫人等怜恤，不过请医调治，只说黛玉常病，那里知他的心病？紫鹃等虽知其意，也不敢说。从此，一天一天的减。到半月之后，肠胃日薄一日，果然粥都不能吃了。黛玉日间听见的话，都似宝玉娶亲的话；看见怡红院中的人，无论上下，也像宝玉娶亲的光景。薛姨妈来看，黛玉不见宝钗，越发起疑心。索性不要人来看望，也不肯吃药，只要速死。睡梦之中，常听见有人叫“宝二奶奶”的。一片疑心，竟成蛇影。一日竟是绝粒，粥也不喝，恹恹一息，垂毙殆尽。<br />
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Precious Jade wanted to console her, yet he feared this might offend her and make her illness worse.When they met each other they could only express their concern in the most superficial way. Truly, theirs was a case of “devotion leading to alienation.”Grandma Merchant and Lady King were fond of Mascara Jade, simply called in doctors to attend her as she was so often ill, with no inkling that she was wasting away for love. And though Nightingale knew the truth, she dared not reveal it. So for a fortnight Mascara Jade ate daily less, till her appetite had so diminished that she could not even swallow a mouthful of congee. Any talk she heard she suspected concerned Precious Jade’s marriage. Anyone from Happy Red Court, whether master or maid, made her think of his impending marriage too. When Aunt Marshgrass called on her without Precious Hairpin, this made her still more suspicious. She even wished everyone would keep away, and refused to take any medicine in the hope of hastening her death. In her dreams, she kept hearing people refer to “Madam Precious Hairpin.” Suspicion poisoned her mind. And at last the day came when, refusing both rice and congee, she was at her last gasp and almost death’s door.<br />
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==英语笔译 崔晓凡 Cui Xiaofan 202170081566==<br />
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却说黛玉自立意自戕之后，渐渐不支，一日竟至绝粒。从前十几天内，贾母等轮流看望，他有时还说几句话；这两日索性不大言语。心里虽有时昏晕，却也有时清楚。贾母等见他这病不似无因而起，也将紫鹃雪雁盘问过两次。两个那里敢说？便是紫鹃欲向侍书打听消息，又怕越闹越真，黛玉更死得快了，所以见了侍书，毫不提起。那雪雁是他传话弄出这样缘故来，此时恨不得长出百十个嘴来说“我没说”，自然更不敢提起。到了这一天黛玉绝粒之日，紫鹃料无指望了，守着哭了会子，因出来偷向雪雁道：“你进屋里来，好好儿的守着他。我去回老太太、太太和二奶奶去。<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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今日这个光景，大非往常可比了。”雪雁答应，紫鹃自去。这里雪雁正在屋里伴着黛玉，见他昏昏沉沉，小孩子家那里见过这个样儿，只打谅如此便是死的光景了，心中又痛又怕，恨不得紫鹃一时回来才好。正怕着，只听窗外脚步走响，雪雁知是紫鹃回来，才放下心了，连忙站起来，掀着里间帘子等他。只见外面帘子响处，进来了一个人，却是侍书。那侍书是探春打发来看黛玉的，见雪雁在那里掀着帘子，便问道：“姑娘怎么样？”雪雁点点头儿，叫他进来。侍书跟进来，见紫鹃不在屋里，睄了睄黛玉，只剩得残喘微延，唬的惊疑不止，因问：“紫鹃姐姐呢？”雪雁道：“告诉上屋里去了。”<br />
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It's not what it used to be." Snowgoose promised, and Nightingale left. Here snow goose is in the house with Mascara Jade Forest, see him in a daze, children have seen such a look, I just think that is the scene of death, the heart of pain and fear, I wish Nightingale back for a while. As he was afraid, he heard the sound of footsteps outside the window. The snow goose knew it was Nightingale coming back, and he was relieved. He stood up and lifted the curtain between the inner room and waited for him. Outside the curtain rang, a man came in, but it was a page. Seeking-Spring Merchant had sent the servant to visit Mascara Jade Forest. Seeing the snow goose holding the curtains open, he asked, "How is the girl?" Snowgoose nodded and called him in. Book Server follow come in, see Nightingale is not in the house, Mascara Jade Forest, only have the remnants of breathing micro delay, frighten more than, because ask: "Nightingale elder sister?" The snow goose said, "Tell me to go to the house."<br />
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It's not what it used to be." Snowgoose promised, and Nightingale left. Here Snowgoose is in the house with Mascara Jade Forest, see him in a daze, children have seen such a look, I just think that is the scene of death, the heart of pain and fear, I wish Nightingale back for a while. As he was afraid, he heard the sound of footsteps outside the window. Snowgoose knew it was Nightingale coming back, and he was relieved. He stood up and lifted the curtain between the inner room and waited for him. Outside the curtain rang, a man came in, but it was a page. Seeking Spring Merchant had sent the servant to visit Mascara Jade Forest. Seeing the Snowgoose holding the curtains open, he asked, "How is the girl?" Snowgoose nodded and called him in. Book Server follow come in, see Nightingale is not in the house, Mascara Jade Forest, only have the remnants of breathing micro delay, frighten more than, because ask: "Nightingale elder sister?" Snowgoose said, "Tell me to go to the house."--[[User:Gao Zhihui|Gao Zhihui]] ([[User talk:Gao Zhihui|talk]]) 02:43, 25 May 2022 (UTC)<br />
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==英语笔译 高智慧 Gao Zhihui 202170081568==<br />
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那雪雁此时只打谅黛玉心中一无所知了，又见紫鹃不在面前，因悄悄的拉了侍书的手问道：“你前日告诉我说的什么王大爷给这里宝二爷说了亲，是真话么？”侍书道：“怎么不真！”雪雁道：“多早晚放定的？”侍书道：“那里就放定了呢？那一天我告诉你时，是我听见小红说的。后来我到二奶奶那边去，二奶奶正和平姐姐说呢，道：‘那都是门客们借着这个事讨老爷的喜欢，往后好拉拢的意思。别说大太太说不好，就是大太太愿意，说那姑娘好，那大太太眼里看的出什么人来？再者，老太太心里早有了人了，就在咱们园子里的，大太太那里摸的着底呢？老太太不过因老爷的话，不得不问问罢咧。’<br />
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Snowgoose decided to take advantage of Nightingale’s absence to question Scribe. Taking her by the hand, she asked in a whisper: ‘Did you really mean what you said the other day about Mr Wang, and Master Bao’s betrothal?’ ‘Of course I did!’ replied Scribe. ‘When was it settled?’ ‘I never said it was! What I told you was just what I’d heard from Crimson. Later I was at Mrs Lian’s myself, and heard her say to Patience that the whole thing was something the Master’s literary gentlemen had thought up, to please him and provide themselves with a connection. As it happened Lady Xing didn’t even think it a good match. But even if she had approved, everyone knows how unreliable her judgement is. Besides, Her Old Ladyship already has someone else in mind for Master Bao, someone here in the Garden. Lady Xing had no idea of that, of course, and Her Old Ladyship only allowed them to go ahead with the normal inquiries for the Master’s sake.<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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又听见二奶奶说：‘宝玉的事，老太太总是要亲上作亲的，凭谁来说亲，横竖不中用。’”雪雁听到这里，也忘了神了，因说道：“这是怎么说！白白的送了我们这一位的命了！”侍书道：“这是从那里说起？”雪雁道：“你还不知道呢！前日都是我和紫鹃姐姐说来着，这一位听见了，就弄到这步田地了。”侍书道：“你悄悄儿的说罢，看仔细他听见了。”雪雁道：“人事都不省了，睄睄罢，左不过在这一两天了。”正说着，只见紫鹃掀帘进来说：“这还了得！你们有什么话，还不出去说，还在这里说！索性逼死他就完了。”侍书道：“我不信有这样奇事。”<br />
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"Then I heard the second madam Phoenix said, 'As for Precious Jade, the old lady is bound to choose a relative to be his wife. There's no other possibility no matter who wants to act as a matchmaker. '" When Snowgoose heard this, she also forgot herself and said, "Why? Our young lady’s dying for no reason!" "What do you mean?" Snowgoose said, "You don't know yet! It was me and sister Nightingale who talked about it the other day. She overheard about it, and that's why she's becoming increasingly depressed." Book Server said, "Speak quietly, in case she will hear you." Snowgoose replied, "She is unconscious and can hardly last for more than one or two days." Just then, Nightingale lifted the curtain and said, "What are you doing! What do you have to say here? Just go out and say anything you like. Or you're simply forcing her to die!" "I don't believe in such things," said Book Server.<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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紫鹃道：“好姐姐，不是我说，你又该恼了。你懂得什么呢！懂得也不传这些舌了。”这里三个人正说着，只听黛玉忽然又嗽了一声，紫鹃连忙跑到炕沿前站着，侍书雪雁也都不言语了。紫鹃弯着腰，在黛玉身后轻轻问道：“姑娘，喝口水罢？”黛玉微微答应了一声。雪雁连忙倒了半钟滚白水，紫鹃接了托着，侍书也走近前来。紫鹃和他摇头儿，不叫他说话，侍书只得咽住了。站了一回，黛玉又嗽了一声。紫鹃趁势问道：“姑娘，喝水呀？”黛玉又微微应了一声，那头似有欲抬之意，那里抬得起？紫鹃爬上炕去，爬在黛玉旁边，端着水，试了冷热，送到唇边，扶了黛玉的头，就到碗边，喝了一口。<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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紫鹃才要拿时，黛玉意思还要喝一口，紫鹃便托着那碗不动。黛玉又喝了一口，摇摇头儿，不喝了。喘了一口气，仍旧躺下。半日，微微睁眼，说道：“刚才说话不是侍书么？”紫鹃答应道：“是。”侍书尚未出去，因连忙过来问候。黛玉睁眼看了，点点头儿，又歇了一歇，说道：“回去问你姑娘好罢。”侍书见这番光景，只当黛玉嫌烦，只得悄悄的退出去了。原来那黛玉虽则病势沉重，心里却还明白。起先侍书雪雁说话时，他也模糊听见了一半句，却只作不知，也因实无精神答理。及听了雪雁侍书的话，才明白过前头的事情原是议而未成的。<br />
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As Mascara Jade was eager for more water, instead of removing the cup Nightingale held it there so she took another sip. Then Mascara Jade shook her head, meaning it's enough, and lay down again with a sigh. After a while, opening her eyes slightly, she asked: "Was that Book Server?" "Yes," said Nightingale. Book Server had not left, hurriedly came over to greet her. Mascara Jade opened her eyes and nodded to her. Taking a short break, she said, "When you return home, extend my regards to your mistress." Guessing that Mascara Jade wanted to rest alone, Book Server sneaked out. Now Mascara Jade was seriously ill but she had been clear in her mind. She had heard a sentence vaguely but she pretended to know nothing about it, owing to her weakness. From what she overheard she realized that the match proposed had not been agreed to.<br />
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As Mascara Jade was eager for more water, instead of removing the cup Nightingale held it there while she took another sip. Then Mascara Jade shook her head, meaning it's enough, and lay down again with a sigh. After a while, opening her eyes slightly, she asked: "Was that Book Server talking just now?" "Yes, miss." said Nightingale. Book Server, who had not yet left, hurriedly came over to greet her. Mascara Jade opened her eyes and nodded to her. After taking a short break, she said, "When you return home, extend my regards to your mistress." Guessing that Mascara Jade wanted to rest alone, Book Server sneaked out. Now Mascara Jade was seriously ill but she had been clear in her mind. She had heard a sentence vaguely from Book Server and Nightingale, but she pretended to know nothing about it, owing partly to sheer weakness. From what she overheard she realized that the match proposed had not been agreed to.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 03:12, 25 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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又兼侍书说是凤姐说的，老太太的主意，亲上作亲，又是园中住着的，非自己而谁？因此一想，阴极阳生，心神顿觉清爽许多，所以才喝了两口水，又要想问侍书的话。恰好贾母、王夫人、李纨、凤姐听见紫鹃之言都赶着来看。黛玉心中疑团已破，自然不似先前寻死之意了。虽身体软弱，精神短少，却也勉强答应一两句了。凤姐因叫过紫鹃，问道：“姑娘也不至这样。这是怎么说，你这样唬人。”紫鹃道：“实在头里看着不好，才敢去告诉的。回来见姑娘竟好了许多，也就怪了。”贾母笑道：“你也别怪他。他懂得什么？看见不好就言语，这倒是他明白的地方。小孩子家不嘴懒脚懒就好。”<br />
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And then Book Server had quoted Splendid Phoenix as saying that Grandma Merchant intended to marry Precious Jade to one of his relatives from the girls in the Garden. But who could that be if not her? At this thought, her despair gave way to joy and her mind became clearer too. Therefore, she drank some water and even wanted to question Book Server. Just then the old lady arrived with Lady King, Silk Plum and Splendid Phoenix who had hurried over after hearing Nightingale's report. Mascara Jade, her fears set at rest now, naturally no longer wanted to die. Though still weak and low in spirits, she managed to in reply to their inquiries briefly. Seeing this, Splendid Phoenix called Nightingale over and asked her. "Your young lady's not in such a bad way after all. What do you mean by frightening us like that?" "Honestly, she really looked bad," replied Nightingale. "Otherwise I wouldn't have dared to brother you. But now, coming back, I'm quite amazed to find her so much better." "Don't take what she says so seriously. What does she understand?" said Grandma Merchant with a smile. "When something's wrong, it shows good sense to report it. I like a girl who's not too lazy to say a word or do anything."<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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说了一回，贾母等料着无妨，也就去了。正是：心病终须心药治，解铃还是系铃人。不言黛玉病渐减退。且说雪雁紫鹃背地里都念佛。雪雁向紫鹃说道：“亏他好了，只是病的奇怪，好的也奇怪。”紫鹃道：“病的倒不怪，就只好的奇怪。想来宝玉和姑娘必是姻缘，人家说的：‘好事多磨。’又说道：‘是姻缘棒打不回’。这样看起来，人心天意，他们两个竟是天配的了。再者，你想那一年，我说了林姑娘要回南去，把宝玉没急死了，闹得家翻宅乱；如今一句话又把这一个弄得死去活来：可不说的‘三生石上’百年前结下的么？”说着，两个悄悄的抿着嘴笑了一回。<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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雪雁又道：“幸亏好了！咱们明儿再别说了，就是宝玉娶了别的人家儿的姑娘，我亲见他在那里结亲，我也再不露一句话了。”紫鹃笑道：“这就是了。”不但紫鹃和雪雁在私下里讲究，就是众人也都知道黛玉的病也病得奇怪，好也好得奇怪，三三两两，唧唧哝哝议论着。不多几时，连凤姐儿也知道了，邢王二夫人也有些疑惑，倒是贾母略猜着了八九。那时正值邢王二夫人、凤姐等在贾母房中说闲话，说起黛玉的病来。贾母道：“我正要告诉你们，宝玉和林丫头是从小儿在一处的，我只说小孩子们，怕什么？以后时常听得林丫头忽然病，忽然好，都为有了些知觉了。<br />
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Snowgoose said again: "Fortunately, Mascara Jade Forest recovers from her illness! Let's not talk about it afterward. Even if I saw Precious Jade Merchant married a girl from another family, I won't say a word again." Nightingale smiled, "That's right." Not only did Nightingale and Snowgoose talk about it in private, but everyone thought that Mascara Jade Forest got ill and recovered from illness strangely, people gathered in groups muttering about it. After a while, even Splendid Phoenix King knew it, Lady City and Lady King also had some doubts, but Grandma Merchant probably had guessed the reason. At that time, Lady City and Lady King were gossiping with Splendid Phoenix King in Grandma Merchant's room and talking about Mascara Jade Forest's illness. Grandma Merchant said, "I was just about to tell you that Precious Jade and Mascara Jade Forest have been together since childhood. I just want to say that children don't need to be afraid? From then on, I often heard that Mascara Jade Forest often fell ill and got better unexpectedly, all that because she became conscious again." --[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 14:20, 24 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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所以我想他们若尽着搁在一块儿，毕竟不成体统。你们怎么说？”王夫人听了，便呆了一呆，只得答应道：“林姑娘是个有心计儿的。至于宝玉，呆头呆恼，不避嫌疑是有的。看起外面，却还都是个小孩儿形像。此时若忽然或把那一个分出园外，不是倒露了什么痕迹了么。古来说的：‘男大须婚，女大须嫁。’老太太想，倒是赶着把他们的事办办也罢了。”贾母皱了一皱眉，说道：“林丫头的乖僻，虽也是他的好处，我的心里不把林丫头配他，也是为这点子；况且林丫头这样虚弱，恐不是有寿的。只有宝丫头最妥。”<br />
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I think it's inappropriate to keep the two of them together all the time. What do you think? Lady King was stunned for a while, and replied, "Mascara Jade Forest is a scheming person. Precious Jade Merchant, on the other hand, was dumbfounded and did not shy away from staying with him. Both of them looked like children in appearance. But wouldn't it be too deliberate to let the two of them live in different places at this time? As the old saying goes: 'Both men and women need to get married when they are grown-ups.' I think you can consider about marriage for the two of them. "Grandma Merchant frowned and said, "Mascara Jade Forest has an eccentric personality. Although this is also her strength, I think it is also because of this that he doesn’t deserve Precious Jade Merchant." Moreover, Mascara Jade Forest is frail and may not live long, while Precious Jade Merchant is healthy. ”--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 12:38, 24 May 2022 (UTC)<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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王夫人道：“不但老太太这么想，我们也是这样。但林姑娘也得给他说了人家儿才好。不然，女孩儿家长大了，那个没有心事？倘或真与宝玉有些私心，若知道宝玉定下宝丫头，那倒不成事了。”贾母道：“自然先给宝玉娶了亲，然后给林丫头说人家。再没有先是外人、后是自己的。况且林丫头年纪到底比宝玉小两岁。依你们这样说，倒是宝玉定亲的话，不许叫他知道倒罢了。”凤姐便吩咐众丫头们道：“你们听见了？宝二爷定亲的话，不许混吵嚷；若有多嘴的，提防着他的皮！”贾母又向凤姐道：“凤哥儿，你如今自从身上不大好，也不大管园里的事了。我告诉你，须得经点儿心。<br />
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Lady King said, "Not only the Old Lady thinks so, but so do we. But we must arrange a marriage for Mascara Jade too. Otherwise, A growing girl is bound to have some secrets her heart. If she really has some affairs with Precious Jade and hears that he’s engaged to Precious Hairpin, we’re going to have a problem on our hands." Grandma Merchant said, "Naturally, we should arrange a marriage for Precious Jade first, and then arrange for Mascara Jade. Who ever heard of arranging a marriage for someone else’s child before one’s own? Besides, Mascara Jade is two years younger than Precious Jade. Still, there’s truth in what you said, so Precious Jade's engagement must not be made known to him." Sister Phoenix then commanded the maids: "Did you hear that? Mind you don’t gossip about Master Precious’s engagement. If anyone talks, she should be careful to be punished!" Grandma Merchant said to Sister Phoenix: "Sister Phoenix, since you are ill now, and do not take care of what goes on in the Garden. I'm telling you, you have to be careful.<br />
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"Not only the Old Lady thinks so, but so do we,"Lady King said, "But we must arrange a marriage for Mascara Jade too. Otherwise, A growing girl is bound to have some secrets her heart. If she really has some affairs with Precious Jade and hears that he’s engaged to Precious Hairpin, we’re going to have a problem on our hands." Grandma Merchant said, "Naturally, we should arrange a marriage for Precious Jade first, and then arrange for Mascara Jade. Who ever heard of arranging a marriage for someone else’s child before one’s own? Besides, Mascara Jade is two years younger than Precious Jade. Still, there’s truth in what you said, so Precious Jade's engagement must not be made known to him." Sister Phoenix then commanded the maids: "Did you hear that? Mind you don’t gossip about Master Precious’s engagement. If anyone talks, she should be careful to be punished!" Grandma Merchant said to Sister Phoenix: "Sister Phoenix, since you are ill now, and do not take care of what goes on in the Garden. I'm telling you, you have to be careful.<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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不但这个，就像前年那些人喝酒耍钱，都不是事。你还精细些，少不得多分点心儿，严紧严紧他们才好。况且我看他们也就只还服你。”凤姐答应了。娘儿们又说了一回话，方各自散了。从此，凤姐常到园中照料。一日，刚走进大观园，到了紫菱洲畔，只听见一个老婆子在那里嚷。凤姐走到跟前，那婆子才瞧见了，早垂手侍立，口里请了安。凤姐道：“你在这里闹什么？”婆子道：“蒙奶奶们派我在这里看守花果，我也没有差错，不料邢姑娘的丫头说我们是贼。”凤姐道：“为什么呢？”婆子道：“昨儿我们家的黑儿跟着我到这里顽了一回，他不知道，又往邢姑娘那边去瞧了一瞧，我就叫他回去了。<br />
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Not only this, but also things just like the year before those servants were drinking and gambling are disgraceful.You observed careful than the rest of us, so we are bond to keep them under stricter control.They are just obedient to you."Sister Splendid acquiesced.And after a little talk, they dispersed.From then on, Sister Splendid often went to the check up the garden.One day, just as she entered in, she heard an old woman at Purple Water Chestnut Island speaking loudly. When Xi-feng came up to her, the old woman caught sight of her and stood by her side with her hands down. She greeted her respects, and Xi-feng said:"What are you arguing for?" The old woman said:"The Grainy Meng put me in charge of the flower and fruits here.I haven't made any mistakes, yet Lady King accused me were thieves!" "Why?"Sister Splendid said."My son followed me come here to play yesterday, he was unfamiliar with here, and he had a look at Lady King, then I let him come back home."<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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今儿早起，听见他们丫头说，丢了东西了。我问他丢了什么，他就问起我来了。”凤姐道：“问了你一声，也犯不着生气呀。”婆子道：“这里园子，到底是奶奶家里的，并不是他们家里的。我们都是奶奶派的，贼名儿怎么敢认呢？”凤姐照脸啐了一口，厉声道：“你少在我跟前唠唠叨叨的！你在这里照看，姑娘丢了东西，你们就该问哪，怎么说出这些没道理的话来？把老林叫了来，撵出他去。”丫头们答应了。只见邢岫烟赶忙出来，迎着凤姐陪笑道：“这使不得，没有的事，事情早过去了。”凤姐道：“姑娘，不是这个话。倒不讲事情，这名分上太岂有此理了。”<br />
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Early this morning, I heard their maid say that they lost something. Then, I asked what it was, and she began to ask me about that," she said. "You don't need to be angry about their asking," Sister Phoenix said. "This Garden belongs to the Lady's family, not to hers. We serve the Lady, so how dare I admit the slander of being a thief?" the old woman said. Sister Phoenix spat at her face and spoke to her with a harsh tone. "Stop your nonsense! You take care of this place, so you should be responsible for that if the mistress lost something. How could you say something like this? Call Old Forest to send her out," she said. At this moment, Cave Cloud City came out in a hurry. "There is no need to do this. It's nothing, and it's gone," she said to Sister Phoenix with smile. "Mistress. it's not this case. Put this thing away for a moment, and the servants need to know their place," Sister Phoenix said.<br />
<br />
==英语笔译 李梓婕 Li Zijie 202170081580==<br />
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岫烟见婆子跪在地下告饶，便忙请凤姐到里边去坐。凤姐道：“他们这种人，我知道他，除了我，其余都没上没下的了。”岫烟再三替他讨饶，只说自己的丫头不好。凤姐道：“我看着邢姑娘的分上，饶你这一次。”婆子才起来磕了头，又给岫烟磕了头，才出去了。这里二人让了坐，凤姐笑问道：“你丢了什么东西了？”岫烟笑道：“没有什么要紧的，是一件红小袄儿，已经旧了的。我原叫他们找，找不着就罢了。这小丫头不懂事，问了那婆子一声，那婆子自然不依了。这都是小丫头糊涂不懂事，我也骂了几句。已经过去了，不必再提了。”<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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凤姐把岫烟内外一瞧，看见虽有些皮绵衣服，已是半新不旧的，未必能暖和，他的被窝多半是薄的。至于房中桌上摆设的东西，就是老太太拿来的，却一些不动，收拾的干干净净。凤姐心上便狠爱敬他，说道：“一件衣服，原不要紧。这时候冷，又是贴身的，怎么就不问一声儿呢？这撒野的奴才，了不得了！”说了一回，凤姐出来，各处去坐了一坐，就回去了。到了自己房中，叫平儿取了一件大红洋绉的小袄儿，一件松花色绫子一抖珠儿的小皮袄，一条宝蓝盘锦镶花绵裙，一件佛青银鼠褂子，包好叫人送去。那时岫烟被那老婆子聒噪了一场，虽有凤姐来压住，心上终是不安。<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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想起“许多姐妹们在这里，没有一个下人敢得罪他的，独自我这里，他们言三语四，刚刚凤姐来碰见”。想来想去，终是没意思，又说不出来。正在吞声饮泣，看见凤姐那边的丰儿送衣服过来。岫烟一看，决不肯受。丰儿道：“奶奶吩咐我说：‘姑娘要嫌是旧衣裳，将来送新的来。’”岫烟笑谢道：“承奶奶的好意。只是因我丢了衣服，他就拿来，我断不敢受。拿回去，千万谢你们奶奶！承你奶奶的情，我算领了。”倒拿个荷包给了丰儿，那丰儿只得拿了去了。不多时，又见平儿同着丰儿过来，岫烟忙迎着问了好，让了坐。平儿笑说道：“我们奶奶说：姑娘特外道的了不得！”<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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岫烟道：“不是外道，实在不过意。”平儿道：“奶奶说，姑娘要不收这衣裳，不是嫌太旧，就是瞧不起我们奶奶。刚才说了：我要拿回去，奶奶不依我呢。”岫烟红着脸笑谢道：“这样说了，叫我不敢不收。”又让了一回茶。平儿同丰儿回去，将到凤姐那边，碰见薛家差来的一个老婆子，接着问好。平儿便问道：“你那里来的？”婆子道：“那边太太、姑娘叫我来请各位太太、奶奶、姑娘们的安。我才刚在奶奶前问起姑娘来，说姑娘到园中去了。可是从邢姑娘那里来么？”平儿道：“你怎么知道？”婆子道：“方才听见说，真真的二奶奶和姑娘们的行事叫人感念！”<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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平儿笑了一笑说：“你回来坐着罢。”婆子道：“我还有事，改日再过来瞧姑娘罢。”说着走了。平儿回来，回复了凤姐。不在话下。且说薛姨妈家中被金桂搅得翻江倒海，看见婆子回来，说起岫烟的事，宝钗母女二人不免滴下泪来。宝钗道：“都为哥哥不在家，所以叫邢姑娘多吃几天苦。如今还亏凤姐姐不错。咱们底下也得留心，到底是咱们家里人。”说着，只见薛蝌进来说道：“大哥哥这几年在外头相与的都是些什么人！连一个正经的也没有，来一起子，都是些狐群狗党。我看他们那里是不放心，不过将来探探消息儿罢咧。这两天都被我赶出去了。以后吩咐了门上，不许传进这种人来。”<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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薛姨妈道：“又是蒋玉菡那些人哪？”薛蝌道：“蒋玉菡却倒没来，倒是别人。”薛姨妈听了薛蝌的话，不觉又伤心起来，说道：“我虽有儿，如今就像没有的了。就是上司准了，也是个废人。你虽是我侄儿，我看你还比你哥哥明白些，我这后辈子全靠你了。你自己从今更要学好。再者，你聘下的媳妇儿，家道不比往时了。人家的女孩儿出门子不是容易，再没别的想头，只盼着女婿能干，他就有日子过了。若邢丫头也像这个东西……”说着，把手往里头一指，道：“我也不说了。邢丫头实在是个有廉耻有心计儿的，又守得贫，耐得富。<br />
<br />
“Are they Jiang Yuhan’s lot?” asked Aunt Marshgrass.“No, Jiang Yuhan hasn’t come. These are some others.” Dragon Marshgrass’s outburst had further lowered Aunt Marshgrass’s spirits.“Though I have a son, it’s as if I had none,” she sighed. “Even if the authorities let him off, he’ll be useless. Though you’re my nephew, and not so close, I can see that you have more sense than Pan and will be my only prop in my old age. It’s up to you to make a success of your life. Especially as the family of your betrothed isn’t as well off as before. It’s hard for a girl to leave home and get married, and all she hopes for is an able husband who will provide for her. If Tadpole Marshgrass were like that creature....”—she pointed towards the inner rooms— “well, enough said! But Tadpole is truly modest, sensible too. She can put up with poverty, and wealth wouldn’t spoil her either.<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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只是等咱们的事过去了，早些儿把你们的正经事完结了，也了我一宗心事。”薛蝌道：“琴妹妹还没有出门子，这倒是太太烦心的一件事。至于这个，可算什么呢。”大家又说了一回闲话，薛蝌回到自己房中，吃了晚饭，，终是寄人篱下；况且又穷，日用起居不想可知。况兼当初一路同来，模样儿，性格儿，都知道的。可知天意不均：如夏金桂这种人，偏叫他有钱，娇养得这般泼辣；邢岫烟这种人，偏叫他这样受苦。阎王判命的时候，不知如何判法的？想到闷来，也想吟诗一首，写出来出出胸中的闷气，又苦自己没有工夫，只得混写道：<br />
<br />
Once this trouble blows over we must hurry up and arrange your wedding, and that will be one less thing on my mind.” “Don't forget that Bao-qin is still waiting to be married,” Xue Ke reminded his aunt. “As for mine, don't worry about it.” After some more talk Xue Ke went back to his room for supper. He thought to himself, “Xiuyan's living in the Jias' Garden as a dependent, and being a poor relation she must be having a thin time of it. As we travelled here together, I know her character and what she's like. Heaven is really unjust, giving a spoilt bitch like Xia Jingui money while a girl like Xiuyan is so badly off. What was in the mind of the Great Arbiter Yama when he made such a dispensation? He wanted to write a poem to vent his frustration, but as he had no training in versification he could only pen the following doggerel:<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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蛟龙失水似枯鱼，两地情怀感索--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 14:30, 24 May 2022 (UTC)居。同在泥涂多受苦，不知何日向清虚。写毕，看了一回，意欲拿来粘在壁上，又不好意思，自己沉吟道：“不要被人看见笑话。”又念了一遍，道：“管他呢，左右粘上自己看着解闷儿罢。”又看了一回，到底不好，拿来夹在书里。又想：“自己年纪可也不小了，家中又碰见这样飞灾横祸，不知何日了局。致使幽闺弱质，弄得这般凄凉寂寞。正在那里想时，只见宝蟾推进门来，拿着一个盒子，笑嘻嘻放在桌上。薛蝌站起来让坐。宝蟾笑着向薛蝌道：“这是四碟果子，一小壶儿酒：大奶奶叫给二爷送来的。”<br />
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A dragon stranded, a fish high and dry; Apart we think of each other, you and I. In mud and slime our bitter days are passed; When will we find clear water at long last? This written, he read it through and was tempted to paste it on the wall but diffidently told himself, “I don’t want people seeing it to laugh at me.” After a second reading he thought, “Never mind! I may as well paste it up for my own amusement.” Reading it once more, however, he decided it really was no good and put it between the pages of a book. “I’m no longer a boy,” he mused, “but now our family’s run into this bad trouble and there’s no knowing when it will blow over. It’s keeping that sweet, gentle girl so sad and lonely!” His reflections were cut short by the arrival of Precious Toad with a hamper which she put on the table, smiling. Tadpole Marshgrass got up and invited her to be seated. “Here are four dishes of sweetmeats and one small pot of wine,” she announced archly. “My mistress told me to bring them to you.”<br />
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<br />
A dragon stranded, a fish high and dry; Apart we think of each other, you and I. In mud and slime our bitter days are passed; When will we find clear water at long last? This written, he read it through and was tempted to paste it on the wall but diffidently told himself, “I don’t want people seeing it to laugh at me.” After a second reading he thought, “Never mind! I may as well paste it up for my own amusement.” Reading it once more, however, he decided it really was no good and put it between the pages of a book. “I’m no longer a boy,” he mused, “but now our family’s run into this bad trouble and there’s no knowing when it will blow over. It’s keeping that sweet, gentle girl so sad and lonely!” His reflections were cut short by the arrival of Precious Toad with a hamper which she put on the table, smiling. Tadpole Marshgrass got up and invited her to be seated. “Here are four dishes of sweetmeats and one small pot of wine,” she announced archly. “My mistress told me to bring them to you.”--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 14:30, 24 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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薛蝌陪笑道：“大奶奶费心！但是叫小丫头们送来就完了，怎么又劳动姐姐呢？”宝蟾道：“好说。自家人，二爷何必说这些套话？再者，我们大爷这件事，实在叫二爷操心，大奶奶久已要亲自弄点什么儿谢二爷，又怕别人多心。二爷是知道的，咱们家里都是言合意不合，送点子东西没要紧，倒没的惹人七嘴八舌的讲究。所以今日些微的弄了一两样果子，一壶酒，叫我亲自悄悄儿的送来。”说着，又笑瞅了薛蝌一眼，道：“明儿二爷再别说这些话，叫人听着怪不好意思的。我们不过也是底下的人；伏侍的着大爷，就伏侍的着二爷，这有何妨呢？”<br />
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“It's most kind of her,” replied Ke,but surely she could have sent one of the younger maids?#2 She didn't need to bother you, Miss Moonbeam.”"We're one family, so why stand on ceremony?Besides, you've put yourself out so much over Master Pan's business, our mistress has long been wanting to show her appreciation, but she was afraid people might suspect her motives.You know how it is in our family — all sweet talk hiding inward disagreement. It shouldn't matter sending you a small present, but it might give rise to a whole lot of gossip.So today she simply prepared a couple of dishes and a pot of wine and told me to bring them to you secretly.”She glanced at him with a meaningful smile and added. “You mustn't talk in that formal way again, sir, or you'll embarrass me.She glanced at him with a meaningful smile and added. “You mustn't talk in that formal way again, sir, or you'll embarrass me. We are only here to serve, and if we can serve Mr Pan, then why not you as well?”<br />
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==英语笔译 龙翰良 Long Hanliang 202170081589==<br />
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薛蝌一则秉性忠厚，二则到底年轻，只是向来不见金桂和宝蟾如此相待，心中想到刚才宝蟾说为薛蟠之事，也是情理，因说道：“果子留下罢，这个酒儿，姐姐只管拿回去。我向来的酒上实在狠有限，挤住了，偶然喝一钟；平日无事，是不能喝的。难道大奶奶和姐姐还不知道么？”宝蟾道：“别的我作得主，独这一件事，我可不敢应。大奶奶的脾气儿，二爷是知道的：我拿回去，不说二爷不喝，倒要说我不尽心了。”薛蝌没法，只得留下。宝蟾方才要走，又到门口往外看看，回过头来向着薛蟾一笑；又用手指着里面说道：“他还只怕要来亲自给你道乏呢。”<br />
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Tadpole Marshgrass was a simple, honest young fellow. He had never been treated like this by Goldish Osmanthus and Precious Toad before; yet as the latter said it was to thank him for helping Dragon Marshgrass, this seemed to him quite natural. “Leave the dishes, sister,” he said. “But please take back the wine. I really can’t drink much, just a cup occasionally when I’m forced to, but ordinarily I never drink. Surely your mistress and you knew that?” “I can use my own discretion in other matters,” she replied, “but I can’t obey you in this. You know what our mistress is like. If I took it back, she wouldn’t think it’s because you don’t drink but because I’d been remiss.” So Tadpole Marshgrass had to let her leave the wine. Then Precious Toad went to the door and peeped outside. Turning back to smile at him, she pointed towards the inner rooms. “I dare say he’ll be coming herself to thank you,” she said.<br />
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==英语笔译 罗姚林 Luo Yaolin 202170081590==<br />
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薛蝌不知何意，反倒讪讪的起来，因说道：“姐姐替我谢大奶奶罢。天气寒，看凉着。再者，自己叔嫂也不必拘这些个礼。”宝蟾也不答言，笑着走了。薛蝌始而以为金桂为薛蟠之事，或者真是不过意，备此酒果给自己道乏，也是有的。及见了宝蟾这种鬼鬼祟祟、不尴不尬的光景，也觉了几分，却自己回心一想：“他到底是嫂子的名分，那里就有别的讲究了呢？或者宝蟾不老成，自己不好意思怎么样，却指着金桂的名儿，也未可知。然而到底是哥哥的屋里人，也不好……”忽又一转念：“那金桂素性为人，毫无闺阁理法，况且有时高兴，打扮得妖调非常，自以为美，又焉知不是怀着坏心呢？<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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不然，就是他和琴妹妹也有了什么不对的地方儿，所以设下这个毒法儿，要把我拉在浑水里，弄一个不清不白的名儿，也未可知。”想到这里，索性倒怕起来。正在不得主意的时候，忽听窗外“噗哧”的笑了一声，把薛蝌倒唬了一跳。话说薛蝌正在狐疑，忽听窗外一笑，唬了一跳，心中想道：“不是宝蟾，定是金桂。只不理他们，看他们有什么法儿。”听了半日，却又寂然无声。自己也不敢吃那酒果，掩上房门，刚要脱衣时，只听见窗纸上微微一响。薛蝌此时被宝蟾鬼混了一阵，心中七上八下，竟不知是如何是好，听见窗纸微响，细看时又无动静，自己反倒疑心起来，掩了怀，坐在灯前，呆呆的细想；<br />
Otherwise， there would be something wrong between Goldish Osmanthus and Precious Strings, so it would be impossible to know if he set up this poisonous method to drag me into muddy waters and damage my reputation. " When he thought of this, he just got scared. When he was out of his mind, he suddenly heard a giggle outside the window which took him aback. When Tadpole Marshgrass was suspicious, he suddenly listened to a smile outside the window and jumped, thinking to himself, "If it's not Precious Toad, it must be Goldish Osmanthus. Just ignore them and see what they can do. " Tadpole Marshgrass listened for a long time, but it was silent again. <br />
He dared not eat the wine and closed the door. When he was about to undress, he only heard a slight sound on the window paper. Tadpole Marshgrass was fooled around by the Precious Toad for a while. He was so upset that he didn't know what to do. He heard the window paper rattling slightly. However, when he looked at it, there was no movement. Instead, he became suspicious, sat in front of the lamp, and thought blankly with tight clothes.<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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又把那果子拿了一块，翻来覆去的细看。猛回头，看见窗上纸湿了一块。走过来觑着眼看时，冷不防外面往里一吹，把薛蝌唬了一大跳。听得“吱吱”的笑声，薛蝌连忙把灯吹灭了，屏息而卧。只听外面一个人说道：“二爷为什么不喝酒吃果子，就睡了？”这句话仍是宝蟾的语音，薛蝌只不作声装睡。又隔有两句话时，又听得外面似有恨声道：“天下那里有这样没造化的人！”薛蝌听了是宝蟾，又似是金桂的语音，这才知道他们原来是这一番意思。翻来覆去，直到五更后才睡着了。刚到天明，早有人来扣门。薛蝌忙问：“是谁？”外面也不答应。<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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薛蝌只得起来，开了门看时，却是宝蟾，拢着头发，掩着怀，穿一件片锦边琵琶襟小紧身，上面系一条松花绿半新的汗巾，下面并未穿裙，正露着石榴红洒花夹裤，一双新绣红鞋。原来宝蟾尚未梳洗，恐怕人见，赶早来取家伙。薛蝌见他这样打扮便走进来，心中又是一动，只得陪笑问道：“怎么这样早就起来了？”宝蟾把脸红着，并不答言，只管把果子折在一个碟子里，端着就走。薛蝌见他这般，知是昨晚的原故，心里想道：“这也罢了。倒是他们恼了，索性死了心，也省得来缠。”于是把心放下，唤人舀水洗脸，自己打算在家里静坐两天，一则养养心神，二则出去怕人找他。<br />
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<br />
Tadpole Marshgrass had no alternative but to get up to open the door, only to find Precious Toad standing in front of him. With hair pulled back and upper garment unbuttoned, Precious Toad was dressed in a straight-jacket adorned with Biwa collar and brocades, on top of this straight-jacket was attached with a nearly-new green handkerchief. Besides, she wore no skirt but a pair of garnet pants embroidered with flowers and new red embroidered shoes. It turned out that she had not freshened up yet, and being afraid of being encountered with others, she just fetched things as early as possible. It hit Tadpole Marshgrass when he was catching the sight of her such appearance. Then, with face wreathe in smiles, he asked, "Why are you up so early?" Face reddenng with embarrassment Precious Toad didn't reply but to put fruits into a saucer and just carried them away. Knowing the reason why she acted like this, Tadpole Marshgrass thought to himself, "Forget about it! It seems they are annoyed and just make them think no more of this matter so as not to bother me." Therefore, he was relieved and ordered a footboy to bring him water to wash his face then. And he planned to stay in home for two?days without any cogitations, cause he wanted to conserve his energy, and also feared that someone would look for him for another.<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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原来和薛蟠好的那些人，因见薛家无人，只有薛蝌在那里办事，年纪又轻，便生许多觊觎之心。也有想插在里头做跑腿的；也有能做状子的，认得一二个书役的，要给他上下打点的；甚至有叫他在内趁钱的；也有造作谣言恐吓的：种种不一。薛蝌见了这些人，远远躲避，又不敢面辞，恐怕激出意外之变，只好藏在家中听候传详，不提。且说金桂昨夜打发宝蟾送了些酒果去探探薛蝌的消息，宝蟾回来，将薛蝌的光景一一的说了。金桂见事有些不大投机，便怕白闹一场，反被宝蟾瞧不起；欲把两三句话遮饰，改过口来，又可惜了这个人，心里倒没了主意，怔怔的坐着。<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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那知宝蟾亦知薛蟠难以回家，正欲寻个头路，因怕金桂拿他，所以不敢透漏。今见金桂所为，先已开了端了，他便乐得借风使船，先弄薛蝌到手，不怕金桂不依，所以用言挑拨。见薛蝌似非无情，又不甚兜揽，一时也不敢造次。后来见薛蝌吹灯自睡，大觉扫兴，回来告诉金桂，看金桂有甚方法，再作道理。及见金桂怔怔的，似乎无技可施，他也只得陪金桂收拾睡了。夜里那里睡得着？翻来复去，想出一个法子来：不如明儿一早起来，先去取了家伙，却自己换上一两件动人的衣服，也不梳洗，越显出一番娇媚来；只看薛蝌的神情，自己反倒装出一番恼意，索性不理他；<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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那薛蝌若有悔心，自然移船泊岸，不愁不先到手。及至见了薛蝌，仍是昨晚这般光景，并无邪僻之意，自己只得以假为真，端了碟子回来；却故意留下酒壶，以为再来搭转之地。只见金桂问道：“你拿东西去，有人碰见么？”宝蟾道：“没有。”“二爷也没问你什么？”宝蟾道：“也没有。”金桂因一夜不曾睡着，也想不出一个法子来，只得回思道：“若作此事，别人可瞒，宝蟾如何能瞒？不如我分惠于他，他自然没有不尽心的。我又不能自去，少不得要他作脚，倒不如和他商量一个稳便主意。”因带笑说道：“你看二爷到底是个怎么样的人？”<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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宝蟾道：“倒像个糊涂人。”金桂听了笑道：“你如何说起爷们来了？”宝蟾也笑道：“他辜负奶奶的心，我就说得他！”金桂道：“他怎么辜负我的心？你倒得说说。”宝蟾道：“奶奶给他好东西吃，他倒不吃，这不是辜负奶奶的心么？”说着，却把眼溜着金桂一笑。金桂道：“你别胡想！我给他送东西，为大爷的事不辞劳苦，我所以敬他；又怕人说瞎话，所以问你。你这些话向我说，我不懂是什么意思。”宝蟾笑道：“奶奶别多心。我是跟奶奶的，还有两个心么？但是事情要密些，倘或声张起来，不是顽的。”<br />
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Bao Toad said, "It's like a stupid person." Jin Gui listened and laughed, "How do you talk about them?" Bao Toad also laughed: "He doesn't respect Grandma,so I will blame him!" Jin Gui said, "How did he disrespect me?" You have to talk about it. Bao Toad said, "Grandma gave him good things to eat, but he didn't eat them, isn't this a disgrace to Grandma's goodwill?" He said, but he smiled at Jin Gui. Jin Gui said, "Don't think about it! I sent him things, and I worked tirelessly for the affairs of the great master, so I respected him; and I was afraid that people would talk nonsense, so I asked you. You said these words to me, I don't understand what you mean. Bao Toad smiled and said, "Grandma don't worry too much." I'm the ally with Grandma, Would I ever betray you? But things should be more secret, and if they are known by others, it will be hard to deal with. ”<br />
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Precious Toad said, "It's like a stupid person." Golden Osmanthus listened and laughed, "How do you talk about them?" Precious Toad also laughed: "He doesn't respect Grandma,so I will blame him!" Golden Osmanthus said, "How did he disrespect me?" You have to talk about it. Precious Toad said, "Grandma gave him good things to eat, but he didn't eat them, isn't this a disgrace to Grandma's goodwill?" He said, but he smiled at Golden Osmanthus. Golden Osmanthus said, "Don't think about it! I sent him things, and I worked tirelessly for the affairs of the great master, so I respected him; and I was afraid that people would talk nonsense, so I asked you. You said these words to me, I don't understand what you mean. Precious Toad smiled and said, "Grandma don't worry too much." I'm the ally with Grandma, Would I ever betray you? But things should be more secret, and if they are known by others, it will be hard to deal with. ”--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 14:19, 24 May 2022 (UTC)<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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金桂也觉得脸飞红了，因说道：“你这个丫头，就不是个好货！想来你心里看上了，却拿我作筏子，是不是呢？”宝蟾道：“只是奶奶那么想罢咧，我倒是替奶奶难受。奶奶要真瞧二爷好，我倒有个主意。奶奶想，‘那个耗子不偷油’呢？他也不过怕事情不密，大家闹出乱子来不好看。依我想：奶奶且别性急，时常在他身上不周不备的去处，张罗张罗。他是个小叔子，又没娶媳妇儿，奶奶就多尽点心儿，和他贴个好儿，别人也说不出什么来。过几天，他感奶奶的情，他自然要谢候奶奶。那时奶奶再备点东西儿在咱们屋里，我帮着奶奶灌醉了他，怕跑了他？<br />
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Golden Osmanthu also felt his face quickly red, so said: "You girl, is not good! I think you have a crush on him in your heart, but you are using me as a raft, aren't you?" Precious Toad said: "It's just that grandmother thinks so much, but I feel bad for you. I have an idea for you if you really think the second master is good. Grandma thought, 'every rat steal oil' He is also afraid that the things didn’t do well and make a fool. I think: you are not be impatient, and help him deal with things. He is a brother-in-law, and not married. If you do more and get won well with him , others can not say anything. In a few days, he would appreciate you. At that time, You prepared some things in our house, I helped Grandma to get him drunk, so he won’t leave.<br />
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Goldish Osmanthus also blushed, saying "You are really a wicked girl to take advantage of me like that, aren’t you? Oh you must like him!" Precious Toad said, "Well that’s only your opinion, Mistress and I feel so sorry for you. If you really fancy him, I can help you with it——as there’s no cat in the world which doesn’t eat fish, there’s no man in the world that never cheats. He is merely afraid that he would have his reputation ruined once the affair is known. I’ll say that you’d better be patient, and help him deal with the things which he neglected. I’m sure being nice to an unmarried brother-in-law won’t incur much gossips. Day after day he would be bound to pay a visit and thank you for your kindness. When that day comes, you can prepare a little something in your room so that I may help you to get him drunk and he may not leave then.--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 01:51, 25 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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他要不应，咱们索性闹起来，就说他调戏奶奶。他害怕，他自然得顺着咱们的手儿。他再不应，他也不是人，咱们也不至白丢了脸面。奶奶想怎么样？”金桂听了这话，两颧早已红晕了，笑骂道：“小蹄子，你倒偷过多少汉子的是的，怪不得大爷在家时，离不开你。”宝蟾把嘴一撇，笑说道：“罢哟！人家倒替奶奶拉纤，奶奶倒往我们说这个话咧。”从此，金桂一心笼络薛蝌，倒无心混闹了，家中也少觉安静。当日宝蟾自去取了酒壶，仍是稳稳重重，一脸的正气。薛蝌偷眼看了，反倒后悔，疑心“或者是自己错想了他们，也未可知。<br />
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If he still rejects, we can make a big deal out of it blaming him for trying to hook you up. So long as he’s afraid, he is bound to obey. If he still refuses, then we still won’t lose our faces for nothing with his reputation ruined anyway. What do you say, Mistress?" Goldish Osmanthus flushed at her maids’ words, teasing "Sounds like you slut are very familiar with the affair things! No wonder my husband can’t live without you while at home." Precious Toad pouted as she joshed, "Never mind then. It seems someone just doesn’t know who’s good to her." Since then, Goldish Osmanthus stopped making a scene at home and shifted her focus to fawning on Tadpole Marshgrass. Precious Toad went to pick up the wine pot the other day, solemn and just. Taking a glimpse of her manners, Tadpole Marshgrass regretted his behavior and even thought that he himself might have misunderstood them.<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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果然如此，倒辜负了他这一番美意，保不住日后倒要和自己也闹起来，岂非自惹的呢？”过了两天，甚觉安静。薛蝌遇见宝蟾，宝蟾便低头走了，连眼皮儿也不抬；遇见金桂，金桂却一盆火儿的赶着。薛蝌见这般光景，反倒过意不去。这且不表。且说宝钗母女觉得金桂几天安静，待人忽亲热起来，一家子都为罕事。薛姨妈十分欢喜，想到：“必是薛蟠娶这媳妇时冲犯了什么，才败坏了这几年。目今闹出这样事来，亏得家里有钱，贾府出力，方才有了指望。媳妇儿忽然安静起来，或者是蟠儿转过运气来了，也未可知。”于是自己心里倒以为希有之奇。<br />
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"If so, that was a poor return for their kindness, and I've only myself to blame if they turn against me in future."A couple of days went by and all was quiet.Whenever he saw Precious Toad, she lowered her head and walked away without so much as a glance in his direction. Goldish Osmanthusi, on the other hand, pursued him with an eagerness.This made the young man feel rather ashamed of himself.But enough of this.Precious Hairpin Marshgrass and her mother, for their part, were most astonished by Goldish Osmanthusi's new sedateness and sudden cordiality to others.Aunt Marshgrass thought happily, “When Dragon Marshgrass married her, they must have transgressed somehow, which brought on all the trouble we've had these years.Now he's in a bad way but luckily we have money and, with the Merchant family helping, there's still some hope.His wife's sudden change for the better may mean that his luck will change too."It was in fact not far short of a miracle.<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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这日饭后，扶了同贵过来，到金桂房里瞧瞧。走到院中，只听一个男人和金桂说话。同贵知机，便说道：“大奶奶，老太太过来了。”说着，已到门口，只见一个人影儿在房门后一躲。薛姨妈一吓，倒退了出来。金桂道：“太太请里头坐。没有外人。他就是我的过继兄弟，本住在屯里，不惯见人。因没有见过太太，今儿才来，还没去请太太的安。”薛姨妈道：“既是舅爷，不妨见见。”金桂叫兄弟出来见了薛姨妈，作了一个揖，问了好。薛姨妈也问了好，坐下叙起话来。薛姨妈道：“舅爷上京几时了？”那夏三道：“前月我妈没有人管家，把我过继来的。前日才进京，今日来瞧姐姐。”<br />
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One day after lunch, leaning on Maid Wealth’s arm, she went to call on Goldish Osmanthus. When they entered the courtyard they heard her talking with a man. Maid Wealth was smart enough to call out, “Madam, here’s the old lady to see you!”By now they had reached the door. The sight of a figure flitting behind it made Aunt Marshgrass step back in alarm. “Please come in, madam!” called Goldish Osmanthus. “This is no stranger here but my stepbrother. He’s a villager, unused to company. As he has never called on you yet, he came today meaning to pay his respects.”“If it’s your brother,” said Aunt Marshgrass, “ask him to join us.”Goldish Osmanthus told the young man, whose name was Summer Three, to come out to meet her mother-in-law, and he raised clasped hands to greet her. She returned his greetings and they sat down to talk.“How long have you been in the capital?” asked Aunt Marshgrass.“My stepmother adopted me a couple of months ago, as she had no man in the house to see to things. I only came to the capital the day before yesterday; so I called on my sister today.”<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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薛姨妈看那人不尴尬，于是略坐坐儿，便起身道：“舅爷坐着罢。”回头向金桂道：“舅爷头上末下的来，留在咱们这里吃了饭再去罢。”金桂答应着，薛姨妈自去了。金桂见婆婆去了，便向夏三道：“你坐着。今日可是过了明路的了，省得我们二爷查考你。我今日还叫你买些东西，只别叫众人看见。”夏三道：“这个交给我就完了。你要什么，只要有钱，我就买得来。”金桂道：“且别说嘴，你买上了当，我可不收。”说着，二人又笑了一回，然后金桂陪夏三吃了晚饭，又告诉他买的东西，又嘱咐一回，夏三自去。从此夏三往来不绝。虽有个年老的门上人，知是舅爷，也不常回，从此生出无限风波。<br />
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As Aunt Marshgrass saw he looked rather embarrassed, after sitting there for a while she got up. “Just stay longer,” she said, then turned to tell Goldish Osmanthus, “because this is your brother’s first visit here, you must invite him for a meal.”Goldish Osmanthus assented to this and Aunt Marshgrass left. As soon as she had gone Goldish Osmanthus told Summer Three, “Sit down. Now we’re above-board, so Master Ke won’t have to pry into our affairs. I want you to buy something for me today, but don’t let anyone see it.”“Just leave it to me. If you have the money, I can get whatever you want.”“Don’t boast! If you get overcharged I’m not having it.”When they had exchanged some more banter, Goldish Osmanthus kept Summer Three for dinner, then gave him her commission and some instructions, then he left. Subsequently, Summer Three was a frequent visitor. And the old gatekeeper, having heard that this was Goldish Osmanthus’s brother, usually neglected to report his arrival. This led to endless trouble later.<br />
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==英语笔译 颜媛 Yan Yuan 202170081603==<br />
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这是后话不表。一日，薛蟠有信寄回，薛姨妈打开叫宝钗看时，上写：男在县里也不受苦，母亲放心。但昨日县里书办说，府里已经准详，想是我们的情到了。岂知府里详上去，道里反驳下来。亏得县里主文相公好，即刻做了回文顶上去了，那道里却把知县申饬。现在道里要亲提，若一上去，又要吃苦。必是道里没有托到。母亲见字，快快托人求道爷去。还叫兄弟快来，不然，就要解道。银子短不得。火速，火速！薛姨妈听了，又哭了一场，自不必说。薛蝌一面劝慰，一面说道：“事不宜迟。”<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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薛姨妈没法，只得叫薛蝌到县照料，命人即便收拾行李，兑了银子，家人李祥本在那里照应的，薛蝌又同了一个当中伙计，连夜起程。那时手忙脚乱，虽有下人办理，宝钗又恐他们思想不到，亲来帮着，直闹至四更才歇。到底富家女子娇养惯的，心上又急，又苦劳了一会，晚上就发烧，到了明日，汤水都吃不下。莺儿去回了薛姨妈。薛姨妈急来看时，只见宝钗满面通红，身如燔灼，话都不说。薛姨妈慌了手脚，便哭得死去活来。宝琴扶着劝薛姨妈。秋菱也泪如泉涌，只管叫着。宝钗不能说话，手也不能摇动，眼干鼻塞。叫人请医调治，渐渐苏醒回来。<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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薛姨妈等大家略略放心。早惊动荣宁两府的人，先是凤姐打发人送十香返魂丹来，随后王夫人又送至宝丹来，贾母邢王二夫人以及尤氏等都打发丫头来问候，却都不叫宝玉知道。一连治了七八天，终不见效。还是他自己想起“冷香丸”，吃了三丸，才得病好。后来宝玉也知道了，因病好了，没有瞧去。那时薛蝌又有信回来。薛姨妈看了，怕宝钗耽忧，也不叫他知道，自己来求王夫人，并述了一会子宝钗的病。薛姨妈去后，王夫人又求贾政。贾政道：“此事上头可托，底下难托，必须打点才好。”王夫人又提起宝钗的事来，因说道：“这孩子也苦了。<br />
Aunt Marshgrass and others were a little relieved. But it had already known to both Rong and Ning Houses, firstly Splendid Phoenix dispatched a person to send Ten Incense Strigoi Potion, then Lady King sent Treasure Elixir, and Grandma Merchant, Lady City and Lady King as well as madame You all sent girls to have a greeting without letting Precious Jade know. It lasted seven or eight days, but it didn't work. It was himself that thought of "Cold Fragrant Pills", and ate three pills of it and recovered from the illness. Later on, Precious Jade heard about this, but because she was well, he did not go to visit her. That time saw a letter from Tadpole Marshgrass. Aunt Marshgrass did not let Precious Hairpin know for the sake of worrying about him, so she herself came to beg Lady King for help and told her about her daughter’s illness. After Aunt Marshgrass had gone, Lady King asked for Politics Merchant’s help. He said: "We can trust it to the high class but do not count on the low status. And it is necessary to make an arrangement." Lady King brought up the story of Precious Jade again, and said, "The child is suffering too much.”<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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既是我家的人了，也该早些娶了过来才是，别叫他遭塌坏了身子。”贾政道：“我也是这么想。但是他家乱忙，况且如今到了冬底，已经年近岁逼，不无各自要料理些家务。今冬且放了定，明春再过礼。过了老太太的生日，就定日子娶。你把这番话先告诉薛姨太太。”王夫人答应了。到了明日，王夫人将贾政的话向薛姨妈述了，薛姨妈想着也是。到了饭后，王夫人陪着来到贾母房中，大家让了坐。贾母道：“姨太太才过来？”薛姨妈道：“还是昨儿过来的，因为晚了，没得过来给老太太请安。”王夫人便把贾政昨夜所说的话向贾母述了一遍，贾母甚喜。说着，宝玉进来了。<br />
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Lady King said: “She has been already one member of our family, and the sooner Precious Jade and she get married, the better the thing is. It is ruining her health now.” Master Merchant then said: “I agree with you. But her family are very disordered now, and it is approaching the year. We will be busy doing our affairs. I suppose that during this winter we can manage the betrothal and change presents early the next year. Their wedding ceremony can be held after Grandma Merchant’s birthday. You should deliver the message to your sister.” Lady King agreed with him. The next day she told Aunt Marshgrass, who also thought this proposal was good. After lunch, the two of them went to see Grandma Merchant. After the usual courtesies had been exchanged, Grandma Merchant asked Aunt Marshgrass, “Have you just come over?” “I was here yesterday,” replied Aunt Marshgrass, “because it was too late yesterday, so I was not able to come and greet you.” Lady King told what Master Merchant had said yesterday to Grandma Merchant, making her very happy. While they are talking, Precious Jade entered into the room.<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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贾母便问道：“吃了饭了没有？”宝玉道：“才打学房里回来，吃了，要往学房里去，先见见老太太。又听见说姨妈来了，过来给姨妈请请安。”因问：“宝姐姐可大好了？”薛姨妈笑道：“好了。”原来方才大家正说着，见宝玉进来，都煞住了。宝玉坐了坐，见薛姨妈情形不似从前亲热，“虽是此刻没有心情，也不犯大家都不言语。”满腹猜疑，自往学中去了。晚间回来，都见过了，便往潇湘馆来。掀帘进去，紫鹃接着。见里间屋内无人。宝玉道：“姑娘那里去了？”紫鹃道：“上屋里去了。知道薛姨妈过来，姑娘请安去了。二爷没有到上屋里去么？”<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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宝玉道：“我去了来的，没有见你姑娘。”紫鹃道：“这也奇了。”宝玉问：“姑娘到底那里去了？”紫鹃道：“不定。”宝玉往外便走，刚出屋门，只见黛玉带着雪雁，冉冉而来。宝玉道：“妹妹回来了。”缩身退步进来。黛玉进来，走入里间屋内，便请宝玉里头坐，紫鹃拿了一件外罩换上，然后坐下，问道：“你上去，看见姨妈没有？”宝玉道：“见过了。”黛玉道：“姨妈说起我没有？”宝玉道：“不但没有说起你，连见了我也不象先时亲热。今日我问起宝姐姐病来，他不过笑了一笑，并不答言。难道怪我这两天没有去瞧他么。”黛玉笑了一笑，道：“你去瞧过没有？”<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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宝玉道：“头几天不知道；这两天知道了，也没有去。”黛玉道：“可不是！”宝玉道：“老太太不叫我去，太太也不叫我去，老爷又不叫我去，我如何敢去？若是像从前这扇小门走得通的时候，要我一天瞧他十趟也不难，如今把门堵了，要打前头过去，自然不便了。”黛玉道：“他那里知道这个原故。”宝玉道：“宝姐姐为人是最体谅我的。”黛玉道：“你不要自己打错了主意。若论宝姐姐，更不体谅，又不是姨妈病，是宝姐姐病。向来在园中做诗，赏花，饮酒，何等热闹，如今隔开了，你看见他家里有事了，他病到那步田地，你像没事人一般，他怎么不恼呢？”<br />
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Precious Jade said, "I didn't onw that until these days, but I still didn't go to visit her." Mascara Jade said, "So it is!" Precious Jade said, "Grandma didn't ask me to go there, and nor did my mother and father. How dare I go? It would have been easy for me to visit her ten times a day if the small door had worked as well as it did before. But now it is blocked, it will be very inconvenient for me to go there through the front gate." Mascara Jade answered, "She doesn't know the reason." Precious Jade said, "Sister Precious Hairpin is the most considerate person to me." Mascara Jade said, "Don't make a wrong decision yourself. If I were her, I would not forgive you. It is not Aunt Marshgrass but Sister Precious Hairpin who is ill. What a lively scene it is when we're composing poems, enjoying flowers and drinking wine in the garden. Now we're separated, and you have already known what happened to her and her family. But you just behave as if it has nothing to do with you, how come won't she be angry?"<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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宝玉道：“这样，难道宝姐姐便不和我好了不成？”黛玉道：“他和你好不好，我却不知，我也不过是照理而论。”宝玉听了，瞪着眼呆了半晌。黛玉看见宝玉这样光景，也不睬他，只是自己叫人添了香，又翻出书来，细看了一会。只见宝玉把眉一皱，把脚一跺，道：“我想这个人，生他做什么！天地间没有了我，倒也干净！”黛玉道：“原是有了我，便有了人；有了人，便有无数的烦恼生出来：恐怖，颠倒，梦想，更有许多缠碍。才刚我说的，都是顽话。你不过是看见姨妈没精打彩，如何便疑到宝姐姐身上去？姨妈过来原为他的官司事情，心绪不宁，那里还来应酬你？<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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都是你自己心上胡思乱想，钻入魔道里去了。”宝玉豁然开朗，笑道：“狠是，狠是。你的性灵，比我竟强远了。怨不得前年我生气的时候，你和我说过几句禅语，我实在对不上来。我虽丈六金身，还藉你一茎所化。”黛玉乘此机会，说道：“我便问你一句话，你如何回答？”宝玉盘着腿，合着手，闭着眼，嘘着嘴道：“讲来。”黛玉道：“宝姐姐和你好，你怎么样？宝姐姐不和你好，你怎么样？宝姐姐前儿和你好，如今不和你好，你怎么样？今儿和你好，后来不和你好，你怎么样？你和他好，他偏不和你好，你怎么样？你不和他好，他偏要和你好，你怎么样？”<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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宝玉呆了半晌，忽然大笑道：“任凭弱水三千，我只取一瓢饮。”黛玉道：“瓢之漂水，奈何？”宝玉道：“非瓢漂水；水自流，瓢自漂耳。”黛玉道：“水止珠沉，奈何？”宝玉道：“禅心已作沾泥絮，莫向春风舞鹧鸪。”黛玉道：“禅门第一戒是不打诳语的。”宝玉道：“有如三宝。”黛玉低头不语。只听见檐外老鸹“呱呱”的叫了几声，便飞向东南上去。宝玉道：“不知主何吉凶？”黛玉道：“人有吉凶事，不在鸟音中。”忽见秋纹走来说道：“请二爷回去。老爷叫人到园里来问过，说：二爷打学里回来了没有？袭人姐姐只说：‘已经来了。’快去罢。”<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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吓得宝玉站起身来，往外忙走。黛玉也不敢相留。话说宝玉从潇湘馆出来，连忙问秋纹道：“老爷叫我作什么？”秋纹笑道：“没有叫。袭人姐姐叫我请二爷，我怕你不来，才哄你的。”宝玉听了，才把心放下，因说：“你们请我也罢了，何苦来唬我？”说着，回到怡红院内。袭人便问道：“你这好半天到那里去了？”宝玉道：“在林姑娘那边，说起薛姨妈宝姐姐的事来，便坐住了。”袭人又问道：“说些什么？”宝玉将打禅语的话述了一遍。袭人道：“你们再没个计较。正经说些家常闲话儿，或讲究些诗句，也是好的，怎么又说到禅语上了？又不是和尚。”<br />
Precious Jade sprang up in alarm and hurried out, and Mascara Jade did not venture to detain him.<br />
Precious Jade, as soon as he had left Bamboo Lodge, asked Autumn Vein, "What does my father want me for?""<br />
"He doesn't want you," she chuckled. "Sister Aroma sent me to fetch you, and for fear you wouldn't come I made that up."<br />
In relief he cried, "It's all very well to fetch me, but why give me such a fright?"<br />
Back in Happy Red Court, Aroma wanted to know where he had been all this time.<br />
"With Miss Lin. We got talking about Cousin Precious Hairpin; that's what kept me there so long."<br />
"What were you discussing?" He told her then about his catechism.<br />
"You two have no sense," scolded Aroma. "It's all right to chat about family affairs or discuss certain lines of poetry; but why go in for Buddhist cant? It's not as if you were a monk."<br />
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Precious Jade sprang up in alarm and hurried out, and Mascara Jade did not venture to detain him.<br />
Precious Jade, as soon as he had left Bamboo Lodge, asked Autumn Vein, "What does my father want me for?""<br />
"He doesn't want you," she chuckled. "Sister Aroma sent me to fetch you, and for fear you wouldn't come I made that up."<br />
In relief he cried, "It's all very well to fetch me, but why give me such a fright?"<br />
Back in Happy Red Court, Aroma wanted to know where he had been all this time.<br />
"With Miss Lin. We got talking about Cousin Precious Hairpin; that's what kept me there so long."<br />
"What were you discussing?" He told her then about his catechism.<br />
"You two have no sense," scolded Aroma. "It's all right to chat about family affairs or discuss certain lines of poetry; but why go in for Buddhist cant? It's not as if you were a monk."--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 01:04, 25 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
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宝玉道：“你不知道，我们有我们的禅机，别人是插不下嘴去的。”袭人笑道：“你们参禅参翻了，又叫我们跟着打闷葫芦了。”宝玉道：“头里我也年纪小，他也孩子气，所以我说了不留神的话，他就恼了。如今我也留神，他也没有恼的了。只是他近来不常过来，我又念书，偶然到一处，好像生疏了是的。”袭人道：“原该这么着才是。都长了几岁年纪了，怎么好意思还像小孩子时候的样子。”宝玉点头道：“我也知道。如今且不用说那个。我问你，老太太那里打发人来说什么来着没有？”袭人道：“没有说什么。”<br />
"You don't understand. We have our own esoteric talk which no oneelse can join in."<br />
"If your esoteric repartee leads to squabbles, we shall have to try toguess your riddles too," she answered teasingly.<br />
"In the past I was young and she was childish too, so if I spoke tact-lessly she used to flare up. Now that I'm more careful she never takes offence. But recently she's stopped coming here so often, and I have to go to school. That's why, when we do happen to meet, we feel rather like strangers."<br />
"That's how it should be," approved Aroma. "Now that you're both several years older, how can you go on behaving as if you were children?" He nodded. "I know. Never mind about that now. Tell me: Has the old lady sent any message for me?"<br />
"No, none."<br />
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"You don't understand. We have our own esoteric talk which no oneelse can join in." "If your esoteric repartee leads to squabbles,we shall have to try toguess your riddles too,"she answered teasingly. "In the past I was young and she was childish too,so if I spoke tact-lessly she used to flare up. Now that I'm more careful she never takes offence. But recently she's stopped coming here so often,and I have to go to school. That's why,when we do happen to meet,we feel rather like strangers." "That's how it should be,"approved Aroma. "Now that you're both several years older,how can you go on behaving as if you were children?" He nodded. "I know. Never mind about that now. Tell me: Has the old lady sent any message for me?" "No, none."--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 01:13, 25 May 2022 (UTC)<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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宝玉道：“必是老太太忘了。明儿不是十一月初一日么？年年老太太那里必是个老规矩，要办‘消寒会’，齐打伙儿坐下，喝酒说笑。我今日已经在学房里告了假了。这会子没有信儿，明儿可是去不去呢？若去了呢，白白的告了假；若不去，老爷知道了，又说我偷懒。”袭人道：“据我说，你竟是去的是。才念的好些儿了，又想歇着。依我说也该上紧些才好。昨儿听见太太说，兰哥儿念书真好，他打学房里回来，还各自念书作文章，天天晚上弄到四更多天才睡。你比他大多了，又是叔叔，倘或赶不上他，又叫老太太生气，倒不如明儿早起去罢。”<br />
"She must have forgotten. Tomorrow's the first of the eleventh month isn't it? It used to be her rule every year to hold a cold-dispelling party that day,getting everybody together to drink and have fun. Today I asked for leave from school. As no message has come shall I go tomorrow or not? If I do,I'll have asked for leave all for nothing. If I don't and my father knows,he'll call me an idler." "I think you'd better go," she said."You're just beginning to study seriously,yet here you are wanting to rest. My advice to you is to work harder. Yesterday I heard your mother praise Master Cymbidium for really concentrating on his books. Every evening after he comes back from school,he reads and writes essays on his own,not sleeping till nearly dawn. You're much older than he is,and his uncle too. If you lag behind him the old lady will be angry. So you'd better go to school tomorrow morning.<br />
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==英语口译 方楚晗 Fang Chuhan 202170081616==<br />
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麝月道：“这样冷天，已经告了假，又去，倒叫学房里说：既这么着，就不该告假呀。显见的是告谎假，脱滑儿。依我说落得歇一天。就是老太太忘记了，咱们这里就不消寒了么？咱们也闹个会儿不好么。”袭人道：“都是你起头儿，二爷更不肯去了。”麝月道：“我也是乐一天是一天，比不得你要好名儿，使唤一个月，再多得二两银子。”袭人啐道：“小蹄子！人家说正经话，你又来胡拉混扯的了。”麝月道：“我倒不是混拉扯，我是为你。”袭人道：“为我什么？”<br />
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==英语口译 胡雯雯 Hu Wenwen 202170081617==<br />
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麝月道：“二爷上学去了，你又该咕嘟着嘴想着，巴不得二爷早一刻儿回来，就有说有笑的了。这会儿又假撇清，何苦呢！我都看见了。”袭人正要骂他，只见老太太那里打发人来，说道：“老太太说了，叫二爷明儿不用上学去呢。明儿请了姨太太来给他解闷，只怕姑娘们都来家里的。史姑娘、邢姑娘、李姑娘们都请了，明儿来赴什么‘消寒会’呢。”宝玉没有听完，便喜欢道：“可不是？老太太最高兴的，明日不上学，是过了明路的了。”袭人也便不言语了。那丫头回去。宝玉认真念了几天书，巴不得顽这一天，又听见薛姨妈过来，想着宝姐姐自然也来。<br />
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==英语口译 黄天琪 Huang Tianqi 202170081618==<br />
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心里喜欢，便说：“快睡罢，明日早些起来。”于是一夜无话。到了次日，果然一早到老太太那里请了安，又到贾政王夫人那里请了安，回明了老太太今儿不叫上学。贾政也没言语，便慢慢退出来。走了几步，便一溜烟跑到贾母房中。见众人都没来，只有凤姐那边的奶妈子，带了巧姐儿，跟着几个小丫头，过来给老太太请了安，说：“我妈妈先叫我来请安，陪着老太太说说话儿。妈妈回来就来。”贾母笑着道：“好孩子，我一早就起来了。等他们总不来，只有你二叔叔来了。”那奶妈子便说：“姑娘，给你二叔叔请安。”宝玉也问了一声“妞妞好？”<br />
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==英语口译 李丹 Li Dan 202170081620==<br />
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巧姐儿道：“我昨夜听见我妈妈说，要请二叔叔去说话。”宝玉道：“说什么呢？”巧姐儿道：“我妈妈说，跟着李妈认了几年字，不知道我认得不认得。我说：‘都认得。我认给妈妈瞧。’妈妈说我瞎认，不信，说我一天尽子顽，那里认得！我瞧着那些字也不要紧，就是那《女孝经》也是容易念的。妈妈说我哄他，要请二叔叔得空儿的时候给我理理。”贾母听了，笑道：“好孩子，你妈妈是不认得字的，所以说你哄他。明儿叫你二叔叔理给他瞧瞧，他就信了。”宝玉道：“你认了多少字了？”巧姐儿道：“认了三千多字，念了一本《女孝经》，半个月头里又上了《列女传》。”<br />
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‘My Mama wants to see you, Uncle Bao,’ said Qiao-jie：’She said so yesterday.’ Bai-yu asked: ‘For what?’ ‘She says she wants to find out if I've learnt my characters properly after all my lessons with Nannie Li, and offered to read them out for her.#1 But she thought I was guessing and didn't believe me. #2 She said I couldn't have learnt them because all I do all day long is play. But I don't think learning characters is hard. I can even read my Girl's Classic of Filial Piety - it's ever so easy. Mama thinks I'm making it up, so she wants you to go over it with me when you've got the time.” Grandmother Jia laughed. “Bless you darling! Your mother can't read a word, that's why she couldn't tell if you were cheating her or not. Tomorrow your uncle Bao will go over it with you, and she can listen in. Then she'll have to believe you.” “How many characters do you know by now?” asked Bao-yu. “Over three thousand,' replied Qiao-jie. “I've finished the Girl's Classic, and a fortnight ago I started on Lives of Noble Women Present and Past.”<br />
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==英语口译 李立飞 Li Lifei 202170081621==<br />
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宝玉道：“你念了懂得吗？你要不懂，我倒是讲讲这个你听罢。”贾母道：“做叔叔的也该讲究给侄女儿听听。”宝玉道：“那文王后妃是不必说了。想来是知道的。那姜后脱簪待罪，齐国的无盐虽丑，能安邦定国，是后妃里头的贤能的。若说有才的，是曹大姑、班婕妤、蔡文姬、谢道韫诸人。孟光的荆钗裙布，鲍宣妻的提瓮出汲，陶侃母的截发留宾，还有画荻教子的，这是不厌贫的。那苦的里头，有乐昌公主破镜重圆，苏蕙的回文感主。那孝的是更多了，木兰代父从军，曹娥投水寻父的尸首等类也多，我也说不得许多。那个曹氏的引刀割鼻，是魏国的故事。<br />
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==英语口译 莫雨婷 Mo Yuting 202170081622==<br />
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那守节的更多了，只好慢慢的讲。若是那些艳的，王嫱、西子、樊素、小蛮、绛仙等，妒的是秃妾发、怨洛神等类也少，文君、红拂，是女中的……”贾母听到这里，说：“彀了，不用说了。你讲的太多，他那里还记得呢。”巧姐儿道：“二叔叔才说的，也有念过的，也有没念过的。念过的二叔叔一讲，我更知道了好些。”宝玉道：“那字是自然认得的了，不用再理。明儿我还上学呢。”巧姐儿道：“我还听见我妈妈昨儿说：我们家的小红，头里是二叔叔那里的，我妈妈要了来，还没有补上人呢。我妈妈想着要把什么柳家的五儿补上，不知二叔叔要不要。”<br />
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==英语口译 彭慧璇 Peng Huixuan 202170081623==<br />
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宝玉听了更喜欢，笑着道：“你听你妈妈的话，要补谁就补谁罢咧，又问什么要不要呢！”因又向贾母笑道：“我瞧大妞妞这个小模样儿，又有这个聪明儿，只怕将来比凤姐姐还强呢，又比他认的字。”贾母道：“女孩儿家认得字呢也好，只是女工针黹倒是要紧的。”巧姐儿道：“我也跟着刘妈妈学着做呢。什么扎花儿咧，拉锁子，我虽弄不好，却也学着会做几针儿。”贾母道：“咱们这样人家，固然不仗着自己做，但只到底知道些，日后才不受人家的拿捏。”巧姐儿答应着“是”，还要宝玉解说《列女传》，见宝玉呆呆的，也不敢再说。<br />
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==英语口译 时友洁 Shi Youjie 202170081624==<br />
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你道宝玉呆的是什么？只因柳五儿要进怡红院，头一次是他病了，不能进来；第二次王夫人撵了晴雯，大凡有些姿色的，都不敢挑；后来又在吴贵家看晴雯去，五儿跟着他妈给晴雯送东西去，见了一面，更觉娇娜妩媚。今日亏得凤姐想着，叫他补入小红的窝儿，竟是喜出望外了，所以呆呆的想他。贾母等着那些人，见这时候还不来，又叫丫头去请。回来李纨同着他妹子、探春、惜春、史湘云、黛玉都来了。大家请了贾母的安，众人厮见。独有薛姨妈未到，贾母又叫请去。果然姨妈带着宝琴过来。宝玉请了安，问了好，只不见宝钗邢岫烟二人。<br />
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==英语口译 伍佳惠 Wu Jiahui 202170081625==<br />
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黛玉便问起“宝姐姐为何不来？”薛姨妈假说身上不好。邢岫烟知道薛姨妈在坐，所以不来。宝玉虽见宝钗不来，心中纳闷，因黛玉来了，便把想宝钗的心暂且搁开。不多时，邢王二夫人也来了。凤姐听见婆婆们先到了，自己不好落后，只得打发平儿先来告假，说是：“正要过来，因身上发热，过一回儿就来。”贾母道：“既是身上不好，不来也罢。咱们这时候狠该吃饭了。”丫头们把火盆往后挪了一挪儿，就在贾母榻前一溜摆下两桌，大家序次坐下。吃了饭，依旧围炉闲谈，不须多赘。<br />
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Revision:“Why hasn't Cousin Precious Hairpin come?” asked Mascara Jade Forest. Aunt Marshgrass gave the excuse that she was unwell and Tadpole Marshgrass had naturally not come because her future in-laws were present. Precious Jade was disappointed by Precious Hairpin's absence, but as he had Mascara Jade's company he dismissed her from his mind. Soon Lady City and Lady King arrived too. When Sister Phoenix heard of this, as it would be remiss for her to lag behind Their Ladyships she sent Patience to excuse her, saying that she had a temperature but would come a little later. “If she's not well, she needn't come,” said Grandma Merchant. “It's time now for our meal.” Maids moved back the brazier and set out two tables in front of Grandma Merchant's couch. This done, the party sat down in due order. After dinner, they chatted around the fire, but there is no need to record their conversation.<br />
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==英语口译 夏晶 Xia Jing 202170081626==<br />
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且说凤姐因何不来？头里为着倒比邢王二夫人迟了不好意思，后来旺儿家的来回说：“迎姑娘那里打发人来请奶奶安，还说并没有到上头，只到奶奶这里来。”凤姐听了纳闷，不知又是什么事，便叫那人进来，问：“姑娘在家好？”那人道：“有什么好的！奴才并不是姑娘打发来的，实在是司棋的母亲央我来求奶奶的。”凤姐道：“司棋已经出去了，为什么来求我？”那人道：“自从司棋出去，终日啼哭。忽然那一日，他表兄来了。他母亲见了，恨得什么是的，说他害了司棋，一把拉住要打。那小子不敢言语。<br />
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Now what had kept Sister Phoenix away? In the beginning it was embarrassment at going later than Lady City and Lady King. And then Vigor's wife had arrived. “Miss Spring Pleasure has sent someone with her regards,” she announced. “And the woman says she's not called on Their Ladyships but come straight here.” Not knowing what to make of this, Sister Phoenix called the messenger in. “Is your mistress well?” she asked. “No, it wasn't Miss Spring Pleasure who sent me,” was the answer. “The fact is, Controlling Board's mother has begged me to come to ask you a favour, madam.”“Controlling Board has already been dismissed, so what can I do to help?” “After Controlling Board left here she kept weeping all day long. Then, the other day, that cousin of hers turned up. At sight of him, her mother was furious-she accused him of ruining her daughter's life and grabbed hold of him to beat him. Not a word did the young fellow say in self-defence.<br />
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Revision: Now what had kept Sister Phoenix away? In the beginning it was embarrassment at going later than Lady City and Lady King. And then Vigor's wife had arrived. “Miss Spring Pleasure has sent someone with her regards,” she announced. “And the woman says she's not called on Their Ladyships but come straight here.” Not knowing what to make of this, Sister Phoenix called the messenger in. “Is your mistress well?” she asked. “No, it wasn't Miss Spring Pleasure who sent me,” was the answer. “The fact is, Controlling Board's mother has begged me to come to ask you a favour, madam.”“Controlling Board has already been dismissed, so what can I do to help?” “After Controlling Board left here she kept weeping all day long. Then, the other day, that cousin of hers turned up. At sight of him, her mother was furious-she accused him of ruining her daughter's life and grabbed hold of him to beat him. Not a word did the young fellow say in self-defence.--[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 14:22, 24 May 2022 (UTC)<br />
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==英语口译 向师琦 Xiang Shiqi 202170081627==<br />
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谁知司棋听见了，急忙出来，老着脸，和他母亲道：‘我是为他出来的，我也恨他没良心。如今他来了，妈要打他，不如勒死了我。’他母亲骂他：‘不害臊的东西！你心里要怎么样？’司棋说道：‘一个女人配一个男人。我一时失脚，上了他的当，我就是他的人了，决不肯再失身给别人的。我恨他为什么这样胆小！‘一身作事一身当’，为什么要逃？就是他一辈子不来了，我也一辈子不嫁人的。妈要给我配人，我原拼着一死的。今儿他来了，妈问他怎么样。若是他不改心，我在妈跟前磕了头，只当是我死了，他到那里，我跟到那里，就是讨饭吃也是愿意的。’<br />
Siqi hearing this came running out, bold as brass.“‘It’s because of him that I was dismissed,’ she told her mother. ‘I hate him too for his heartlessness. If you want to beat him now that he’s come, you’d better strangle me first!“Her mother swore, ‘Shameless slut! What do you want to do?”’“Siqi said, ‘A woman can only marry once. I slipped up and let him take advantage of me, so now I belong to him, and I’ll never, never marry anyone else. But what makes me angry is his lack of guts. A man should be responsible for his actions. Why run away? If he’d never shown up, I’d have stayed single all my life. If you’d tried to marry me to someone else, ma, I should have killed myself. Now that he’s here, ask him what his intentions are. If he hasn’t had a change of heart, I’ll kowtow farewell to you, ma, and you can count me as dead, for wherever he goes I’ll go too, content even if we have to beg for food.<br />
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==英语口译 向望 Xiang Wang 202170081628==<br />
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他妈气得了不得，便哭着骂着说：‘你是我的女儿，我偏不给他，你敢怎么着？’那知道那司棋这东西糊涂，便一头撞在墙上，把脑袋撞破，鲜血直流，竟死了。他妈哭着，救不过来，便要叫那小子偿命。他表兄也奇：‘你们不用着急。我在外头原发了财，因想着他才回来的，心也算是真了。你们若不信，只管瞧。’说着，打怀里掏出一匣子金珠首饰来。他妈妈看见了，便心软了，说：‘你既有心，为什么总不言语？’他外甥道：‘大凡女人都是水性杨花，我若说有钱，他便是贪图银钱了。如今，他只为人就是难得的。我把金珠给你们，我去买棺盛殓他。’<br />
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==英语口译 徐舞 Xu Wu 202170081629==<br />
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那司棋的母亲接了东西，也不顾女孩儿了，便由着外甥去。那里知道他外甥叫人抬了两口棺材来。司棋的母亲看见，咤异说：‘怎么棺材要两口？’他外甥笑道：‘一口装不下，得两口才好。’司棋的母亲见他外甥又不哭，只当是他心疼的傻了。岂知他忙着把司棋收拾了，也不啼哭，眼错不见，把带的小刀子往脖子里一抹，也就抹死了。司棋的母亲懊悔起来，倒哭得了不得。如今坊上知道了，要报官。他急了，央我来求奶奶说个人情，他再过来给奶奶磕头。”凤姐听了，咤异道：“那有这样傻丫头，偏偏的就碰见这个傻小子！怪不得那一天翻出那些东西来，他心里没事人是的。<br />
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==英语口译 张静芝 Zhang Jingzhi 202170081630==<br />
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敢只是这么个烈性孩子。论起来，我也没这么大工夫管他这些闲事，但只你才说的，叫人听着，怪可怜见儿的。也罢了，你回去告诉他，我和你二爷说，打发旺儿给他撕掳就是了。”凤姐打发那人去了，才过贾母这边来。不提。且说贾政这日正与詹光下大棋，通局的输赢也差不多，单为着一只角儿，死活未分，在那里打结。门上的小厮进来回道：“外面冯大爷要见老爷。”贾政道：“请进来。”小厮出去请了，冯紫英走进门来，贾政即忙迎着。冯紫英进来，在书房中坐下，见是下棋，便道：“只管下棋，我来观局。”詹光笑道：“晚生的棋是不堪睄的。”<br />
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==日语笔译 曹梦然 Cao Mengran 202170081632==<br />
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冯紫英道：“好说，请下罢。”贾政道：“有什么事么？”冯紫英道：“没有什么话。老伯只管下棋，我也学几着儿。”贾政向詹光道：“冯大爷是我们相好的，既没事，我们索性下完了这一局再说话儿。冯大爷在旁边瞧着。”冯紫英道：“下采不下采？”詹光道：“下采的。”冯紫英道：“下采的是不好多嘴的。”贾政道：“多嘴也不妨，横竖他输了十来两银子，终久是不拿出来的。往后只好罚他做东便了。”詹光笑道：“这倒使得。”冯紫英道：“老伯和詹公对下么？”贾政笑道：“从前对下，他输了；如今让他两个子儿，他又输了。时常还要悔几着，不叫他悔，他就急了。”<br />
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“Don’t be so modest,” replied Feng. “Please carry on.”<br />
“Have you come on business?” Jia Zheng wanted to know.<br />
“Nothing of any importance. Please go on with your game, uncle, and I can learn by watching.”<br />
Jia Zheng told Zhan, “Master Feng is a good friend of ours. As he’s in no hurry, let’s finish this game and then we can have a chat. You can watch from the side, Master Feng.”<br />
“Are you playing for stakes?”<br />
“Yes, we are,” said Zhan.<br />
“In that case I mustn’t interfere.”<br />
“It doesn’t matter if you do,” joked Jia Zheng. “He’s lost over ten taels already, but he never pays up. I shall have to make him stand us a meal some day instead.”<br />
“That’s all right,” chuckled Zhan.<br />
“Do you gentlemen both play from scratch?” asked Feng.<br />
“We used to.” Jia Zheng smiled. “But he kept losing. Now I’m handi¬capped by giving him two pieces at the start, yet he still loses. From time to time he revokes too, and if I challenge him he gets worked up.--[[User:Hu Mengqi|Hu Mengqi]] ([[User talk:Hu Mengqi|talk]]) 15:05, 24 May 2022 (UTC)<br />
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==日语笔译 胡梦琪 Hu Mengqi 202170081633==<br />
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詹光也笑道：“没有的事。”贾政道：“你试试瞧。”大家一面说笑，一面下完了，做起棋来，詹光还了棋头，输了七个子儿。冯紫英道：“这盘终吃亏在打结里头。老伯劫少，就便宜了。”贾政对冯紫英道：“有罪，有罪。咱们说话儿罢。”冯紫英道：“小侄与老伯久不见面。一来会会，二来因广西的同知进来引见，带了四种洋货，可以做得贡的。一件是围屏，有二十四扇槅子，都是紫檀雕刻的。中间虽说不是玉，却是绝好的硝子石，石上镂出山水、人物、楼台、花鸟等物。一扇上有五六十个人，都是宫妆的女子，名为‘汉宫春晓’。<br />
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“That’s not true!” protested Light Zhan laughingly.<br />
“Just wait and see,” said Master Merchant.<br />
They played as they chatted, and when the game was finished they counted their pieces. After deducting the one with which he had opened, Zhan had lost by seven pieces.<br />
Feng remarked, “You lost out trying to enclose uncle’s pieces. And so, being less vulnerable, he got the upper hand.”<br />
“Excuse us for ignoring you,” Master Merchant apologized. “Now we can talk.”<br />
“I haven’t seen you for some time, uncle, so I called in the first place to pay my respects,” said Feng. “Another reason is that the vice-prefect of Guangxi has come to the capital with four novelties from the south or overseas, all fit to present to the court. One is a carved ebony screen with twenty-four leaves. They’re inlaid not with jade but with the finest marble carved with landscapes, figures, pavilions, flowers and birds. On each leaf are fifty to sixty girls in palace costume, so the screen is called ‘Spring Dawn in the Han Palace.’<br />
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“That’s not true!” protested Light Zhan laughingly.<br />
“Just wait and see,” said Master Merchant.<br />
They played as they chatted, and when the game was finished they counted their pieces. After deducting the one with which he had opened, Zhan had lost by seven pieces.<br />
Feng remarked, “You lost out trying to enclose uncle’s pieces. And so, being less vulnerable, he got the upper hand.”<br />
“Excuse us for ignoring you,” Master Merchant apologized. “Now shall we talk.”<br />
“I haven’t seen you for some time, uncle, so I called in the first place to pay my respect,” said Feng. “Another reason is that the vice-prefect of Guangxi has come to the capital with four novelties from the south or overseas, all fit to present to the court. One is a carved ebony screen with twenty-four leaves. They’re inlaid not with jade but with the finest marble carved with landscapes, figures, pavilions, flowers and birds. On each leaf are fifty to sixty girls in palace costume, so the screen is called ‘Spring Dawn in the Han Palace.’--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 19:15, 24 May 2022 (UTC)<br />
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==日语笔译 张白鹭 Zhang Bailu 202170081634==<br />
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人的眉、目、口、鼻以及出手、衣褶，刻得又清楚，又细腻。点缀布置，都是好的。我想尊府大观园中正厅上却可用得着。还有一个钟表，有三尺多高，也是一个小童儿拿着时辰牌，到了什么时候，他就报什么时辰；里头也有些人在那里打十番的。这是两件重笨的，却还没有拿来。现在我带在这里两件，却有些意思儿。”就在身边拿出一个锦匣子，见几重白绵裹着，揭开了绵子，第一层是一个玻璃盒子，里头金托子，大红绉绸托底，上放着一颗桂圆大的珠子，光华耀目。冯紫英道：“据说这就叫做‘母珠’。”因叫：“拿一个盘儿来。”<br />
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All the girls’ features, their hands and the draperies are most delicately carved. The embellishments and designs are excellent too. It seems to me just the thing for the main hall of your honourable Grand View Garden.<br />
“Then there’s a clock more than three feet high in the form of a boy holding a time-piece, which announces each hour in turn, while inside some clock-work figures play musical chimes. As both these are heavy objects, I didn’t bring them. But the two things I have with me are quite intriguing too.”<br />
With that he produced a brocade box swathed in white silk floss and, having removed some padding, showed them a glass case in which was a gold stand mounted on red crepe. On the stand lay a dazzling bright pearl, as large as a dried longan.<br />
“This is called a mother pearl,” Feng told them, then asked for a plate.<br />
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==朝鲜语笔译 刘安莉 Liu Anli 202170081635==<br />
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詹光即忙端过一个黑漆茶盘，道：“使得么？”冯紫英道：“使得。”便又向怀里掏出一个白绢包儿，将包儿里的珠子都倒在盘子里散着，把那颗母珠搁在中间，将盘置于桌上。看见那些小珠子儿，滴溜滴溜滚到大珠身边来，一回儿把这颗大珠子抬高了，别处的小珠子一颗也不剩，都粘在大珠上。詹光道：“这也奇怪！”贾政道：“这是有的，所以叫做‘母珠’，原是珠之母。”那冯紫英又回头看着他跟来的小厮道：“那个匣子呢？”那小厮赶忙捧过一个花梨木匣子来。大家打开看时，原来匣内衬着虎纹锦，锦上叠着一束蓝纱。詹光道：“这是什么东西？”<br />
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==朝鲜语笔译 王思佳 Wang Sijia 202170081636==<br />
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冯紫英道：“这叫做‘鲛绡帐’。”在匣子里拿出来时，叠得长不满五寸，厚不上半寸，冯紫英一层一层的打开，打到十来层，已经桌上铺不下了。冯紫英道：“你看，里头还有两褶，必得高屋里去，才张得下。这就是鲛丝所织。暑热天气，张在堂屋里头，苍蝇蚊子，一个不能进来，又轻又亮。”贾政道：“不用全打开，怕叠起来倒费事。”詹光便与冯紫英一层一层折好收拾。冯紫英道：“这四件东西，价儿也不狠贵，两万银他就卖。母珠一万，鲛绡帐五千，‘汉宫春晓’与自鸣钟五千。”贾政道：“那里买得起。”冯紫英道：“你们是个国戚，难道宫里头用不着么？”<br />
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==朝鲜语笔译 徐盖 Xu Gai 202170081638==<br />
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贾政道：“用得着的狠多，只是那里有这些银子？等我叫人拿进去给老太太瞧瞧。”冯紫英道：“狠是。”贾政便着人叫贾琏把这两件东西送到老太太那边去，并叫人请了邢王二夫人、凤姐儿都来瞧着，又把两件东西一一试过。贾琏道：“他还有两件：一件是围屏，一件是乐钟。共总要卖二万银子呢。”凤姐儿接着道：“东西自然是好的，但是那里有这些闲钱？咱们又不比外任督抚要办贡。我已经想了好些年了，像咱们这种人家，必得置些不动摇的根基才好：或是祭地，或是义庄，再置些坟屋。往后子孙遇见不得意的事，还是点儿底子，不到一败涂地。<br />
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==朝鲜语笔译 徐文慧 Xu Wenhui 202170081639==<br />
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我的意思是这样，不知老太太、老爷、太太们怎么样？若是外头老爷们要买只管买。”贾母与众人都说：“这话说的倒也是。”贾琏道：“还了他罢。原是老爷叫我送给老太太瞧，为的是宫里好进；谁说买来搁在家里？老太太还没开口，你便说了一大些丧气话！”说着，便把两件东西拿了出去，告诉贾政，只说：“老太太不要。”便与冯紫英道：“这两件东西，好可好，就只没银子。我替你留心，有要买的人我便送信给你去。”冯紫英只得收拾好，坐下说些闲话，没有兴头，就要起身。贾政道：“你在我这里吃了晚饭去罢。”冯紫英道：“罢了，来了就叨扰老伯吗！”<br />
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==比较文学与跨文化研究 Mahzad Heydarian 202021080004==<br />
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贾政道：“说那里的话！”正说着，人回：“大老爷来了。”贾赦早已进来。彼此相见，叙些寒温。不一时，摆上酒来，肴馔罗列，大家喝着酒。至四五巡后，说起洋货的话。冯紫英道：“这种货本是难消的。除非要像尊府这种人家，还可消得，其余就难了。”贾政道：“这也不见得。”贾赦道：“我们家里也比不得从前了，这回儿也不过是个空门面。”冯紫英又问：“东府珍大爷可好么？我前儿见他，说起家常话儿来，提到他令郎续娶的媳妇远不及头里那位秦氏奶奶了。如今后娶的到底是那一家的？我也没有问起。”<br />
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==外国语言文学 Akira 202121080009==<br />
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贾政道：“我们这个侄孙媳妇儿也是这里大家，从前做过京畿道的胡老爷的女孩儿。”冯紫英道：“胡道长我是知道的。但是他家教上也不怎么样。也罢了，只要姑娘好就好。”贾琏道：“听得内阁里人说起，雨村又要升了。”贾政道：“这也好，不知准不准？”贾琏道：“大约有意思的了。”冯紫英道：“我今儿从吏部里来，也听见这样说。雨村老先生是贵本家不是？”贾政道：“是。”冯紫英道：“是有服的，还是无服的？”贾政道：“说也话长。他原籍是浙江湖州府人，流寓到苏州，甚不得意。有个甄士隐和他相好，时常周济他。<br />
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==英语语言文学 Mariam Tourse 2020GBJ002301==<br />
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已后中了进士，得了榜下知县，便娶了甄家的丫头。如今的太太不是正配。岂知甄士隐弄到零落不堪，没有找处。雨村革了职以后，那时还与我家并未相识。只因舍妹丈林如海林公在扬州巡盐的时候，请他在家做西席，外甥女儿是他的学生。因他有起复的信，要进京来，恰好外甥女儿要上来探亲，林姑老爷便托他照应上来的。还有一封荐书托我吹嘘吹嘘。那时看他不错，大家常会。岂知雨村也奇：我家世袭起，从‘代’字辈下来，宁荣两宅，人口房舍，以及起居事宜，一概都明白。因此，遂觉得亲热了。”</div>Li Yuanhttps://bou.de/u/index.php?title=20220512_homework&diff=14303320220512 homework2022-05-18T05:23:21Z<p>Li Yuan: /* 英语笔译 李颖 Li Ying 202170081578 */</p>
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<div>Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]<br />
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Assignment 1: '''Click here''' [[Chinese Classics Translation 2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is '''Cinema Movie Adaptions of Chinese Classics 张姣玲 熊嘉玲 杨紫微 肖冬晴'''<br />
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Assignment 2: Please do the translation below here<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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本来无可添减之事，如今听你一说，倒要找出两件来斟酌斟酌，不辜负你这话。”<br />
探春笑道：“我一肚子气，正要拿他奶奶出气去，偏他碰了来，说了这些话，叫我<br />
也没了主意了。”一面说，一面叫进方才那媳妇来问：“环爷和兰哥家学里这一<br />
年的银子，是做那一项用的？”那媳妇便回说：“一年学里吃点心或者买纸笔，每<br />
位有八两银子的使用。”探春道：“凡爷们的使用，都是各屋里支月钱的：环哥的<br />
是姨娘领二两；宝玉的，老太太屋里袭人领二两；<br />
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“There is no cut at first. Now your words remind Seeking Spring to cut the payment on some items so as to live up to your advice.” “I was full of anger and should have meant to ask her mistress for justice. But Patience came and offered some advice as such. I, instead, lose my idea,” Seeking Spring mocked herself, and asked that married woman to come in, “Where were the schooling payments for Cymbidium Merchant and Ring Merchant spent?” “On pastries, paper or brushes. Eight taels are available per person,” she answered. Seeking Spring disapproved, “Young men get their monthly payment in a unit of the house. For Ring Merchant, his mother draws two taels. For Precious Jade, Aroma draws another two taels on behalf of the old lady.<br />
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There is no cut or addition at first. Now your words remind Seeking Spring of the deliberation of cutting the payment on some items so as to live up to your advice.” “I was full of anger and should have meant to ask her mistress for justice. But Patience came and offered some advice as such. I, instead, lose my idea,” Seeking Spring mocked herself, and asked that married female servent to come in, “Where were the schooling payments for Cymbidium Merchant and Ring Merchant spent?” “On pastries, paper or brushes needed in school. Eight taels are available per person,” she answered. Seeking Spring disapproved, “Young men get their monthly payment in a unit of the house. For Ring Merchant, his mother draws two taels. For Precious Jade, Aroma draws another two taels on behalf of the old lady.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 02:41, 16 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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兰哥儿是大奶奶屋里领：怎么学里每人多这八两？原来上学去的是为这八两银子！从今日起，把这一项蠲了。平儿回去，告诉你奶奶，说我的话，把这一条务必免了。”平儿笑道：“早就该免。旧年奶奶原说要免的，因年下忙，就忘了。”那媳妇只得答应着去了。就有大观园中媳妇捧了饭盒子来，侍书素云早已抬过一张小饭桌来，平儿也忙着上菜。探春笑道：“你说完了话，干你的去罢，在这里又忙什么？”<br />
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"His monthly payment was from Lady Plum. How could it be, that everyone got eight taels for attending the private school? No wonder they're willing to go there, just for the eight-teal silver! From today on, remove this payment from list. Patience, you go back to tell your mistress, Lady Splendid Phoenix, to cut this sum of money down, which is my suggestion." Patience smiled and said: "It's high time we should cut it down. Last year our mistress has expressed this idea. But due to the advent of the New Year, she had so much work to do that it slipped her memory." Then the servant responded obediently and went away. In a little while, there came another female servant from the Garden, with a mess tin in her arm. Candida, a book server, has already carried a small dining table, and Patience helped to serve dishes. Seeking-Spring said with amusement: "What you need do is merely to send my word to your mistress. Who orders you to serve the dishes? You such an industrious bee!"<br />
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"His monthly payment was from Lady Plum.How could it be, that everyone got more eight taels for attending the private school? No wonder they're willing to go there, just for the eight-teal silver! From today on, remove this payment from the list. Patience, you go back to tell your mistress, Lady Splendid Phoenix, to cut this sum of money down, which is my suggestion." Patience smiled and said: "It's high time we should cut it down. Last year our mistress has expressed this idea. But due to the advent of the New Year, she had so much work to do that it slipped out of her memory." Then the servant responded obediently and went away. In a little while, there came another female servant from the Garden, with a mess tin in her arm. Candida, a book server, has already carried a small dining table, and Patience helped to serve dishes. Seeking-Spring said with amusement: "What you need to do is merely to send my word to your mistress. Who orders you to serve the dishes? You such an industrious bee!"--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 14:01, 13 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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平儿笑道：“我原没事的，二奶奶打发了我来，一则说话，二则<br />
恐这里人不方便，原是叫我帮着妹妹们伏侍奶奶姑娘的。”探春因问：“宝姑娘<br />
的怎么不端来一处吃？”丫鬟们听说，忙出至檐外，命媳妇们去说：“宝姑娘如今<br />
在厅上一处吃，叫他们把饭送了这里来。”探春听说，便高声说道：“你别混支使<br />
人！那都是办大事的管家娘子们，你们支使他要饭要茶的，连个高低都不知道！<br />
平儿这里站着，叫他叫去。”<br />
平儿忙答应了一声出来。<br />
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‘I’m free now.The Mistress Splendid Phoenix sent me partly to tell you that, partly to help the girls wait on you when you're short-handed.'answered Patience, smiling.'Where's Precious Hairpin's lunch?'asked Seeking-Spring.Some girls hurried out to notify the matrons,'Miss Precious Hairpin has her lunch here too. Have her food brought over.'Hearing this,Seeking-Spring said loudly, 'Don't start ordering them about. They're all the wives of chief stewards, not people you can send to fetch rice and tea! You fuck know nothing!Patience has nothing to do here. Let her go.'Patience promptly agreed and went out.<br />
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‘I’m free now.The Mistress Splendid Phoenix sent me partly to tell you that, partly to help the girls wait on you when you're short-handed.'answered Patience, smiling.'Where's Precious Hairpin's lunch?'asked Seeking-Spring.Some girls hurried out to notify the matrons,'Miss Precious Hairpin has her lunch here too. Have her food brought over.'Hearing this,Seeking-Spring said loudly, 'Don't start ordering them about. They're all the wives of chief stewards, not people you can send to fetch rice and tea! You fuck know nothing!Patience has nothing to do here. Let her go.'Patience promptly agreed and went out.--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 14:16, 17 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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那些媳妇们都悄悄的拉住笑道：“那里用姑娘去叫，我们已有人叫去了。”一面说，一面用手帕摊石矶上，说：“姑娘站了半天，乏了，这太阳地里且歇歇。”平儿便坐下。又有茶房里的两个婆子拿了个坐褥铺<br />
下，说：“石头冷，这是极干净的，姑娘将就坐一坐儿罢。”平儿忙陪笑道：“多谢。”一个又捧了一碗精致新茶出来，也悄悄笑说：“这不是我们常用的茶，原是伺候姑娘们的，姑娘且润一润罢。”<br />
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The daughters-in-law laughed quietly and said, "Let's use girls there We have been called." As she spoke, she spread her handkerchief on the rocky rock and said, "The girl has been standing for a long time, tired Rest in the sun." Ping er sat down. There were also two women in the steadhouse who took a mattress to sit on"The stone is cold," he said. "It is very clean. The girl will sit down." Ping - er - hastily smiled and said, "Thank you very much." One of them came out with a bowl of delicate fresh tea and said quietly, "This is not our usual tea, so it is<br />
those who serve the girls, girls, let them be watered."<br />
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The stewards' wives laughed quietly and said, "There’s no need for you to go, miss. We’ve already sent someone." As they spoke, they spread their handkerchief on the steps and said, "You have been standing for a long time and must be tired. Please have a rest." Then Patience sat down. Two women from the tea house took a mattress. "The stone is cold," they said, "It is very clean. You can use it." Patience hastily smiled and said, "Thank you very much." One of them came out with a bowl of good fresh tea and said quietly, "This isn’t our usual tea but some for the young ladies. Miss, please try it."<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 15:27, 17 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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平儿忙欠身接了，因指众媳妇悄悄说道：“你<br />
们太闹的不像了。他是个姑娘家，不肯发威动怒，这是他尊重，你们就藐视欺负<br />
他。果然招他动了大气，不过说他一个粗糙就完了，你们就现吃不了的亏！他<br />
撒个娇，太太也得让他一二分，二奶奶也不敢怎样。你们就这么大胆子小看他，<br />
可是鸡蛋往石头上碰！”众人都忙道：“我们何尝敢大胆了，都是赵姨娘闹的！”<br />
平儿也悄悄的说：“罢了，好奶奶们，‘墙倒众人推’，<br />
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Patience bent forward to take it and point at them, saying stealthily, " You are over the line. She is only a girl, and does not want to be violent or angry. But that's not the reason why you should despise her. If she got mad, she would be blamed at the worst but you would get into big trouble! If she threw a tantrum, Lady Wang would have to give way to her,and our Second Mistress would also dare not do anything else. How dare you think so little of her? It's like an egg throwing itself against a stone!" The crowed protested, "How dare we? It was all Concubine Walk's fault!" Patience then whispered, "It's all right.But if a wall is about to collapse, every gives it a push."<br />
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Patience bent forward to take it and pointed at them, saying stealthily, " You are over the line. She is only a girl, and does not want to be violent or angry to show her respect. But that's not the reason why you should despise her. If she got mad, she would be blamed at the worst but you would get into big trouble! If she threw a tantrum, Lady Wang would have to give way to her,and our Second Mistress would also dare not do anything else. How dare you think so little of her? It's like an egg throwing itself against a stone!" The crowed protested, "How dare we? It was all Concubine Walk's fault!" Patience then whispered, "It's all right.But if a wall is about to collapse, every gives it a push."--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 05:35, 17 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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那赵姨奶奶原有些颠倒，<br />
‘着三不着两’，有了事都赖他。你们素日那眼里没人，心术利害，我这几年难<br />
道还不知道！二奶奶若是略差一点儿的，早被你们这些奶奶们治倒了。饶这么<br />
着，得一点空儿，还要难他一难！好几次没落了你们的口声。众人都道他利害，<br />
你们都怕他，惟我知道他心里也就不算不怕你们呢。前日我们还议论到这里：<br />
每不能依头顺尾，必有两场气生。那三姑娘虽是个姑娘，你们都横看了他。<br />
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That Aunt Zhao failed to distinguish right from wrong. And she always attributed her faults to others. You guys were good at intrigues, and treated people like dirt. You thought I did not know after all these years. Without her smart brains, the second madam would be torn down by you. Even as bright as her, you always distressed her time to time! Her good reputation have been undermined several times. All men said that she was proud, and were all afraid of her: but I was not afraid of you, knowing his heart. We were talking about this the other day: every time the head does not follow the tail, we would get angry. Girls as she was, you all looked down upon her.<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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二奶奶在这些大姑子小姑子里头，也就只单怕他五分。你们这会子倒不把他放在<br />
眼里了！”正说着，只见秋纹走来。众媳妇忙赶着问好，又说：“姑娘也且歇一歇，里头<br />
摆饭呢。等撒下桌子来，再回话去。”秋纹笑道：“我比不得你们，我那里等得！”<br />
说着，便直要上厅去。平儿忙叫：“快回来！”秋纹回头，见了平儿，笑道：“你又<br />
在这里充什么‘外围子的防护’？”一面回身便坐在平儿褥上。平儿悄问：“回什<br />
么？”<br />
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"She's the only one of the young ladies that my mistress is half afraid of, yet you even don’t care about her!" Their talk was interrupted by Autumn Vein's arrival. All the ladies greeted her and let her have a rest. "They are having a meal inside. You'd better not go in till they've finished." "I'm not like you. I don't want to wait," replied Autumn Vein. She was walking into the room when Patience called her. Autumn Vein turned back and smiled, "Are you acting as an extra bodyguard?" she asked, sitting on her bed. "What are you doing here?<br />
" Patience whispered.<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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秋纹道：“问一问宝玉的月银，我们的月钱，多早晚才领？”平儿道：“这什么<br />
大事！你快回去告诉袭人，说我的话：凭有什么事，今日都别回。若回一件，管<br />
驳一件；回一百件，管驳一百件！”秋纹听了，忙问：“这是为什么？”平儿与众媳<br />
妇等都忙告诉他原故；又说：“正要找几处利害事与有体面的人来开例，作法子<br />
镇压，与众人作榜样呢。何苦你们先来碰在这钉子上？你这一去说了，他们若<br />
拿你们也作一二件榜样，又碍着老太太、太太；<br />
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"I want to know when the monthly allowances for Precious Jade and us will be handed out." Autumn Vein replied. "Oh, that’s not very important, I must say! Go back quickly and tell Aroma from me that no matter what it is, don’t come here for asking anything today. Every single request you make will be refused. The same is true even a hundred times." After listening, Autumn Vein asked, "Why’s that?" Patience and all the women promptly told her the reason. "They' re looking for some big issues and someone who counts to make an example of as a warning to everyone," Patience explained. "Why should you bump your head against this brick wall? If you go in now and they make an example of you, they will risk offending Their Ladyships;<br />
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"I want to know when the monthly allowances for Precious Jade and us will be handed out." Autumn Vein replied. "Oh, that’s not very important, I must say! Go back quickly and tell Aroma from me that no matter what it is, don’t come here for asking anything today. Every single request you make will be refused. Even if you have one hundred things, we won't agree." After listening, Autumn Vein asked, "Why’s that?" Patience and all the women promptly told her the reason. "They're looking for some big issues and someone who counts to make an example of as a warning to everyone," Patience explained. "Why should you bump your head against this brick wall? If you go in now and they make an example of you, they will risk offending Their Ladyships;--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 02:35, 18 May 2022 (UTC)<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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若不拿着你们做一二件，人家又<br />
说：‘偏一个向一个，仗着老太太、太太威势的就怕，不敢惹，只拿着软的做鼻子<br />
头。’你听听罢，二奶奶的事，他还要驳两件，才压得众人口声呢！”<br />
秋纹听了，伸了伸舌头，笑道：“幸而平姐姐在这里，没得臊一鼻子灰，趁早<br />
知会他们去。”说着，便起身走了。接着宝钗的饭至，平儿忙进来伏侍。那时赵<br />
姨娘已去，三人在板床上吃饭，宝钗面南，探春面西，李纨面东。<br />
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But if they don't use you as examples, they may be accused of bias, of not daring to touch those backed by Their Ladyships and just picking on the weak instead. Wait and see. They're even countermanding a few of the Second Mistress' rulings too — that's the only way to stop gossip."<br />
Autumn Vein stuck out her tongue in dismay. "Thank goodness you came here. Sister Patience! You've saved me from a snubbing. I'll go straight back and tell them." then she left. At this point, Precious Hairpin's meal arrived and Patience sent it into the room to seve her. Concubine Zhao had now left and the three others were eating on the couch, Precious Hairpin facing south, Seeking-Spring west, and Silk Plum east.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 03:10, 16 May 2022 (UTC)<br />
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But if they don't take you as an example, they may be accused of not being impartial, of not daring to touch those backed by Their Ladyships, and just picking on the weak instead. Wait and see. They're even countermanding a few of the Second Mistress' rulings too — that's the only way to stop gossip." Autumn Vein stuck out her tongue in dismay. "Thank goodness you came here. Sister Patience! You've saved me from a snubbing. I'll go straight back and tell them." then she left. At that moment, Precious Hairpin's meal arrived and Patience sent it into the room to serve her. Concubine Zhao had now left and the three others were eating on the couch, Precious Hairpin facing the south, Seeking-Spring the west, and Silk Plum the east.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 04:37, 18 May 2022 (UTC)<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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众媳妇皆在廊下静候，里头只有他们紧跟常侍的丫鬟伺候，别人一概不敢擅入。这些媳妇们<br />
都悄悄的议论说：“大家省事罢！别安着没良心的主意。连吴大娘才都讨了没<br />
意思，咱们又是什么有脸的！”都一边悄议，等饭完回事。只觉里面鸦雀无闻，并<br />
不闻碗箸之响。一时，只见一个丫头将帘栊高揭，又有两个将桌抬出。茶房内有三个丫<br />
鬟，捧着三个沐盆儿。见饭桌已出，三人便进去了。<br />
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All the Madams were waiting on the porch with their close maids, and no one else dared to enter. Madams all whispered, "Don't make trouble and scheme conscienceless ideas. Even Woman Wu suffered setbacks, let alone us!" They all talked quietly, waiting for the meal to finish. They only felt that there was as still, and heard nothing of the sound of tableware. A maid lifted the curtain high for a moment, and two more carried the table out. Three servant girls in the tea house hold three washbowls. As the tables out, the three went in.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 03:46, 14 May 2022 (UTC)<br />
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All the Madams were waiting on the porch with their close maids, and no one else dared to enter. Madams all whispered, "Don't make trouble and scheme conscienceless ideas. Even Woman Wu suffered setbacks, let alone us!" They all talked quietly, waiting for the meal to finish. They only felt that there was as still, and heard nothing of the sound of tableware. A maid lifted the curtain high for a moment, and two more carried the table out. Three servant girls in the tea house held three washbowls. As the tables out, the three went in.--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 13:28, 16 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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一回又捧出沐盆并漱盂来，方有侍书、素云、莺儿三个，每人用茶盘捧了三盖碗茶进去。一时等他三人出来，侍书命小丫头子：“好生伺候着，我们吃饭来换你们，可又别偷坐着去。”众媳妇们方慢慢的安分回事，不敢如先前轻慢疏忽了。探春气方渐平，因向平儿道：“我有一件大事，早要和你奶奶商议，如今可巧想起来。你吃了饭快来。宝姑娘也在这里，咱们四个人商议了，再细细的问你奶奶可行可止。”平儿答应回去。<br />
<br />
After a while, someone brought out a basin and spittoon from the room. Scribe, Candida and Oriole each loaded three cups of tea with lids on a tray and went into the house. After three people came out, Scribe bade small servant girls way, "You are here to wait upon, wait for us to finish the meal again for you. Don't be lazy." At last the daughters-in-law became more relaxed and less impatient. Seeking-Spring Merchant calmed down and said to Patience, "I have something important to discuss with you and Old Lady for a long time. Now I remember it. Come here as soon as you finish your dinner. Precious Hairpin is here, too. Wait until the four of us discuss it first, and then carefully ask Old Lady if it is possible." Patience agreed and went back.<br />
<br />
After a while, someone brought out a basin and spittoon from the room. Book Server, Candida and Oriole each took three covered bowls of tea on trays and went into the house. After they came out, Book Server ordered the younger servant girls, "You are here to wait upon till we come back after finishing the meal. Don't be lazy." Then, slowly, the matrons made their reports in turn, not presuming to behave with their previous impertinence. Seeking-Spring calmed down and said to Patience, "I have been going to discuss something important with your mistress. Now I’ve just happened to remember it. Come here as soon as you finish your dinner. Precious Hairpin is here, too. Wait until the four of us discuss it first, and then carefully ask your mistress if it is possible." Patience agreed and went back.--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 15:28, 17 May 2022 (UTC)<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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凤姐因问：“为何去这半日？”平儿便笑着将方才的原故细细说与他听了。凤姐儿笑道：“好，好，好！好个三姑娘！我说不错。只可惜他命薄，没托生在太太肚里。”平儿笑道：“奶奶也说糊涂话了。他便不是太太养的，难道谁敢小看他，不与别的一样看待么？”凤姐叹道：“你那里知道？虽然庶出一样，女儿却比不得男人，将来攀亲时，如今有一种轻狂人，先要打听姑娘是正出是庶出，多有为庶出不要的。<br />
<br />
Sister Phoenix asked: "Why did you go so long?" Patience smiled and told her what had happened in detail. “Good, good, good! What a splendid Seeking-Spring!” Sister Phoenix laughed. “It's a pity she wasn't the mistress’ own daughter." "Grandma is confused too. She may not be the mistress’ own daughter. Will anyone dare to look down upon her? She has received the same respect as the other daughters of the house." said Patience. Sister Phoenix sighed, "How do you know? Although they are the same, a girl can’t compare with a boy. When the time comes to arrange her marriage, some foolish people will first ask whether she’s the daughter of the wife or of a concubine, and most likely refuse her in the second case.<br />
<br />
<br />
Sister Phoenix asked: "Why did you go so long?" Patience smiled and told her what had happened in detail. “All right!All right!All right! What a splendid Seeking-Spring!” Sister Phoenix laughed. “It's a pity she wasn't the mistress’ own daughter." "Grandma is confused too. Even though she may not be the mistress’ own daughter, no one dare to look down upon her? She has received the same respect as the other daughters of the house." said Patience. Sister Phoenix sighed, "How do you know? Although they are the same, a girl can’t compare with a boy. When the time comes to arrange her marriage, some foolish people will first ask whether she’s the daughter of the wife or of a concubine, and most likely refuse her in the second case.--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 06:58, 15 May 2022 (UTC)Li Ying<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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殊不知，别说庶出，便是我们的丫头，比人家<br />
的小姐还强呢！将来不知那个没造化的，为挑庶正误了事呢；也不知那个有造<br />
化的，不挑庶正的得了去。”说着，又向平儿笑到：“你知道我这几年生了多少省<br />
俭的法子，一家子大约也没个背地里不恨我的。我如今也是‘骑上老虎’了，虽<br />
然看破些，无奈一时也难宽放。二则家里出去的多，进来的少，凡百大小事儿，<br />
仍是照着老祖宗手里的规矩，却一年进的产业，又不及先时多；<br />
<br />
"Although, not to mention a concubine's child, even one of the maids in our family is better than the daughters of other households.<br />
I don't know which unlucky guy will lose this chance when he spent time on picking an excellent daughter-in-law, and even don't know who is the lucky one on this event.After that, he smiled at Patience," You know how economical I was in the past years, there's hardly no one didn't hate me secretly."Now I am ridding on the tiger's back, though I am not administrate so strictly, I would't let everything slide. Moreover, we spent more and the income we got less.Everything no matter big or small，we dealt with according to the ancestors' rules, but it is even got less in a year than before.<br />
<br />
<br />
"Well, let alone a concubine's child, even one of the maids in our family is better than the daughters of other households.<br />
I don't know which unlucky guy will lose this chance when he spent time picking an excellent daughter-in-law, and I even don't know who is the lucky one to grasp the opportunity on this regard," she said. "You know how economical I have been in the past few years, and there's hardly no one in the family showing their hatred to me behind my back," she laughed to Patience. "Now I am ridding on the tiger's back. Although I don't administrate so strictly, I can't let everything lose control. Moreover, what we've spent is more than what we got. Everything, big or small，is dealt with according to the rules passed on from ancestors, but the profit we got in a year is even fewer than before."--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 05:22, 18 May 2022 (UTC)<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579==<br />
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省俭了，外人又<br />
笑话，老太太、太太也受委屈，家下也抱怨克薄。若不趁早儿料理省俭之计，再<br />
几年就都赔尽了。平儿道：“可不是这话！将来还有三四位姑娘，还有两三个小爷们，一位老<br />
太太，这几件大事未完呢。”凤姐儿笑道：“我也虑到这里，倒也够了。宝玉和林<br />
妹妹，他两个一娶一嫁，可以使不着官中钱，老太太自有体己拿出来。二姑娘是<br />
大老爷那边的，也不算。剩了三四个，满破着每人花上一万银子。<br />
<br />
"If we are economical, others will laugh at us. Later, Grandma and other madams will be upset, and the maids and other servants will complain about us being so mean," she said, "In this regard, the money will run out in a few years if we don't come up with some ways to save it in advance." "That's true!" Patience replied, "There are still three or four young ladies, two or three young gentlemen and Grandma who are going to spend much money in the future." "I've considered this, too. We can just afford it," Sister Phoenix laughed, "Precious Jade's and Sister Forest's marriage cost will be paid by Grandma, and the marriage expenses of Spring Pleasure will be covered by the big Master. There are just three or four left, each of whom will need ten thousand at most."<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
环哥娶亲有<br />
限，花上三千银子；若不够，那里省一抿子也就够了。老太太的事出来，一应都<br />
是全了的，不过零星杂项使费些，满破三五千两。如今再俭省些，陆续就够了。<br />
只怕如今平空再生出一两件事来，可就了不得了。咱们且别虑后事，你且吃了<br />
饭，快听他们商议什么。这正碰了我的机会，我正愁没个膀臂。虽有个宝玉，他<br />
又不是这里头的货，纵收伏了他，也不中用。大奶奶是个佛爷，也不中用。<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
二姑娘更不中用，亦且不是这屋里的人。四姑娘小呢，兰小子与环儿更是个燎毛的<br />
小冻猫子，只等有热灶火坑让他钻去罢，真真一个娘肚子里跑出这样天悬地隔<br />
的两个人来，我想到那里就不服！再者林丫头和宝姑娘他两个人倒好，偏又都<br />
是亲戚，又不好管咱们家务事。况且一个是美人灯儿，风吹吹就坏了；一个是拿<br />
定了主意，“不干己事不张口，一问摇头三不知’，也难十分去问他。<br />
<br />
Miss Yingchun is even less useful, and she doesn't belong to this house. Miss Xichun are small, and Lan and Huan'er are even more like a little frozen cat with burning hair, just looking for a warm stove or a Kang to lie on. How the same mother could produce two totally different children, which I can never understand. In addition, Miss Forest and Miss Precious are capable, but they are all relatives, and they are not expected to involve in our affairs. Moreover, one of them is like a beautiful lamp, and a puff of wind can blow it down; the other has made up her mind, "Do not open her mouth about things beyond her business, you can only get a shake or an 'I don't know when asking her". So it is also very difficult to ask her to do anything.<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
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倒只剩了三姑娘一个，心里嘴里都也来得，又是咱家的正人，太太又疼他，虽然脸上淡淡的，皆因是赵姨娘那老东西闹的，心里却是和宝玉一样呢。比不得环儿，实在令人难疼，要依我的性子，早撵出去了！如今他既有这主意，正该和他协同，大家做个膀臂，我也不孤不独了。按正礼天理良心上论，咱们有他这一个人帮着，咱们也省些心，与太太的事也有益。若按私心藏奸上论，我也太行毒了，也该抽回退步，回头看看；<br />
<br />
There is only Third Lady. She is a nice persion and is our people . The Grandma favors her very much. Though she don't show her mood on her face. It is all because of maternal aunt Zhao. But she is as sensitive as Precious Jade. She is not like the Ring, and i don't like her. In my opinion, I would ask her to get out! Now she want that, we should help her. We can accompany each other. And on the basis of conscience, we can be less worried and get along better with the Grandma with the help of her. On the basis of our own profit, we should slow down and step back of a little bit.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
<br />
<br />
再要穷追苦克，人恨极了，他们笑里藏刀，咱们两个才四个眼睛<br />
两个心，一时不防，倒弄坏了。趁着紧溜之中，他出头一料理，众人就把往日咱<br />
们的恨暂可解了。还有一件，我虽知你极明白，恐怕你心里挽不过来，如今嘱咐<br />
你：他虽是姑娘家，心里却事事明白，不过是言语谨慎。他又比我知书识字，更<br />
利害一层了。如今俗语说：‘擒贼必先擒王。’他如今要作法开端，一定是先拿<br />
我开端，倘或他要驳我的事，你可别分辩，你只越恭敬越说驳的是才好。<br />
<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
千万别想着怕我没脸，和他一强，就不好了。”<br />
平儿不等说完，便笑道：“你太把人看糊涂了！我才已经行在先了，这会子<br />
才嘱咐我！”凤姐儿笑道：“我是恐怕你心里眼里只有了我、一概没有他人之故，<br />
不得不嘱咐；既已行在先，更比我明白了。这不是你又急了，满嘴里‘你’呀<br />
‘我’的起来了！”平儿道：“偏说‘你’！你不依，这不是嘴巴子，再打一顿。难道<br />
这脸上还没尝过的不成！”凤姐儿笑道：“你这小蹄子儿，要掂多少过儿才罢。<br />
<br />
Sister Phoenix said:" Don't be afraid that you would lose my face. You'd better not offend her." Before Sister Phoenix finished her words, Patience then laughed: "You are looking down on me! I have made reactions before you instruct me." Sister Phoenix then laughed: "I am afraid that you are only concerned about me with no consideration of others, so I talk to you like this. I believe that you know what I mean since you have already made responses. Now, you become anxious again, and "you" and "I"are coming out from your mouth" Patience replied: "You don't agree with me to say "you", or my mouth will be beatened. Have my face never experienced this punishment before?" Sister Phoenix said with a smile: "You little maid, how many times you'd like to be punished."--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 13:49, 13 May 2022 (UTC)<br />
<br />
Sister Phoenix said:"Don't, whatever you do, stand up to her out of a mistaken sense of loyalty to me: that's the last thing I want you to do." Before Sister Phoenix finished her words, Patience then laughed: "You are looking down on me! I have made reactions before you instruct me." Sister Phoenix then laughed: "I am afraid that you are only concerned about me with no consideration of others, so I talk to you like this. I believe that you know what I mean since you have already made responses. Now, you become anxious again, and "you" and "I"are coming out from your mouth" Patience replied: "You don't agree with me to say "you", or my mouth will be beatened. Have my face never experienced this punishment before?" Sister Phoenix said with a smile: "You little maid, how many times you'd like to be punished."--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 14:48, 16 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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你看我病的这个样儿，还来怄我呢！过来坐下，横竖没人来，咱们一处吃饭是正经。”说着，丰儿等三四个小丫头进来，放小炕桌。凤姐只吃燕窝粥，两碟子精致小菜，每日分例菜已暂减去。丰儿便将平儿的四样分例菜端至桌上，与平儿盛了饭来。平儿屈一膝于炕沿之上，半身犹立于炕下，陪着凤姐儿吃了饭，伏侍漱口毕，吩咐了丰儿些话，方往探春处来。只见院中寂静，人已散出。要知端的，且听下回分解。<br />
<br />
Fancy provoking me with a thing like that when you know how ill I am! Come and sit down. As we're all on our own let's have our meal together.” Felicity and three or four junior maids came in at this point carrying a short-legged table between them which they set down on the kang. Xi-feng's lunch consisted of no more than some bird's nest soup and a couple of small, light dishes suitable for an invalid palate. Unable to eat more, she had cancelled the portion that under normal catering arrangements would have been her due. Felicity put the four dishes to which Patience was entitled on Xi-feng's table and filled her a bowlful of rice. Patience then half sat, half stood with one foot curled underneath her on the edge of the kang and the other one resting on the floor, and in that position kept Xi-feng company while she ate her lunch. When they had both finished eating, she helped Xi-feng to wash and rinse Out her mouth, then, after a few admonitory words to Felicity, went back to rejoin Tan-chun and the others in the office. But she found the courtyard quiet and deserted. To know the reason, read the following chapter.<br />
<br />
Fancy provoking me with a thing like that when you know how ill I am! Come and sit down. As we're all on our own let's have our meal together.” Abundance and three or four junior maids came in at this point carrying a short-legged table between them which they set down on the kang. Sister Phoenix's lunch consisted of no more than some birds' nest soup and a couple of small, light dishes suitable for an invalid palate. Unable to eat more, she had cancelled the portion that under normal catering arrangements would have been her due. Abundance put the four dishes to which Patience was entitled on Sister Phoenix's table and filled her a bowlful of rice. Patience then half sat, half stood with one foot curled underneath her on the edge of the kang and the other one resting on the floor, and in that position kept Sister Phoenix company while she ate her lunch. When they had both finished eating, she helped Sister Phoenix to wash and rinse out her mouth, then, after a few admonitory words to Abundance, went back to rejoin Seeking-Spring and the others in the office. But she found the courtyard quiet and deserted. To know the reason, please read the following chapter.--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 05:00, 17 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
<br />
◎第五十六回 敏探春兴利除宿弊 贤宝钗小惠全大体<br />
话说平儿陪着凤姐儿吃了饭，伏侍盥漱毕，方往探春处来，只见院中寂静，<br />
只有丫鬟婆子，诸内壸近人在窗外听候。平儿进入厅中，他姊妹姑嫂三人正议<br />
论些家务，说的便是年内赖大家请吃酒，他家花园中事故。见他来了，探春便命<br />
他脚踏上坐了，因说道：“我想的事，不为别的，只想着我们一月所用的头油脂粉<br />
又是二两的事。<br />
<br />
Chapter 56 Clever Seeking-Spring Devises a Scheme to Make a Profit and End Abuses<br />
Understanding Precious Hairpin Rounds It Out with a Small Act of Kindness<br />
After eating with Sister Phoenix and waiting on her while she washed and then rinsed her mouth, Patience went back to Seeking Spring. She found the Council Hall quiet,with a few maids and matrons waiting outside the windows. As she walked in, the three cousins were discussing family affairs and had just brought up the subject of Big Rely’s garden, where they had feasted shortly before New Year. Seeing her arrival, Seeking-Spring offered Patience a foot-stool. "Here's what I was thinking," she told her. Each of us gets an extra two taels a month for hair-oil, rouge and powder.<br />
<br />
Chapter 56 Clever Seeking-Spring Devises a Scheme to Make a Profit and End Abuses<br />
Understanding Precious Hairpin Rounds It Out with a Small Act of Kindness<br />
After eating with Sister Phoenix and waiting on her while she washed and then rinsed her mouth, Patience went back to Seeking Spring. She found the Council Hall quiet,with a few maids and matrons waiting outside the windows. As she walked in, the three cousins were discussing family affairs and had just brought up the subject of Big Rely’s garden, where they had feasted shortly before New Year. Seeing her arrival, Seeking-Spring offered Patience a foot-stool. "Here's what I was thinking," she told her. Each of us gets an extra two taels a month for hair-oil, rouge and powder.<br />
--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 02:36, 15 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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我想我们一月已有了二两月银，丫头们又另有月钱，可不是又同刚才学里的八两一样重重叠叠？这事虽小，钱有限，看起来也不妥当。你奶奶怎么就没想到这个呢？”平儿笑道：“这有个原故：姑娘们所用的这些东西，自然该有分例，每月每处买办买了，令女人们交送我们收管，不过预备姑娘们使用就罢了；没有个我们天天各人拿着钱，找人买这些去的。所以外头买办总领了去，按月使女人按房交给我们。<br />
<br />
"It looks to me as if this is another case of duplication, like the eight taels paid to the school every year which we were dealing with earlier.I know it's not a very important matter, and the sum involved is not very great, but it's obvious at a glance that this is a bad arrangement, and I can't understand why your mistress hasn't noticed it."“There's a reason,” answered Patience.“Of course the young ladies should be provided with cosmetics every month, and as there wouldn't be much sense in our constantly running out with a few coppers to make individual purchases, the cosmetic allowances for the various departments are drawn by our buyers and used to make bulk purchases with.So the stewards get the lump sum for this item, and distribute the cosmetics each month to the different apartments."<br />
<br />
<br />
"It looks to me as if this is another case of duplication, like the eight taels paid to the school every year which we were dealing with earlier.I know it's not a very important matter, and the sum involved is not very great, but it's obvious at a glance that this is a bad arrangement, and I can't understand why your mistress hasn't noticed it."“There's a reason,” answered Patience.“Of course the young ladies should be provided with cosmetics every month, and as there wouldn't be much sense in our constantly running out with a few coppers to make individual purchases, the cosmetic allowances for the various departments are drawn by our buyers and used to make bulk purchases with.So the stewards get the lump sum for this item, and distribute the cosmetics to us each month and each apartment."--[[User:Ma Yanhuan|Ma Yanhuan]] ([[User talk:Ma Yanhuan|talk]]) 02:11, 17 May 2022 (UTC)<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
<br />
至于姑娘们每月的这二两，原不是为买这些的，为的是一时当家的<br />
奶奶太太，或不在家，或不得闲，姑娘们偶然要个钱使，省得找人去。这不过是<br />
恐怕姑娘们受委屈意思。如今我冷眼看着，各屋里我们的姐妹都是现拿钱买这<br />
些东西的，竟有了一半子。我就疑惑不是买办脱了空，就是买的不是正经货。”<br />
探春李纨都笑道：“你也留心看出来了。脱空是没有的，只是迟些日子；催急了，<br />
不知那里弄些来，不过是个名儿，其实使不得，依然还得现买。<br />
As for the two taels of the girls every month, it has been not for these, but for the grandma and ladies who was in charge at the moment, either not at home or not free, and the girls occasionally asked for money so as not to find someone else. It's just for fear that the girls will be wronged so that the two taels was given. Now I look coldly at the fact that all our sisters in the house are now using money to buy these things even reached half of them. I wondered whether the comprador was out of stock or that what he bought was not the real deal. " Seeking-Spring and Silk Plum said with a smile, "you can see it, too. There is no such thing as emptying, but later; if someone is in a hurry, just come to somewhere to get some, but it's just a name, but it doesn't work, and you still have to buy it now.<br />
<br />
<br />
As for the two taels for the girls every month, it was not for buying those things actually, but for the reason that sometimes the ladies who was in charge of the family was out or busy with handling other affairs, then with this money, the girls don’t need to find someone else if they happen to need money for some thing. It's just for fear that the girls will be wronged. Now given the fact that half of our sisters in the house are now using money to buy these things. I wondered whether the comprador was playing trick on us, and what he bought was not the real deal." Seeking-Spring and Silk Plum said with a smile, " You can see it, too. There is no such thing as emptying, it’s just a matter of time; if someone is in a hurry, just come to somewhere to get some, but it's just a name, and it doesn't work, so you still have to buy it now.--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 08:59, 14 May 2022 (UTC)<br />
<br />
==英语笔译 聂薇 Nie Wei 202170081592==<br />
<br />
<br />
就用二两银子，<br />
另叫别人的奶妈子的弟兄儿子买来，方才使得，若使官中的人去，依然是那一样<br />
的，不知他们是什么法子？”平儿便笑道：“买办买的是那样，别人买了好的来，买<br />
办的也不依他，又说他使坏心，要夺他的买办了。所以他们宁可得罪了里头，不<br />
肯得罪了外头办事的。若是姑娘们使了奶妈子们，他们也就不敢闲话了。”<br />
探春道“因此我心中不自在，饶费两起儿钱，东西又白丢一半，不如竟把买办的<br />
这一项每月蠲了为是。此是一件事。<br />
<br />
Just ask some relative of other’s nanny to spend two silver buying it for the girls. If we ask those officially working for the family, they just get us the same thing, then what’s the point of doing so?” Patience smiled and explained, “ It’s true that the compradors just get us the same thing, but they won’t allow others to do so even though the latter can purchase things of higher quality, and they will accuse them of taking away their job. That’s why the women would rather offend us than those compradors. But if it is the ladies that asked the nannies to handle those affairs, they won’t dare to complain about this.” Therefore Spring-seeker said, “ That’s why I feel uncomfortable about this. We wasted two gadgets for nothing and get half the amount of things we need. Why don’t we just abolish the spending on the comprador every month? That’s the first thing I would like to deal with.<br />
<br />
<br />
Just ask some relative of other’s nanny to spend two silver buying it for the girls. If we ask those officially working for the family, they just get us the same thing, then what’s the point of doing so?” Patience smiled and explained, “ It’s true that the compradors just get us the same thing, but they won’t allow others to do so even though the latter can purchase things of higher quality, and they will accuse them of taking away their job. That’s why the women would rather offend us than those compradors. But if it is the ladies that asked the nannies to handle those affairs, they won’t dare to complain about this.” Therefore Spring-seeker complained, “ That’s why I feel uncomfortable about this. We wasted two gadgets for nothing and just got half the amount of things we need. Why don’t we just abolish the spending on the comprador every month? That’s the first thing I would like to deal with.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 10:49, 14 May 2022 (UTC)<br />
<br />
==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
<br />
第二件，年里往赖大家去，你也去的，你<br />
看他那小园子，比咱们这个如何？”平儿笑道：“还没有咱们这一半大，树木花草<br />
也少多着呢。”探春道：“我因和他们家女孩儿说闲话儿，他说这园子除他们<br />
带的花儿，吃的笋菜鱼虾，一年还有人包了去，年终足有二百两银子剩。从那<br />
日，我才知道一个破荷叶，一根枯草根子，都是值钱的。”<br />
宝钗笑道：“真真膏粱纨裤之谈。<br />
<br />
"Then, every year we all, including you, visit her small garden, and what do you think of hers when compared with our garden?" Wearing a smile on face, Patience responded, "Not half as big as ours, moreover, speaking of the trees and flowers in our gardens respectively, hers is far less than ours." Then Seeking-Spring said, "When chit chatting with those girls in her family, I came to know that in addition to the flowers they planted, and the vegetables and fish they eat produced form this garden, this garden has been put put to contract for someone, thus there is enough money left over for two hundred taels silver at the end of the the year. From then on, I've realized that even a broken lotus leaf, and a withered grass root, are valuable. That's the second thing." Amused by what she said, Hairpin Precious said, "You are just talking like a priviledged person!"<br />
<br />
<br />
"Then, every year we all, including you, visit Big Rely's house, and what do you think of his garden when compared with ours?" Wearing a smile on face, Patience responded, "Not half as big as ours, moreover, there are far less flowers and trees in his garden than ours." Then Seeking-Spring said, "When having a chit chat with those girls in his family, I came to know that in addition to the flowers on their heads and the vegetables and fish they eat which are from the garden, that garden, could earned two hundred taels silver for its master at the end of the year because of being contracted out. From then on, I've realized that even a rotten lotus leaf or a withered grass root, is valuable. That's the second thing." Amused by what she said, Hairpin Precious said, "You are just talking like a profligate person!"--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 11:37, 16 May 2022 (UTC)<br />
<br />
==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
<br />
你们虽是千金，原不知道这些事，但只你<br />
们也都念过书，识过字的，竟没看见过朱夫子有一篇“不自弃”的文么？”探春笑<br />
道：“虽也看过，不过是勉人自励，虚比浮词，那里都真有的？”宝钗道：“朱子都<br />
有了虚比浮词了？那句句都是有的。你才办了两天事，就利欲熏心，把朱子都<br />
看虚浮了。你再出去，见了那些利弊大事，越发连孔子也都看虚了呢！”探春笑<br />
道：“你这样一个通人，竟没看见姬子书？<br />
<br />
As daughters of a rich family, it's not unusual that you have no idea about such matters. But as learned ladies, haven't you read the essay Don't Abandon Yourself of Zhu Zi yet?" "I've read it before." Seeking-Spring smiled, "But the words in that essay are nothing but empty talk aiming to simply encourage people, and how can they tally with the actual situation?" "Did you just say that even what Zhu Zi wrote is empty talk?" replied Precious Hairpin, "Every word in his essay is true to the fact. And only being in charge for few days makes you so blind by greed that you even regard Zhu Zi as a talker. Then you may further belittle Confucius in the face of matters of great interest later!" "Haven't you, the person of wide knowledge and sound scholarship, read what Ji Zi wrote?" smiled Seeking-Spring.<br />
<br />
<br />
As daughters of a rich family, it's not unusual that you know nothing about such things, in the course of your studies you’ve surely read Zhu Xi’s essay On Not Debasing Oneself." " Of course, I've read it before." Seeking-Spring smiled, "But the words in that essay are nothing but empty talk aiming to simply encourage people. Such things can’t really happen." " So even Zhu Xi’s writings are empty talk, are they?" replied Precious Hairpin, "Every word in his essay is true to the fact. And only being in charge for few days makes you so blind by greed that you even regard Zhu Zi as a talker. Then you may further belittle Confucius in the face of matters of great interest later!" "Haven't you, the person of wide knowledge and sound scholarship, read what Ji Zi wrote?" smiled Seeking-Spring.--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 13:31, 14 May 2022 (UTC)<br />
<br />
==英语笔译 童略雅 Tong Lueya 202170081595==<br />
<br />
当日姬子有云：‘登利禄之场，处运筹<br />
之界者，穷尧舜之词，背孔孟之道，……’”宝钗笑道：“底下一句呢？”探春笑道：<br />
“如今断章取意，念出底下一句，我自己骂我自己不成？”宝钗道：“天下没有不<br />
可用的东西，既可用，便值钱。难为你是个聪明人，这大节目正事竟没经历。”李<br />
纨笑道：“叫人家来了，又不说正事，你们且对讲学问！”宝钗道：“学问中便是正<br />
事。若不拿学问提着，便都流入市俗去了。”<br />
<br />
Jizi said,‘Those in a position to seek profit and emolument, or responsible for planning and calculating, may talk like Yao and Shun but disobey the precepts of Confucius and Mencius.’Baochai smiled as Tanchun broke off and urged,“Go on.”“That’s all I want to quote. Why should I go on to make fun of myself?”“There’s nothing useless in this world, and when something has a use it’s worth money. I’d have thought, where a serious matter like this is concerned, you had sense enough to grasp such a self-evident truth.”“You call us here,”put in Li Wan,“but instead of talking business the two of you just carry on an academic discussion.”“This academic discussion has a bearing on our business,” replied Baochai.“If our small tasks aren’t guided by principles, they’ll get out of hand and sink to the vulgar level of the market-place.”<br />
<br />
Jizi said, once said, “Whosoever sets his foot in the market-place or takes his seat at the counting-board must forget about Yao and Shun and turn his back on the teachings of Confucius and Mencius. ”Baochai smiled as Tanchun broke off and urged, “Go on.” “That’s all I want to quote. Why should I go on to make fun of myself?”“There’s nothing useless in this world, and when something has a use it’s worth money. I’d have thought, where a serious matter like this is concerned, you had sense enough to grasp such a self-evident truth.”“You call us here,”put in Li Wan, “but instead of talking business the two of you just carry on an academic discussion.” “This academic discussion has a bearing on our business,” replied Baochai. “If our small tasks aren’t guided by principles, they’ll get out of hand and sink to the vulgar level of the market-place.”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 11:50, 15 May 2022 (UTC)<br />
<br />
==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
<br />
三人取笑了一回，便仍谈正事。探春又接说道：“咱们这个园子，只算比他<br />
们的多一半，加一倍算起来，一年就有四百银子的利息。若此时也出脱生发银<br />
子，自然小器，不是咱们这样人家的事；若派出两个一定的人来，既有许多值钱<br />
之物，一味任人作践，也似乎暴殄天物。不如在园子里所有的老妈妈中，拣出几<br />
个本分老成，能知园圃的，派他们收拾料理。也不必要他们交租纳税，只问他们<br />
一年可以孝敬些什么。<br />
After this joking they got down to business. Let's say for the sake of argument that our garden is only twice as big as theirs. Doubling the income they get from theirs would mean a clear profit of four hundred taels per annum. Of course, it would be petty and unworthy of our family to concentrate solely now on making money. But if a couple of women are assigned to take charge, all the valuable things here won't be squandered it's a shame to let them go to waste. I think we ought to pick out a few experienced trustworthy old women from among the ones who work in the Garden - women who know something about gardening already - and put the upkeep of the Garden into their hands. We needn't ask them to pay us rent; all we need ask them for is an annual share of the produce.<br />
<br />
After this joking they got down to business. Let's say for the sake of argument that our garden is only twice as big as theirs. Doubling the income they get from theirs, which means a clear profit of four hundred taels per annum. Of course, it would be petty and unworthy of our family to concentrate solely now on making money. But if a couple of women are assigned to take charge, all the valuable things here won't be squandered, it's a shame to let them go to waste. I think we ought to pick out a few experienced trustworthy old women from those who work in the Garden - women who know something about gardening already - and put the upkeep of the Garden into their hands. We needn't ask them to pay us rent; all we need ask them for is an annual share of the produce.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 11:14, 16 May 2022 (UTC)<br />
<br />
==英语笔译 王思琪 Wang Siqi 202170081597==<br />
<br />
一则园子有专定之人修理花木，自然一年好似一年的，<br />
也不用临时忙乱；二则也不致作践，白辜负了东西；三则老妈妈们也可借此小<br />
补，不枉年日家在园中辛苦；四则也可以省了这些花儿匠、山子匠并打扫人等的<br />
工费：将此有余，以补不足，未为不可。”宝钗正在地下看壁上的字画，听如此说，<br />
便点头笑道：“善哉，三年之内，无饥馑矣。”李纨道：“好主意。果然这么行，太<br />
太必喜欢。省钱事小，园子有人打扫，专司其职，又许他去卖钱。<br />
<br />
Firstly, there are special people in the garden to care for flowers and trees, and naturally they will grow better year by year, and we don't have to be in temporary hectics; secondly, , and the things are wasted; the third is that the old mothers can also take advantage of this opportunity and not waste the hard work in the garden; the fourth can also save the labor expenses of these flower craftsmen, mountain craftsmen, and cleaning people: there will be more than enough to make up for the deficiencies. Precious Hairpin was looking at the calligraphy and paintings on the wall, and when she heard this, he nodded his head and smiled: "nice, within three years, there will be no hunger." Li Yi said, "Good idea.Lady Wang would like it. it cannot only save money, but also earn money because the garden is cleaned by servants,who dedicated to his duties.<br />
<br />
Firstly, there are special people in the garden to care for flowers and trees, and naturally they will grow better year by year, and we don't have to be in temporary hectics; secondly, and the things are wasted; the third is that the old servants can also take advantage of this opportunity and the hard work in the garden not in vain; the fourth it can also save the labor expenses of these flower craftsmen, mountain craftsmen, and cleaning people: there will be more than enough to make up for the deficiencies. Precious Hairpin was looking at the calligraphy and paintings on the wall, and when she heard this, nodded her head and smiled: "nice, within three years, there will be no hunger." Silk Plum said, "Good idea.Lady King would like it. It cannot only save money, but also earn money because the garden is cleaned by servants,who dedicated to their duties.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 14:00, 16 May 2022 (UTC)<br />
<br />
==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
<br />
使之以权，动之<br />
以利，再无不尽职的了。”平儿道：“这件事须得姑娘说出来。我们奶奶虽有此<br />
心，未必好出口。此刻姑娘们在园里住着，不能多弄些玩意儿陪衬，反叫人去监<br />
管修理，图省钱，这话断不好出口。”<br />
宝钗忙走过来，摸着他的脸笑道：“你张开嘴，我瞧瞧你的牙齿舌头是什么<br />
做的？从早起来，到这会子，你说了这些话，一套一个样子，也不奉承三姑娘，也<br />
没见你们奶奶才短想不到；<br />
<br />
She threatened with power and seduced with benefits. No one could be more dutiful." Patience said, "It must be said by the girl. Although our grandmother had such a desire, it might not be suitable for her to speak it out. At present, the girls are living in the garden, we can not get more gadgets to accompany, but call people to supervise the repair, trying to save money, it is not suitable." Precious Hairpin came over and touched her face and said with a smile, "Open your mouth and let me see what your teeth and tongue are made of. Ever since you got up early in the morning, you have said the same thing in different ways, without flattering the third girl, and without inconsiderable about your grandmother’s matter.<br />
<br />
given the authority and a profit incentive they’re bound to do their best." "This proposal had to come from you, miss," remarked Patience. "My mistress had the same idea, but she could hardly suggest it with all you young ladies living in the Garden. Instead of improving the place, how could she propose putting people in charge to save money?" Precious Hairpin stepped up to her and patted her cheek. "Open your mouth and let me see what your teeth and tongue are made of!" she cried. "From first thing this morning till now you’ve done so much talking, and you’ve a different argument each time. You neither praise Seeking-spring to her face nor admit that your mistress ever overlooks anything, not do you agree to whatever Seeking-spring say;--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 08:49, 16 May 2022 (UTC)<br />
<br />
==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
<br />
三姑娘说一套话出来，你就有一套话回奉，总是三姑娘想得到的，你们奶奶也想到了，只是必有个不可办的原故，这会子又是因姑娘们住的园子，不好因省钱令人去监管。你们想想这话，要果真交与人弄钱去的，那人自然是一枝花也不许掐，一个果子也不许动了，姑娘们分中，自然是不敢讲究，天天与小姑娘们就吵不清。他这远愁近虑，不亢不卑，他们奶奶便不是和咱们好，听他这一番话，也必要自愧的变好了。”<br />
<br />
but each time she makes some proposal you have your answer pat the same idea occurred to your mistress, too, but there was always some reason why she couldn’t suggest it. Now you’re saying that because we live here she couldn’t put people in charge so as to save money. Can’t you two see what that means? If we really let people make money out of the Garden, they naturally won’t want anyone to pick a single flower or fruit. Of course they won’t dare deny us, but they’ll be quarrelling all the time with our maids. How farsighted and circumspect Patience is! She neither argues back nor flatters you. If her mistress weren’t good to us, as in fact she is, hearing Patience talk like this would surely make her repent and mend her ways.’<br />
<br />
<br />
Whenever she has finished saying something, you come back at her with the same refrain: your mistress has thought of that too, only for some compelling reason or other she hasn't been able to do anything about it.Now you’re saying that because we live here she couldn’t put people in charge so as to save money. Can’t you two see what that means? If we really let people make money out of the Garden, they naturally won’t want anyone to pick a single flower or fruit. Of course they won’t dare deny us, but they’ll be quarrelling all the time with our maids. How farsighted and circumspect Patience is! She neither argues back nor flatters you. If her mistress weren’t good to us, as in fact she is, hearing Patience talk like this would surely make her repent and mend her ways.’--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 15:50, 16 May 2022 (UTC)<br />
<br />
==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
<br />
探春笑道：“我早起一肚子气，听他<br />
来了，忽然想起他主子来：素日当家，使出来的好撒野的人，我见了他便生气了。<br />
谁知他来了，避猫鼠儿是的，站了半日，怪可怜的。接着又说了那些话，不说他<br />
主子待我好，倒说‘不枉姑娘待我们奶奶素日的情意了’，这一句话，不但没了<br />
气，我倒愧了，又伤起心来。我细想：我一个女孩儿家，自己还闹得没人疼没人<br />
顾的，我那里还有好处去待人。”口内说到这里，不免又流下泪来。<br />
<br />
<br />
“I was in a bad temper this morning,” said Seeking-Spring Merchant. “When I heard she‘d come I suddenly thought of her mistress and of how insubordinate all the servants have grown under her management. So the sight of Pinger made me even angrier. But she came in like a mouse shrinking from a cat, and looked so pathetic all the time she stood there; and when she did speak, it was not to remind me of the many kindnesses that I owe her mistress, but to tell me that if I decided to make any changes, I should be doing her mistress a kindness which she was “sure she would appreciate”. It really wrung my heart when she said that. #3 Not only did I stop feeling angry then; I felt ashamed. “Here am I,” I thought, “only a young girl, but behaving in such a way that nobody can ever like me or care what happens to me. When shall I ever be in a position to do anyone a kindness?” At this point her emotion got the better of her and she shed some tears.--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 11:27, 15 May 2022 (UTC)<br />
<br />
<br />
Seeking Spring smiled, “I was in a bad temper this morning. When I heard she‘d come I suddenly thought of her mistress and of how insubordinate all the servants have grown under her management. So the sight of Patience made me even angrier. But she came in like a mouse shrinking from a cat, and looked so pathetic all the time she stood there; and when she did speak, it was not to remind me of the many kindnesses that I owe her mistress, but to tell me that if I decided to make any changes, I should be doing her mistress a kindness which she was “sure she would appreciate”. It really wrung my heart when she said that. Not only did I stop feeling angry then; I felt ashamed. “Here am I,” I thought, “only a young girl, but behaving in such a way that nobody can ever like me or care what happens to me. When shall I ever be in a position to do anyone a kindness?” At this point her emotion got the better of her and she shed some tears.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 11:54, 15 May 2022 (UTC)<br />
<br />
==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
<br />
李纨等见他说的恳切，又想他素日赵姨娘每生诽谤，在王夫人跟前，亦为赵姨娘所累，也都不免流下泪来，都忙劝他：“趁今日清净，大家商议两件兴利剔弊的事情，也不枉太太委托一场。又提这没要紧的事做什么！”平儿忙道：“我已明白了。姑娘竟说，谁好，竟一派人，就完了。”探春道：“虽如此说，也须得回你奶奶一声。我们这里搜剔小利，已经不当，皆因你奶奶是个明白人，我才这样行；<br />
<br />
Her distress reminded Silk Plum and the others of all the instances of Concubine Walk's outrageous behaviour, which had involved Seeking Spring, making her embarrassed to face Lady King. They could not help shedding tears of sympathy.“Don't talk like that,”they urged.“What does it matter? Now that we're free, let's work out a couple of ways to make a profit and get rid of past abuses, so as to prove ourselves worthy of the mistress'trust.”“I understand,”put in Patience hastily.“Just trust this business to some reliable people of your own choosing, miss, and that will be that.”“That's all very well, but we must consult your mistress first,”insisted Seeking Spring.“We've already overstepped our authority, scrimping and scraping, right and left, and I wouldn't suggest this if she weren't so understanding.<br />
<br />
Her distress reminded Silk Plum and the others of all the instances of Concubine Walk's outrageous behaviour, which had involved Seeking Spring, making her embarrassed to face Lady King. They can not help shedding tears of sympathy.“Don't talk like that,”they urged.“What does it matter? Now that we're free, let's work out a couple of methods to make a profit and get rid of past abuses, so as to prove ourselves worthy of the mistress'trust.”“I understand,”put in Patience hastily.“Just trust this business to some reliable people of your own choosing, miss, and that will be that.”“That's all very well, but we must consult your mistress first,”insisted Seeking Spring.“We've already overstepped our authority, scrimping and scraping, right and left, and I wouldn't suggest this if she weren't so understanding.--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 13:30, 15 May 2022 (UTC)<br />
<br />
==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
<br />
若是糊涂多歪多妒的，我也不肯，倒像抓他的乖一般了。岂可不商议了行<br />
的？”平儿笑道：“既这样，我去告诉一声儿。”说着去了；半日方回来，笑说：“我<br />
说是白走一趟。这样好事，奶奶岂有不依的！”探春听了，便和李纨命人将园中所有婆子的名单要来，大家参度，大概定<br />
了几个人。又将他们一齐传来，李纨大概告诉与他们。众人听了，无不愿意。<br />
也有说：“那片竹子单交给我，一年工夫，明年又是一片。除了家里吃的笋，一年<br />
还可交些钱粮。”<br />
<br />
<br />
If she were officious or spiteful, I’d never have dreamed of it either it would look as if I were trying to show her up. We certainly must consult her.”“In that case I’ll go and tell her,”said Patience with a smile, and with that she went off. After a while she came back to tell them gaily, “I said there was no need to go. It’s such a good idea, of course my mistress approves.”Then Seeking-Spring and Silk Plum asked for a list of the names of all the elderly women in the Garden, and after some discussion made a tentative choice of a few. These women，summoned and told the plan in outline by Silk Plum, agreed to it readily.“Just leave that bamboo plot to me,”said one. “In a year’s time there’ll be another plot. Then, apart from supplying the household with bamboo shoots, I can hand in some money too.”<br />
<br />
==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
<br />
这一个说：“那一片稻地交给我，一年这些玩的大小雀鸟的粮<br />
食，不必动官中钱粮，我还可以交钱粮。”探春才要说话，人回：“大夫来了，进园<br />
瞧史姑娘去。”众婆子只得去接大夫。平儿忙说：“单你们，有一百也不成个体<br />
统。难道没有两个管事的头脑带进大夫来？”回事的那人说：“有吴大娘和单大<br />
娘，他两个在西南角上聚锦门等着呢。”平儿听说，方罢了。众婆子去后，探春问宝钗：“如何？”<br />
<br />
This one said: "That piece of rice land to me, a year of these play the size of the birds of food, do not have to move the official in money and grain, I can also pay money and grain." Tanchun was about to speak when someone returned, "The doctor is here, go into the garden to see Miss Shi." The maids had to go and fetch the doctor. Patience was busy saying, "Even if there were a hundred of you alone, you wouldn't be a unit. Don't you have two stewards who can bring in a doctor?" The one who answered said, "There are Wu Daniang and Shan Daniang, they are waiting at the southwest corner of the house." When Ping'er heard about this, she said, "I'll be right back. After the women had left, Tanchun asked Baochai, "How is it?"<br />
<br />
This one said: "Leave that piece of rice land to me, a year of these play the size of the birds of food, do not have to resort to the official money and grain, I can also pay money and grain." Seeking-Spring was about to speak when someone replied, "The doctor is here, and let him go into the garden to see Miss History." The maids had to go and fetch the doctor. Patience was hurried to say, "Even if there were a hundred of people like you, it wouldn't count on too much. Haven't there two clever stewards who can bring in the doctor?" The one who answered said, "There are old lady Wu and old lady Shan, they are waiting at Jujin Gate which at the southwest corner of the house." When Patience heard about this, she said nothing.After the maids had left, Seeking-Spring asked Precious Hairpin, "How is it?"--[[User:Yang Ziwei|Yang Ziwei]] ([[User talk:Yang Ziwei|talk]]) 07:19, 16 May 2022 (UTC)<br />
<br />
==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
<br />
<br />
宝钗笑答道：“幸于始者怠于终，善其辞<br />
者嗜其利。”探春听了，点头称赞，便向册上指出几人来与他三人看。平儿忙去<br />
取笔砚来。他三人说道：“这一个老祝妈，是个妥当的，况他老头子和他儿子，代<br />
代都是管打扫竹子，如今竟把这所有的竹子交与他。这一个老田妈，本是种庄<br />
稼的，稻香村一带，凡有菜蔬稻稗之类，虽是玩意儿，不必认真大治大耕，也须得<br />
他去再细细按时加些培植，岂不更好？”<br />
Precious Hairpin laughed and said: “Those who are excited by lucky profit at the beginning will eventually slack off; Those who talk big are just greedy for profit, without any real ability.” Having heard this, Seeking-Spring nodded in praise and pointed out certain persons to the book for the three of them to read. Then Patience hurried to fetch writing brushes and inkstone. Three of them said: “The old lady Zhu is a careful and reliable person. Moreover, her husband and son have been in charge of cleaning up the bamboos for generations and as a result, all of bamboos’ management should have been taken over by them now. Another one is old lady Tian, who is originally a farmer. In the Rice Fragrant Village, as soon as there are vegetables, fruits, rice and wheat and the like, though they have no need to work and manage in a meticulous manner, they would grow better if old lady Tian could cultivate them carefully on schedule.”<br />
<br />
<br />
Precious Hairpin, laughing, quoted: “Those who are jealous of the start may get lax before the finish. And fine speech may hide a hankering after a profit.” Seeking-Spring nodded with agreement. Then she selected some names from the list for the other three people’s consideration. Patience hurried to fetch a brush and inkstone. “The old lady Zhu is a careful and reliable person,” they said. “Moreover, her husband and son have been looking after the bamboos, so we may give all bamboos to them for management. Another one is old lady Tian, who is originally a farmer. Those vegetables and fruits planted in Paddy- Sweet Cottage are only for fun and do not need to be cultivated seriously. However, it would be better to have her there in charge during the different seasons.”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 11:05, 14 May 2022 (UTC)<br />
<br />
==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
<br />
探春又笑道：“可惜蘅芜苑和怡红院这<br />
两处大地方，竟没有出息之物！”李纨忙笑道：“蘅芜苑更利害！如今香料铺<br />
并大市大庙卖的各处香料香草儿，都不是这些东西？算起来，比别的利息更大！<br />
怡红院别说别的，单只说春夏二季的玫瑰花，共下多少花朵儿？还有一带篱笆上<br />
的蔷薇、月季、宝相、金银花、藤花，这几色草花，干了卖到茶叶铺药铺去，也值好<br />
些钱。”探春笑道：“原来如此，只是弄香草的没有在行的人。”<br />
<br />
Seeking-Spring said: “What a pity! There is nothing that can make a profit in Happy Red Court and Asarum Garden.” “You are wrong,” said Silk Plum. “Asarum Garden can make a greater profit. It is full of herbs and spices. We can sold them to perfumers as well as big markets and temple fairs. I think those will bring in greater profit. As for Happy Red Court, not to mention anything else, just think how many roses it has in spring and summer. Also, the fence is covered with lots of roses, monthly roses, honeysuckles and other kinds of flowers. We can dry them and then sell them to tea shops and pharmacies to make money.” “That’s it,” said Seeking-Spring with a smile. “But there is nobody who are proficient in such things.”<br />
<br />
<br />
“What a pity there’s nothing we can turn to profit in Happy Red Court and Alpinia Park, large as they both are.’ remarked Seeking-Spring Merchant. “Why, Alpinia Park’s even better,” declared Li Wan. “Isn’t it full of the spices and herbs you find sold by perfumers, as well as at all the big markets and temple fairs? I reckon those will bring in the biggest profit of the lot. As for Happy Red Court, not to mention anything else, just think how many roses it has all spring and summer. That fence there is cov�ered with rambler roses and monthly-roses, as well as honeysuckle and other flowers, all of which fetch a good price in tea-shops and pharma�cies when they’re dried.” “Is that so?” asked Seeking-Spring with a smile. “We’re no one, though, who understands such things.”--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 07:45, 15 May 2022 (UTC)<br />
<br />
==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
<br />
平儿忙笑道：“跟<br />
宝姑娘的莺儿他妈，就是会弄这个的。上回他还采了些晒干了，编成花篮葫芦<br />
给我玩呢，姑娘倒忘了不成？”宝钗笑道：“我才赞你，你倒来捉弄我了。”三人<br />
都咤异问道：“这是为何？”宝钗道：“断断使不得。你们这里多少得用的人，一<br />
个个闲着没事办，这会子我又弄个人来，叫那起人连我也看小了。我倒替你们<br />
想出一个人来：怡红院有个老叶妈，他就是焙茗的娘，那是个诚实老人家；他又<br />
合我们莺儿娘极好。<br />
“The mother of Oriole who works for Miss Precious Hairpin does.” Patience informed them. “Have you forgotten that time she gathered and dried some sprigs to make me baskets?” “I’ve just been singing your praises, yet now you’re laying a trap for me, “protested Precious Hairpin Marshgrass jokingly. “What do you mean?” asked the other three in surprise. “This is out of the question,” she answered. “All your attendants here with nothing to do will certainly think badly of me if I bring in someone else. Let me suggest another woman instead: Tealeaf’s mother, old Mrs. Ye, in Happy Red Court. She’s an honest old soul and on good terms with Oriole’s mother.”<br />
<br />
"The mother of Oriole who works for Miss Precious Hairpin does." Patience informed them that, “Have you forgotten that time she gathered and dried some sprigs to make me baskets?” “I’ve just been singing your praises, yet now you’re laying a trap on me," protested Precious Hairpin Marshgrass jokingly. “What do you mean?” asked the other three in surprise. “This is out of the question,” she answered. “All your attendants here with nothing to do would certainly think badly of me if I brought in someone else. Let me suggest another woman instead: Tealeaf’s mother, old Mrs. Ye, in Happy Red Court. She’s an honest old soul and on good terms with Oriole’s mother.”--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:42, 16 May 2022 (UTC)<br />
<br />
==英语笔译 张瑞 Zhang Rui 202170081608==<br />
<br />
不如把这事交与叶妈，他有不知的，不必咱们说给他，就找<br />
莺儿的娘去商量了。那怕叶妈全不管，竟交与那一个，这是他们私情儿，有人说<br />
闲话，也就怨不到咱们身上。如此一行，你们办得又至公道，于事又甚妥。”李纨<br />
平儿都道：“是极。”探春笑道：“虽如此，只怕他们见利忘义呢。”平儿笑道：“不<br />
相干。前日莺儿还认了叶妈做干娘，请吃饭吃酒，两家和厚得很呢。”探春听了，<br />
方罢了。又共斟酌出几人来，俱是他四人素昔冷眼取中的，用笔圈出。<br />
<br />
<br />
It is better to leave this matter to Aunt Ye. There is something she does not know, and we do not need to tell her. We will find Maid Oriole's mother to discuss. Even if Aunt Ye didn't care at all and actually handed over to that one, this would th matter concerning them, and they can't complain about us if someone gossips. In such a way, you can do it fairly and very well."Silk Plum and Patience said, "Indeed." Seeking-Spring smiled, "Even so, I'm just afraid that they will just care about profit and forget righteousness." Patience smiled and said, "Irrelevant. The day before yesterday, Maid Oriole took Aunt Ye as her mother. [lease eat and drink, the two families are very close. Seeking-Spring listened and stopped. A few people were considered together, and all of them were taken by the four of them in the cold eyes and circled with a pen.<br />
<br />
<br />
<br />
<br />
It is better to leave this matter to Aunt Leaf. There is something she does not know, and we do not need to tell her. We will find Maid Oriole's mother to discuss. Even if Aunt Leaf didn't care at all and actually handed over to that one, this would be the matter concerning them, and they can't complain about us if someone gossips. In such a way, you can do it fairly and very well." Silk Plum and Patience said, "Indeed." Seeking-Spring smiled, "Even so, I'm just afraid that they will just care about profit and forget righteousness." Patience smiled and said, "Irrelevant. The day before yesterday, Maid Oriole took Aunt Leaf as her mother. With eating and drinking, the two families are very close. Seeking-Spring listened and stopped. A few people were considered together, and all of them were taken by the four of them in the cold eyes and circled with a pen.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 09:02, 16 May 2022 (UTC)<br />
<br />
==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
<br />
一时婆子们来回：“大夫已去。”将药方送上去，三人看了，一面遣人送出外<br />
边去取药，监派调服；一面探春与李纨明示诸人：某人管某处，“按四季，除家中<br />
定例用多少外，余者任凭你们采取了去取利，年终算账。”探春笑道：“我又想起<br />
一件事：若年终算账，归钱时，自然归到账房，仍是上头又添一层管主，还在他们<br />
手心里，又剥一层皮。这如今我们兴出这事来，派了你们，已是跨过他们的头去<br />
了，心里有气，只说不出来；<br />
Then the old maids came back and said, "The doctor has gone." Then they handed in the prescription. After seeing it, Seeking Spring, Silk Plum and Patience ordered a servant to take and boil the medicine under supervision, then Seeking Spring and Silk Plum expressed it clearly to everyone present: you each should be in charge of what you are in charge. "According to the four seasons, in addition to the expense spent on essential matters in the house, you can take the left money to make for profits and we will cast accounts in the end of the year." Then Seeking Spring smiled, "I think of one thing: if we cast accounts in the end of the year, the left money has to be handed in to the stewards. And now we add a new level of manager and cut on their salary like peeling their skin out of their hands. And we have made such an order and designated you guys, which is to overstep their authority. Maybe they're angry and can't express it;<br />
<br />
Then the old maids came back and said, "The doctor has gone." Then they handed in the prescription. After seeing it, Seeking Spring, Silk Plum and Patience ordered a servant to take and boil the medicine under supervision, then Seeking Spring and Silk Plum expressed it clearly to everyone present: you each should be in charge of what you are in charge. "According to the four seasons, in addition to the expense spent on essential matters in the house, you can take the left money to make for profits and we will cast accounts in the end of the year." Then Seeking Spring smiled, "I think of one thing: if we cast accounts in the end of the year, the left money has to be handed in to the stewards. And now we add a new level of manager and cut on their salary like peeling their skin out of their hands. And we have made such an order and designated you guys, which is to overstep their authority. Maybe they're angry and can't express it;--[[User:Zheng Dongqin|Zheng Dongqin]] ([[User talk:Zheng Dongqin|talk]]) 11:10, 16 May 2022 (UTC)<br />
<br />
==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
<br />
你们年终去归账，他还不捉弄你们等什么？再者，这一年间，管什么的，主子有一全分，他们就得半分，这是每常的旧规，人所共知的。如今这园子里是我的新创，竟别入他们的手，每年归账，竟归到里头来才好。”宝钗笑道：“依我说，里头也不用归账，这个多了，那个少了，倒多了事。不如问他们谁领这一分的，他就揽一宗事去。不过是园里的人动用。我替你们算出来了，有限的几宗事，不过是头油、胭脂、香、纸，每一位姑娘，几个丫头，都是有定例的；<br />
Thus they’re bound to squeeze you if you go to them to settle your annual accounts. Why, every year the steward managing each property or estate gets one-third of the proceeds. That’s how it’s always been; it’s an open secret. That’s apart from what else they filch. Our new management of the Garden shouldn’t go through their hands at all. So come to us at the end of the year to settle your accounts.'‘I don’t think accounts need be turned in at all,'said Precious Hairpin Marshgrass .'Comparisons are so invidious. Better let the woman entrusted with one job be responsible for the expenses of that place. I’ve worked it out and it doesn’t come to much, just what’s needed for hair-oil, rouge, powder, scent and toilet-paper for the young mistresses and their maids.<br />
<br />
==英语笔译 钟青 Zhong Qing 202170081611==<br />
<br />
<br />
再者各处笤帚、簸箕、掸子，并大小禽鸟、鹿、兔吃的粮食。不过这几样。<br />
都是他们包了去，不用账房去领钱。你算算，就省下多少来？”平儿笑道：“这几<br />
宗虽小，一年通共算了，也省得下四百两银子。”<br />
宝钗笑道：“却又来！一年四百，二年八百两，打租的房子也能多买几间，<br />
薄沙地也可以添几亩了。虽然还有敷余，但他们既辛苦了一年，也要叫他们剩<br />
些，粘补自家。虽是兴利节用为纲，然亦不可太啬。总再省上二三百银子，失了<br />
大体统，也不像。<br />
<br />
==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
<br />
所以如此一行，外头账房里一年少出四五百银子，也不觉得很<br />
艰啬了，他们里头却也得些小补；这些没营生的妈妈们，也宽裕了；园子里花木，<br />
也可以每年滋长繁盛；如此你们也得了可使之物，这庶几不失大体。若一味要<br />
省时，那里不搜寻出几个钱来。凡有些余利的，一概入了官中，那时里外怨声载<br />
道，岂不失了你们这样人家的大体？如今这园里几十个老妈妈们，若只给了这<br />
个，那剩的也必抱怨不公；<br />
<br />
<br />
<br />
In this way, the accountants could add four or five hundred stale of silver and they could be more ample in the future. Those women without proper income could live a better life. The vegetation in the yard could be lusher. Also, you obtained things you can avail of, and won't lose face. If you are so stubborn to save that petty time, the money you arduously collected would be savaged by government. At that time, all would be grumbling. Isn't that lose your face? Now the dozens of women in the yard wouldn't grumble for what you give.<br />
<br />
<br />
In this way, the accountants could add four or five hundred stale of silver and they could be more ample in the future. Those women without proper income could live a better life. The vegetation in the yard could be lusher. Also, you obtained things you can avail of, and won't lose face. If you are so stubborn to save that petty time, the money you arduously collected would be savaged by government. At that time, all would be grumbling. Isn't that lose your face? Now the dozens of women in the yard wouldn't grumble for what you give.--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 09:09, 16 May 2022 (UTC)<br />
<br />
==英语笔译 周哲 Zhou Zhe 202170081613==<br />
<br />
我才说的他们只供给这个几样，也未免太宽裕了。一<br />
年竟除了这个之外，他每人不论有余无余，只叫他拿出若干吊钱来，大家凑齐，单散与这些园中的妈妈们。他们虽不料理这些，却日夜也自在园中照看；当差之人，关门闭户、起早睡晚、大雨大雪，姑娘们出入，抬轿子，撑船，拉冰床，一应粗重活计，都是他们的差使：一年在园里辛苦到头，这园内既有出息，也是分内该沾带些的。<br />
For them simply to supply those few items, as I suggested, is letting them off too lightly. On top of that I think they should also give a few strings of cash each year, regardless of how much they have left; and this combined sum can be distributed to the other nannies in the Garden. After all, even if they have no special assignments they work here day and night from early to late, running errands and locking or unlocking gates, no matter how bad the weather. They carry the young ladies' sedan-chairs, punt boats, and draw sleighs in winter——in fact, they do all the hard work the whole year round in the Garden. So they should have a small share in the profits too.<br />
<br />
<br />
For them simply to supply those few items, as I suggested, is letting them off too lightly. On top of that I think they should also give a few strings of cash each year, regardless of how much they have left; and this combined sum can be distributed to the other nannies in the Garden. After all, even if they have no special assignments they work here day and night from early to late, running errands and locking or unlocking gates, no matter how bad the weather. They carry the young ladies' sedan-chairs, punt boats, and draw sleighs in winter——in fact, they do all the hard work the whole year round in the Garden. So they should have a small share in the profits too.--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 05:13, 17 May 2022 (UTC)<br />
<br />
==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
还有一句至小的话，越发说破了，你们只顾了自己宽裕，不分与他们<br />
些，他们虽不敢明怨，心里却都不服，只用假公济私的，多摘你们几个果子，多掐<br />
几枝花儿，你们有冤还没处诉呢。他们也沾带了些利息，你们有照顾不到，他们<br />
就替你照顾了。”众婆子听了这个议论，又去了帐房受辖治，又不与凤姐儿去算账，一年不<br />
过多拿出若干吊钱来，各各欢喜异常，都齐声说：“愿意。强如出去被他揉搓<br />
着，还得拿出钱来呢！”<br />
"There's another small thing, and I will put it more bluntly. If you just better yourselves without letting the others share in your good fortune, even if they don't complain openly they're bound to feel resentful; and then if they pick more fruit or flowers ostensibly for their mistresses but actually for themselves, there'll be nobody to whom you can complain. But if they benefit too, they can keep an eye on things for you when you're busy."<br />
The women were delighted with this proposal, which meant they would neither be controlled by the stewards nor have to settle accounts with Splendid Phonenix — all they needed to do was to pay a few extra strings of cash every year.<br />
"That suits us!" they cried. "This is better than being squeezed by those stewards outside and having to pay them."<br />
<br />
==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
<br />
那不得管地的，听了每年终无故得钱，也都喜欢起来，口内说：“他们辛苦收拾，是该剩些钱粘补的；我们怎么好‘稳吃三注’的？”宝钗笑道：“妈妈们也别推辞了，这原是分内应当的。你们只要日夜辛苦些，别躲懒纵放人吃酒赌钱就是了；不然，我也不该管这事，你们也知道，我姨娘亲口嘱托我三五回，说：“大奶奶如今又不得闲儿，别的姑娘又小，托我照看照看。我若不依，分明是叫姨娘操心。<br />
Those with no special assignments were also pleased to learn that they would be getting something for nothing. "If they do the hard work they deserve to make a little money,"they said. "How can we sit idle and rake in a profit too?" "You nannies needn’t decline,"replied Precious Hairpin with a smile. "This is as it should be. Just work hard and don't slack or allow any gambling or drinking. This is really none of my business but,as you know,my aunt has urged me repeatedly to help out now that Madam Bead's so busy and my other cousins are still young. I don't like to add to her worries by refusing.<br />
<br />
==比较文学与跨文化研究 Mahzad 202021080004==<br />
<br />
我们奶奶又多病，家务也忙。我原是个闲人，便是街坊邻<br />
居，也要个帮忙的，何况是姨娘托我？讲不起众人嫌我。倘或我只顾沽名钓誉<br />
的，那时酒醉赌输了，再生出事来，我怎么见姨娘？你们那时后悔也迟了，就连<br />
你们素昔的老脸也都丢了。这些姑娘们，这么一所大花园，都是你们照看，皆因<br />
看得你们是三四代的老妈妈，最是循规遵矩，原该大家齐心顾些体统。你们反<br />
纵放别人，任意吃酒赌博。姨娘听见了，教训一场犹可，倘若被那几个管家娘子<br />
听见了，他们也不用回姨娘，竟教导你们一场，你们这年老的反受了小的教训，<br />
虽是他们是管家，管的着你们，何如自己存些体统，他们如何得来作践呢！<br />
<br />
<br />
==外国语言文学 Muhammad Numan 202121080002==<br />
<br />
所以我如今替你们想出这个额外的进益来，也为的是大家齐心，把这园里周全的谨<br />
谨慎慎的，使那些有权执事的看见这般严肃谨慎，且不用他们操心，他们心里岂<br />
不敬服？也不枉替他们筹画些进益了。你们去细细想想这话。”众人都欢喜<br />
说：“姑娘说得很是。从此姑娘奶奶只管放心。姑娘奶奶这样疼顾我们，我们<br />
再要不体上情，天地也不容了！”刚说着，只见林之孝家的进来，说：“江南甄府里家眷昨日到京，今日进宫<br />
朝贺。此刻先遣人来送礼请安。”说着便将礼单送上去。探春接了，看道是：“上<br />
用的妆缎蟒缎十二匹。<br />
<br />
<br />
<br />
==英语语言文学 TOURE MARIAM 202021080005==<br />
<br />
<br />
上用杂色缎十二匹。上用各色纱十二匹。上用宫绸十<br />
二匹。宫用各色缎纱绸绫二十四匹。”李纨探春看过，说：“用上等封儿赏他。”<br />
因又命人去回了贾母。贾母命人叫李纨、探春、宝钗等都过来，将礼物看了。李<br />
纨收过一边，吩咐内库上人说：“等太太回来看了再收。”贾母因说：“这甄家又<br />
不与别家相同，上等封儿赏男人，只怕展眼又打发女人来请安，预备下尺<br />
头。”一语未了，果然人回：“甄府四个女人来请安。”贾母听了，忙命人带进来。那四个人都是四十往上年纪，穿带之物皆比主<br />
子不大差别。请安问好毕，贾母便命拿了四个脚踏来。<br />
<br />
==外国语言文学 UDDIN NIZAM 202121080007==<br />
<br />
他四人谢了坐，宝钗等<br />
坐了，方都坐下。贾母便问：“多早晚进京的？”四人忙起身回说：“昨儿进的京。<br />
今儿太太带了姑娘进宫请安去了，所以叫女人们来请安，问候姑娘们。”贾母笑<br />
问道：“这些年没进京，也不想到就来。”四人也都笑回道：“正是。今年是奉旨<br />
唤进京的。”贾母问道：“家眷都来了？”四人回说：“老太太和哥儿、两位小姐，并<br />
别位太太，都没来；就只太太带了三姑娘来了。”贾母道：“有人家没有？”四人<br />
道：“还没有呢。”贾母笑道：“你们大姑娘和二姑娘，这两家，都和我们家甚好。”<br />
<br />
<br />
==翻译学 SAGARA SEYDOU 201911080004 ==<br />
<br />
<br />
四人笑道：“正是。每年姑娘们有信回来说，全亏府上照看。”贾母笑道：“什么<br />
‘照看’？原是世交，又是老亲，原应当的。你们二姑娘更好，不自尊大，所以我<br />
们才走的亲密。”四人笑道：“这是老太太过谦了。”贾母又问：“你这哥儿也跟着你们老太太？”四人回说：“也是跟着老太太呢。”<br />
贾母道：“几岁了？”又问：“上学不曾？”四人笑说：“今年十三岁。因长得齐整，<br />
老太太很疼。自幼淘气异常，天天逃学，老爷太太也不便十分管教。”贾母笑道：<br />
“也不成了我们家的了！你这哥儿叫什么名字？”</div>Li Yuanhttps://bou.de/u/index.php?title=20220512_homework&diff=14303220220512 homework2022-05-18T05:22:02Z<p>Li Yuan: /* 英语笔译 李颖 Li Ying 202170081578 */</p>
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<div>Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]<br />
<br />
<br />
Assignment 1: '''Click here''' [[Chinese Classics Translation 2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is '''Cinema Movie Adaptions of Chinese Classics 张姣玲 熊嘉玲 杨紫微 肖冬晴'''<br />
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Assignment 2: Please do the translation below here<br />
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<br />
<br />
IN PREPARATION<br />
<br />
=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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本来无可添减之事，如今听你一说，倒要找出两件来斟酌斟酌，不辜负你这话。”<br />
探春笑道：“我一肚子气，正要拿他奶奶出气去，偏他碰了来，说了这些话，叫我<br />
也没了主意了。”一面说，一面叫进方才那媳妇来问：“环爷和兰哥家学里这一<br />
年的银子，是做那一项用的？”那媳妇便回说：“一年学里吃点心或者买纸笔，每<br />
位有八两银子的使用。”探春道：“凡爷们的使用，都是各屋里支月钱的：环哥的<br />
是姨娘领二两；宝玉的，老太太屋里袭人领二两；<br />
<br />
“There is no cut at first. Now your words remind Seeking Spring to cut the payment on some items so as to live up to your advice.” “I was full of anger and should have meant to ask her mistress for justice. But Patience came and offered some advice as such. I, instead, lose my idea,” Seeking Spring mocked herself, and asked that married woman to come in, “Where were the schooling payments for Cymbidium Merchant and Ring Merchant spent?” “On pastries, paper or brushes. Eight taels are available per person,” she answered. Seeking Spring disapproved, “Young men get their monthly payment in a unit of the house. For Ring Merchant, his mother draws two taels. For Precious Jade, Aroma draws another two taels on behalf of the old lady.<br />
<br />
<br />
There is no cut or addition at first. Now your words remind Seeking Spring of the deliberation of cutting the payment on some items so as to live up to your advice.” “I was full of anger and should have meant to ask her mistress for justice. But Patience came and offered some advice as such. I, instead, lose my idea,” Seeking Spring mocked herself, and asked that married female servent to come in, “Where were the schooling payments for Cymbidium Merchant and Ring Merchant spent?” “On pastries, paper or brushes needed in school. Eight taels are available per person,” she answered. Seeking Spring disapproved, “Young men get their monthly payment in a unit of the house. For Ring Merchant, his mother draws two taels. For Precious Jade, Aroma draws another two taels on behalf of the old lady.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 02:41, 16 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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兰哥儿是大奶奶屋里领：怎么学里每人多这八两？原来上学去的是为这八两银子！从今日起，把这一项蠲了。平儿回去，告诉你奶奶，说我的话，把这一条务必免了。”平儿笑道：“早就该免。旧年奶奶原说要免的，因年下忙，就忘了。”那媳妇只得答应着去了。就有大观园中媳妇捧了饭盒子来，侍书素云早已抬过一张小饭桌来，平儿也忙着上菜。探春笑道：“你说完了话，干你的去罢，在这里又忙什么？”<br />
<br />
"His monthly payment was from Lady Plum. How could it be, that everyone got eight taels for attending the private school? No wonder they're willing to go there, just for the eight-teal silver! From today on, remove this payment from list. Patience, you go back to tell your mistress, Lady Splendid Phoenix, to cut this sum of money down, which is my suggestion." Patience smiled and said: "It's high time we should cut it down. Last year our mistress has expressed this idea. But due to the advent of the New Year, she had so much work to do that it slipped her memory." Then the servant responded obediently and went away. In a little while, there came another female servant from the Garden, with a mess tin in her arm. Candida, a book server, has already carried a small dining table, and Patience helped to serve dishes. Seeking-Spring said with amusement: "What you need do is merely to send my word to your mistress. Who orders you to serve the dishes? You such an industrious bee!"<br />
<br />
<br />
<br />
"His monthly payment was from Lady Plum.How could it be, that everyone got more eight taels for attending the private school? No wonder they're willing to go there, just for the eight-teal silver! From today on, remove this payment from the list. Patience, you go back to tell your mistress, Lady Splendid Phoenix, to cut this sum of money down, which is my suggestion." Patience smiled and said: "It's high time we should cut it down. Last year our mistress has expressed this idea. But due to the advent of the New Year, she had so much work to do that it slipped out of her memory." Then the servant responded obediently and went away. In a little while, there came another female servant from the Garden, with a mess tin in her arm. Candida, a book server, has already carried a small dining table, and Patience helped to serve dishes. Seeking-Spring said with amusement: "What you need to do is merely to send my word to your mistress. Who orders you to serve the dishes? You such an industrious bee!"--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 14:01, 13 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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<br />
平儿笑道：“我原没事的，二奶奶打发了我来，一则说话，二则<br />
恐这里人不方便，原是叫我帮着妹妹们伏侍奶奶姑娘的。”探春因问：“宝姑娘<br />
的怎么不端来一处吃？”丫鬟们听说，忙出至檐外，命媳妇们去说：“宝姑娘如今<br />
在厅上一处吃，叫他们把饭送了这里来。”探春听说，便高声说道：“你别混支使<br />
人！那都是办大事的管家娘子们，你们支使他要饭要茶的，连个高低都不知道！<br />
平儿这里站着，叫他叫去。”<br />
平儿忙答应了一声出来。<br />
<br />
‘I’m free now.The Mistress Splendid Phoenix sent me partly to tell you that, partly to help the girls wait on you when you're short-handed.'answered Patience, smiling.'Where's Precious Hairpin's lunch?'asked Seeking-Spring.Some girls hurried out to notify the matrons,'Miss Precious Hairpin has her lunch here too. Have her food brought over.'Hearing this,Seeking-Spring said loudly, 'Don't start ordering them about. They're all the wives of chief stewards, not people you can send to fetch rice and tea! You fuck know nothing!Patience has nothing to do here. Let her go.'Patience promptly agreed and went out.<br />
<br />
‘I’m free now.The Mistress Splendid Phoenix sent me partly to tell you that, partly to help the girls wait on you when you're short-handed.'answered Patience, smiling.'Where's Precious Hairpin's lunch?'asked Seeking-Spring.Some girls hurried out to notify the matrons,'Miss Precious Hairpin has her lunch here too. Have her food brought over.'Hearing this,Seeking-Spring said loudly, 'Don't start ordering them about. They're all the wives of chief stewards, not people you can send to fetch rice and tea! You fuck know nothing!Patience has nothing to do here. Let her go.'Patience promptly agreed and went out.--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 14:16, 17 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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那些媳妇们都悄悄的拉住笑道：“那里用姑娘去叫，我们已有人叫去了。”一面说，一面用手帕摊石矶上，说：“姑娘站了半天，乏了，这太阳地里且歇歇。”平儿便坐下。又有茶房里的两个婆子拿了个坐褥铺<br />
下，说：“石头冷，这是极干净的，姑娘将就坐一坐儿罢。”平儿忙陪笑道：“多谢。”一个又捧了一碗精致新茶出来，也悄悄笑说：“这不是我们常用的茶，原是伺候姑娘们的，姑娘且润一润罢。”<br />
<br />
The daughters-in-law laughed quietly and said, "Let's use girls there We have been called." As she spoke, she spread her handkerchief on the rocky rock and said, "The girl has been standing for a long time, tired Rest in the sun." Ping er sat down. There were also two women in the steadhouse who took a mattress to sit on"The stone is cold," he said. "It is very clean. The girl will sit down." Ping - er - hastily smiled and said, "Thank you very much." One of them came out with a bowl of delicate fresh tea and said quietly, "This is not our usual tea, so it is<br />
those who serve the girls, girls, let them be watered."<br />
<br />
The stewards' wives laughed quietly and said, "There’s no need for you to go, miss. We’ve already sent someone." As they spoke, they spread their handkerchief on the steps and said, "You have been standing for a long time and must be tired. Please have a rest." Then Patience sat down. Two women from the tea house took a mattress. "The stone is cold," they said, "It is very clean. You can use it." Patience hastily smiled and said, "Thank you very much." One of them came out with a bowl of good fresh tea and said quietly, "This isn’t our usual tea but some for the young ladies. Miss, please try it."<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 15:27, 17 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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平儿忙欠身接了，因指众媳妇悄悄说道：“你<br />
们太闹的不像了。他是个姑娘家，不肯发威动怒，这是他尊重，你们就藐视欺负<br />
他。果然招他动了大气，不过说他一个粗糙就完了，你们就现吃不了的亏！他<br />
撒个娇，太太也得让他一二分，二奶奶也不敢怎样。你们就这么大胆子小看他，<br />
可是鸡蛋往石头上碰！”众人都忙道：“我们何尝敢大胆了，都是赵姨娘闹的！”<br />
平儿也悄悄的说：“罢了，好奶奶们，‘墙倒众人推’，<br />
<br />
Patience bent forward to take it and point at them, saying stealthily, " You are over the line. She is only a girl, and does not want to be violent or angry. But that's not the reason why you should despise her. If she got mad, she would be blamed at the worst but you would get into big trouble! If she threw a tantrum, Lady Wang would have to give way to her,and our Second Mistress would also dare not do anything else. How dare you think so little of her? It's like an egg throwing itself against a stone!" The crowed protested, "How dare we? It was all Concubine Walk's fault!" Patience then whispered, "It's all right.But if a wall is about to collapse, every gives it a push."<br />
<br />
<br />
Patience bent forward to take it and pointed at them, saying stealthily, " You are over the line. She is only a girl, and does not want to be violent or angry to show her respect. But that's not the reason why you should despise her. If she got mad, she would be blamed at the worst but you would get into big trouble! If she threw a tantrum, Lady Wang would have to give way to her,and our Second Mistress would also dare not do anything else. How dare you think so little of her? It's like an egg throwing itself against a stone!" The crowed protested, "How dare we? It was all Concubine Walk's fault!" Patience then whispered, "It's all right.But if a wall is about to collapse, every gives it a push."--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 05:35, 17 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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那赵姨奶奶原有些颠倒，<br />
‘着三不着两’，有了事都赖他。你们素日那眼里没人，心术利害，我这几年难<br />
道还不知道！二奶奶若是略差一点儿的，早被你们这些奶奶们治倒了。饶这么<br />
着，得一点空儿，还要难他一难！好几次没落了你们的口声。众人都道他利害，<br />
你们都怕他，惟我知道他心里也就不算不怕你们呢。前日我们还议论到这里：<br />
每不能依头顺尾，必有两场气生。那三姑娘虽是个姑娘，你们都横看了他。<br />
<br />
<br />
That Aunt Zhao failed to distinguish right from wrong. And she always attributed her faults to others. You guys were good at intrigues, and treated people like dirt. You thought I did not know after all these years. Without her smart brains, the second madam would be torn down by you. Even as bright as her, you always distressed her time to time! Her good reputation have been undermined several times. All men said that she was proud, and were all afraid of her: but I was not afraid of you, knowing his heart. We were talking about this the other day: every time the head does not follow the tail, we would get angry. Girls as she was, you all looked down upon her.<br />
<br />
==英语笔译 黄琼 Huang Qiong 202170081571==<br />
<br />
二奶奶在这些大姑子小姑子里头，也就只单怕他五分。你们这会子倒不把他放在<br />
眼里了！”正说着，只见秋纹走来。众媳妇忙赶着问好，又说：“姑娘也且歇一歇，里头<br />
摆饭呢。等撒下桌子来，再回话去。”秋纹笑道：“我比不得你们，我那里等得！”<br />
说着，便直要上厅去。平儿忙叫：“快回来！”秋纹回头，见了平儿，笑道：“你又<br />
在这里充什么‘外围子的防护’？”一面回身便坐在平儿褥上。平儿悄问：“回什<br />
么？”<br />
<br />
"She's the only one of the young ladies that my mistress is half afraid of, yet you even don’t care about her!" Their talk was interrupted by Autumn Vein's arrival. All the ladies greeted her and let her have a rest. "They are having a meal inside. You'd better not go in till they've finished." "I'm not like you. I don't want to wait," replied Autumn Vein. She was walking into the room when Patience called her. Autumn Vein turned back and smiled, "Are you acting as an extra bodyguard?" she asked, sitting on her bed. "What are you doing here?<br />
" Patience whispered.<br />
<br />
==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
<br />
秋纹道：“问一问宝玉的月银，我们的月钱，多早晚才领？”平儿道：“这什么<br />
大事！你快回去告诉袭人，说我的话：凭有什么事，今日都别回。若回一件，管<br />
驳一件；回一百件，管驳一百件！”秋纹听了，忙问：“这是为什么？”平儿与众媳<br />
妇等都忙告诉他原故；又说：“正要找几处利害事与有体面的人来开例，作法子<br />
镇压，与众人作榜样呢。何苦你们先来碰在这钉子上？你这一去说了，他们若<br />
拿你们也作一二件榜样，又碍着老太太、太太；<br />
<br />
"I want to know when the monthly allowances for Precious Jade and us will be handed out." Autumn Vein replied. "Oh, that’s not very important, I must say! Go back quickly and tell Aroma from me that no matter what it is, don’t come here for asking anything today. Every single request you make will be refused. The same is true even a hundred times." After listening, Autumn Vein asked, "Why’s that?" Patience and all the women promptly told her the reason. "They' re looking for some big issues and someone who counts to make an example of as a warning to everyone," Patience explained. "Why should you bump your head against this brick wall? If you go in now and they make an example of you, they will risk offending Their Ladyships;<br />
<br />
<br />
"I want to know when the monthly allowances for Precious Jade and us will be handed out." Autumn Vein replied. "Oh, that’s not very important, I must say! Go back quickly and tell Aroma from me that no matter what it is, don’t come here for asking anything today. Every single request you make will be refused. Even if you have one hundred things, we won't agree." After listening, Autumn Vein asked, "Why’s that?" Patience and all the women promptly told her the reason. "They're looking for some big issues and someone who counts to make an example of as a warning to everyone," Patience explained. "Why should you bump your head against this brick wall? If you go in now and they make an example of you, they will risk offending Their Ladyships;--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 02:35, 18 May 2022 (UTC)<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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若不拿着你们做一二件，人家又<br />
说：‘偏一个向一个，仗着老太太、太太威势的就怕，不敢惹，只拿着软的做鼻子<br />
头。’你听听罢，二奶奶的事，他还要驳两件，才压得众人口声呢！”<br />
秋纹听了，伸了伸舌头，笑道：“幸而平姐姐在这里，没得臊一鼻子灰，趁早<br />
知会他们去。”说着，便起身走了。接着宝钗的饭至，平儿忙进来伏侍。那时赵<br />
姨娘已去，三人在板床上吃饭，宝钗面南，探春面西，李纨面东。<br />
<br />
But if they don't use you as examples, they may be accused of bias, of not daring to touch those backed by Their Ladyships and just picking on the weak instead. Wait and see. They're even countermanding a few of the Second Mistress' rulings too — that's the only way to stop gossip."<br />
Autumn Vein stuck out her tongue in dismay. "Thank goodness you came here. Sister Patience! You've saved me from a snubbing. I'll go straight back and tell them." then she left. At this point, Precious Hairpin's meal arrived and Patience sent it into the room to seve her. Concubine Zhao had now left and the three others were eating on the couch, Precious Hairpin facing south, Seeking-Spring west, and Silk Plum east.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 03:10, 16 May 2022 (UTC)<br />
<br />
<br />
But if they don't take you as an example, they may be accused of not being impartial, of not daring to touch those backed by Their Ladyships, and just picking on the weak instead. Wait and see. They're even countermanding a few of the Second Mistress' rulings too — that's the only way to stop gossip." Autumn Vein stuck out her tongue in dismay. "Thank goodness you came here. Sister Patience! You've saved me from a snubbing. I'll go straight back and tell them." then she left. At that moment, Precious Hairpin's meal arrived and Patience sent it into the room to serve her. Concubine Zhao had now left and the three others were eating on the couch, Precious Hairpin facing the south, Seeking-Spring the west, and Silk Plum the east.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 04:37, 18 May 2022 (UTC)<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
众媳妇皆在廊下静候，里头只有他们紧跟常侍的丫鬟伺候，别人一概不敢擅入。这些媳妇们<br />
都悄悄的议论说：“大家省事罢！别安着没良心的主意。连吴大娘才都讨了没<br />
意思，咱们又是什么有脸的！”都一边悄议，等饭完回事。只觉里面鸦雀无闻，并<br />
不闻碗箸之响。一时，只见一个丫头将帘栊高揭，又有两个将桌抬出。茶房内有三个丫<br />
鬟，捧着三个沐盆儿。见饭桌已出，三人便进去了。<br />
<br />
All the Madams were waiting on the porch with their close maids, and no one else dared to enter. Madams all whispered, "Don't make trouble and scheme conscienceless ideas. Even Woman Wu suffered setbacks, let alone us!" They all talked quietly, waiting for the meal to finish. They only felt that there was as still, and heard nothing of the sound of tableware. A maid lifted the curtain high for a moment, and two more carried the table out. Three servant girls in the tea house hold three washbowls. As the tables out, the three went in.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 03:46, 14 May 2022 (UTC)<br />
<br />
All the Madams were waiting on the porch with their close maids, and no one else dared to enter. Madams all whispered, "Don't make trouble and scheme conscienceless ideas. Even Woman Wu suffered setbacks, let alone us!" They all talked quietly, waiting for the meal to finish. They only felt that there was as still, and heard nothing of the sound of tableware. A maid lifted the curtain high for a moment, and two more carried the table out. Three servant girls in the tea house held three washbowls. As the tables out, the three went in.--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 13:28, 16 May 2022 (UTC)<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
一回又捧出沐盆并漱盂来，方有侍书、素云、莺儿三个，每人用茶盘捧了三盖碗茶进去。一时等他三人出来，侍书命小丫头子：“好生伺候着，我们吃饭来换你们，可又别偷坐着去。”众媳妇们方慢慢的安分回事，不敢如先前轻慢疏忽了。探春气方渐平，因向平儿道：“我有一件大事，早要和你奶奶商议，如今可巧想起来。你吃了饭快来。宝姑娘也在这里，咱们四个人商议了，再细细的问你奶奶可行可止。”平儿答应回去。<br />
<br />
After a while, someone brought out a basin and spittoon from the room. Scribe, Candida and Oriole each loaded three cups of tea with lids on a tray and went into the house. After three people came out, Scribe bade small servant girls way, "You are here to wait upon, wait for us to finish the meal again for you. Don't be lazy." At last the daughters-in-law became more relaxed and less impatient. Seeking-Spring Merchant calmed down and said to Patience, "I have something important to discuss with you and Old Lady for a long time. Now I remember it. Come here as soon as you finish your dinner. Precious Hairpin is here, too. Wait until the four of us discuss it first, and then carefully ask Old Lady if it is possible." Patience agreed and went back.<br />
<br />
After a while, someone brought out a basin and spittoon from the room. Book Server, Candida and Oriole each took three covered bowls of tea on trays and went into the house. After they came out, Book Server ordered the younger servant girls, "You are here to wait upon till we come back after finishing the meal. Don't be lazy." Then, slowly, the matrons made their reports in turn, not presuming to behave with their previous impertinence. Seeking-Spring calmed down and said to Patience, "I have been going to discuss something important with your mistress. Now I’ve just happened to remember it. Come here as soon as you finish your dinner. Precious Hairpin is here, too. Wait until the four of us discuss it first, and then carefully ask your mistress if it is possible." Patience agreed and went back.--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 15:28, 17 May 2022 (UTC)<br />
<br />
==英语笔译 李婷 Li Ting 202170081576==<br />
<br />
凤姐因问：“为何去这半日？”平儿便笑着将方才的原故细细说与他听了。凤姐儿笑道：“好，好，好！好个三姑娘！我说不错。只可惜他命薄，没托生在太太肚里。”平儿笑道：“奶奶也说糊涂话了。他便不是太太养的，难道谁敢小看他，不与别的一样看待么？”凤姐叹道：“你那里知道？虽然庶出一样，女儿却比不得男人，将来攀亲时，如今有一种轻狂人，先要打听姑娘是正出是庶出，多有为庶出不要的。<br />
<br />
Sister Phoenix asked: "Why did you go so long?" Patience smiled and told her what had happened in detail. “Good, good, good! What a splendid Seeking-Spring!” Sister Phoenix laughed. “It's a pity she wasn't the mistress’ own daughter." "Grandma is confused too. She may not be the mistress’ own daughter. Will anyone dare to look down upon her? She has received the same respect as the other daughters of the house." said Patience. Sister Phoenix sighed, "How do you know? Although they are the same, a girl can’t compare with a boy. When the time comes to arrange her marriage, some foolish people will first ask whether she’s the daughter of the wife or of a concubine, and most likely refuse her in the second case.<br />
<br />
<br />
Sister Phoenix asked: "Why did you go so long?" Patience smiled and told her what had happened in detail. “All right!All right!All right! What a splendid Seeking-Spring!” Sister Phoenix laughed. “It's a pity she wasn't the mistress’ own daughter." "Grandma is confused too. Even though she may not be the mistress’ own daughter, no one dare to look down upon her? She has received the same respect as the other daughters of the house." said Patience. Sister Phoenix sighed, "How do you know? Although they are the same, a girl can’t compare with a boy. When the time comes to arrange her marriage, some foolish people will first ask whether she’s the daughter of the wife or of a concubine, and most likely refuse her in the second case.--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 06:58, 15 May 2022 (UTC)Li Ying<br />
<br />
==英语笔译 李颖 Li Ying 202170081578==<br />
<br />
殊不知，别说庶出，便是我们的丫头，比人家<br />
的小姐还强呢！将来不知那个没造化的，为挑庶正误了事呢；也不知那个有造<br />
化的，不挑庶正的得了去。”说着，又向平儿笑到：“你知道我这几年生了多少省<br />
俭的法子，一家子大约也没个背地里不恨我的。我如今也是‘骑上老虎’了，虽<br />
然看破些，无奈一时也难宽放。二则家里出去的多，进来的少，凡百大小事儿，<br />
仍是照着老祖宗手里的规矩，却一年进的产业，又不及先时多；<br />
<br />
"Although, not to mention a concubine's child, even one of the maids in our family is better than the daughters of other households.<br />
I don't know which unlucky guy will lose this chance when he spent time on picking an excellent daughter-in-law, and even don't know who is the lucky one on this event.After that, he smiled at Patience," You know how economical I was in the past years, there's hardly no one didn't hate me secretly."Now I am ridding on the tiger's back, though I am not administrate so strictly, I would't let everything slide. Moreover, we spent more and the income we got less.Everything no matter big or small，we dealt with according to the ancestors' rules, but it is even got less in a year than before.<br />
<br />
<br />
"Well, let alone a concubine's child, even one of the maids in our family is better than the daughters of other households.<br />
I don't know which unlucky guy will lose this chance when he spent time picking an excellent daughter-in-law, and I even don't know who is the lucky one to grasp the opportunity on this regard," she said. "You know how economical I have been in the past few years, and there's hardly no one in the family showing their hatred to me behind my back," she laughed to Patience. "Now I am ridding on the tiger's back. Although I don't administrate so strictly, I can't let everything lose control. Moreover, what we've spent is more than what we got. Everything, big or small，is dealt with according to the rules passed on from ancestors, but the profit we got in a year is even less than before."--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 05:22, 18 May 2022 (UTC)<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579==<br />
<br />
省俭了，外人又<br />
笑话，老太太、太太也受委屈，家下也抱怨克薄。若不趁早儿料理省俭之计，再<br />
几年就都赔尽了。平儿道：“可不是这话！将来还有三四位姑娘，还有两三个小爷们，一位老<br />
太太，这几件大事未完呢。”凤姐儿笑道：“我也虑到这里，倒也够了。宝玉和林<br />
妹妹，他两个一娶一嫁，可以使不着官中钱，老太太自有体己拿出来。二姑娘是<br />
大老爷那边的，也不算。剩了三四个，满破着每人花上一万银子。<br />
<br />
"If we are economical, others will laugh at us. Later, Grandma and other madams will be upset, and the maids and other servants will complain about us being so mean," she said, "In this regard, the money will run out in a few years if we don't come up with some ways to save it in advance." "That's true!" Patience replied, "There are still three or four young ladies, two or three young gentlemen and Grandma who are going to spend much money in the future." "I've considered this, too. We can just afford it," Sister Phoenix laughed, "Precious Jade's and Sister Forest's marriage cost will be paid by Grandma, and the marriage expenses of Spring Pleasure will be covered by the big Master. There are just three or four left, each of whom will need ten thousand at most."<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
环哥娶亲有<br />
限，花上三千银子；若不够，那里省一抿子也就够了。老太太的事出来，一应都<br />
是全了的，不过零星杂项使费些，满破三五千两。如今再俭省些，陆续就够了。<br />
只怕如今平空再生出一两件事来，可就了不得了。咱们且别虑后事，你且吃了<br />
饭，快听他们商议什么。这正碰了我的机会，我正愁没个膀臂。虽有个宝玉，他<br />
又不是这里头的货，纵收伏了他，也不中用。大奶奶是个佛爷，也不中用。<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
二姑娘更不中用，亦且不是这屋里的人。四姑娘小呢，兰小子与环儿更是个燎毛的<br />
小冻猫子，只等有热灶火坑让他钻去罢，真真一个娘肚子里跑出这样天悬地隔<br />
的两个人来，我想到那里就不服！再者林丫头和宝姑娘他两个人倒好，偏又都<br />
是亲戚，又不好管咱们家务事。况且一个是美人灯儿，风吹吹就坏了；一个是拿<br />
定了主意，“不干己事不张口，一问摇头三不知’，也难十分去问他。<br />
<br />
Miss Yingchun is even less useful, and she doesn't belong to this house. Miss Xichun are small, and Lan and Huan'er are even more like a little frozen cat with burning hair, just looking for a warm stove or a Kang to lie on. How the same mother could produce two totally different children, which I can never understand. In addition, Miss Forest and Miss Precious are capable, but they are all relatives, and they are not expected to involve in our affairs. Moreover, one of them is like a beautiful lamp, and a puff of wind can blow it down; the other has made up her mind, "Do not open her mouth about things beyond her business, you can only get a shake or an 'I don't know when asking her". So it is also very difficult to ask her to do anything.<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<br />
倒只剩了三姑娘一个，心里嘴里都也来得，又是咱家的正人，太太又疼他，虽然脸上淡淡的，皆因是赵姨娘那老东西闹的，心里却是和宝玉一样呢。比不得环儿，实在令人难疼，要依我的性子，早撵出去了！如今他既有这主意，正该和他协同，大家做个膀臂，我也不孤不独了。按正礼天理良心上论，咱们有他这一个人帮着，咱们也省些心，与太太的事也有益。若按私心藏奸上论，我也太行毒了，也该抽回退步，回头看看；<br />
<br />
There is only Third Lady. She is a nice persion and is our people . The Grandma favors her very much. Though she don't show her mood on her face. It is all because of maternal aunt Zhao. But she is as sensitive as Precious Jade. She is not like the Ring, and i don't like her. In my opinion, I would ask her to get out! Now she want that, we should help her. We can accompany each other. And on the basis of conscience, we can be less worried and get along better with the Grandma with the help of her. On the basis of our own profit, we should slow down and step back of a little bit.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
<br />
<br />
再要穷追苦克，人恨极了，他们笑里藏刀，咱们两个才四个眼睛<br />
两个心，一时不防，倒弄坏了。趁着紧溜之中，他出头一料理，众人就把往日咱<br />
们的恨暂可解了。还有一件，我虽知你极明白，恐怕你心里挽不过来，如今嘱咐<br />
你：他虽是姑娘家，心里却事事明白，不过是言语谨慎。他又比我知书识字，更<br />
利害一层了。如今俗语说：‘擒贼必先擒王。’他如今要作法开端，一定是先拿<br />
我开端，倘或他要驳我的事，你可别分辩，你只越恭敬越说驳的是才好。<br />
<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
千万别想着怕我没脸，和他一强，就不好了。”<br />
平儿不等说完，便笑道：“你太把人看糊涂了！我才已经行在先了，这会子<br />
才嘱咐我！”凤姐儿笑道：“我是恐怕你心里眼里只有了我、一概没有他人之故，<br />
不得不嘱咐；既已行在先，更比我明白了。这不是你又急了，满嘴里‘你’呀<br />
‘我’的起来了！”平儿道：“偏说‘你’！你不依，这不是嘴巴子，再打一顿。难道<br />
这脸上还没尝过的不成！”凤姐儿笑道：“你这小蹄子儿，要掂多少过儿才罢。<br />
<br />
Sister Phoenix said:" Don't be afraid that you would lose my face. You'd better not offend her." Before Sister Phoenix finished her words, Patience then laughed: "You are looking down on me! I have made reactions before you instruct me." Sister Phoenix then laughed: "I am afraid that you are only concerned about me with no consideration of others, so I talk to you like this. I believe that you know what I mean since you have already made responses. Now, you become anxious again, and "you" and "I"are coming out from your mouth" Patience replied: "You don't agree with me to say "you", or my mouth will be beatened. Have my face never experienced this punishment before?" Sister Phoenix said with a smile: "You little maid, how many times you'd like to be punished."--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 13:49, 13 May 2022 (UTC)<br />
<br />
Sister Phoenix said:"Don't, whatever you do, stand up to her out of a mistaken sense of loyalty to me: that's the last thing I want you to do." Before Sister Phoenix finished her words, Patience then laughed: "You are looking down on me! I have made reactions before you instruct me." Sister Phoenix then laughed: "I am afraid that you are only concerned about me with no consideration of others, so I talk to you like this. I believe that you know what I mean since you have already made responses. Now, you become anxious again, and "you" and "I"are coming out from your mouth" Patience replied: "You don't agree with me to say "you", or my mouth will be beatened. Have my face never experienced this punishment before?" Sister Phoenix said with a smile: "You little maid, how many times you'd like to be punished."--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 14:48, 16 May 2022 (UTC)<br />
<br />
==英语笔译 刘婷 Liu Ting 202170081586==<br />
<br />
你看我病的这个样儿，还来怄我呢！过来坐下，横竖没人来，咱们一处吃饭是正经。”说着，丰儿等三四个小丫头进来，放小炕桌。凤姐只吃燕窝粥，两碟子精致小菜，每日分例菜已暂减去。丰儿便将平儿的四样分例菜端至桌上，与平儿盛了饭来。平儿屈一膝于炕沿之上，半身犹立于炕下，陪着凤姐儿吃了饭，伏侍漱口毕，吩咐了丰儿些话，方往探春处来。只见院中寂静，人已散出。要知端的，且听下回分解。<br />
<br />
Fancy provoking me with a thing like that when you know how ill I am! Come and sit down. As we're all on our own let's have our meal together.” Felicity and three or four junior maids came in at this point carrying a short-legged table between them which they set down on the kang. Xi-feng's lunch consisted of no more than some bird's nest soup and a couple of small, light dishes suitable for an invalid palate. Unable to eat more, she had cancelled the portion that under normal catering arrangements would have been her due. Felicity put the four dishes to which Patience was entitled on Xi-feng's table and filled her a bowlful of rice. Patience then half sat, half stood with one foot curled underneath her on the edge of the kang and the other one resting on the floor, and in that position kept Xi-feng company while she ate her lunch. When they had both finished eating, she helped Xi-feng to wash and rinse Out her mouth, then, after a few admonitory words to Felicity, went back to rejoin Tan-chun and the others in the office. But she found the courtyard quiet and deserted. To know the reason, read the following chapter.<br />
<br />
Fancy provoking me with a thing like that when you know how ill I am! Come and sit down. As we're all on our own let's have our meal together.” Abundance and three or four junior maids came in at this point carrying a short-legged table between them which they set down on the kang. Sister Phoenix's lunch consisted of no more than some birds' nest soup and a couple of small, light dishes suitable for an invalid palate. Unable to eat more, she had cancelled the portion that under normal catering arrangements would have been her due. Abundance put the four dishes to which Patience was entitled on Sister Phoenix's table and filled her a bowlful of rice. Patience then half sat, half stood with one foot curled underneath her on the edge of the kang and the other one resting on the floor, and in that position kept Sister Phoenix company while she ate her lunch. When they had both finished eating, she helped Sister Phoenix to wash and rinse out her mouth, then, after a few admonitory words to Abundance, went back to rejoin Seeking-Spring and the others in the office. But she found the courtyard quiet and deserted. To know the reason, please read the following chapter.--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 05:00, 17 May 2022 (UTC)<br />
<br />
==英语笔译 刘瑶 Liu Yao 202170081587==<br />
<br />
◎第五十六回 敏探春兴利除宿弊 贤宝钗小惠全大体<br />
话说平儿陪着凤姐儿吃了饭，伏侍盥漱毕，方往探春处来，只见院中寂静，<br />
只有丫鬟婆子，诸内壸近人在窗外听候。平儿进入厅中，他姊妹姑嫂三人正议<br />
论些家务，说的便是年内赖大家请吃酒，他家花园中事故。见他来了，探春便命<br />
他脚踏上坐了，因说道：“我想的事，不为别的，只想着我们一月所用的头油脂粉<br />
又是二两的事。<br />
<br />
Chapter 56 Clever Seeking-Spring Devises a Scheme to Make a Profit and End Abuses<br />
Understanding Precious Hairpin Rounds It Out with a Small Act of Kindness<br />
After eating with Sister Phoenix and waiting on her while she washed and then rinsed her mouth, Patience went back to Seeking Spring. She found the Council Hall quiet,with a few maids and matrons waiting outside the windows. As she walked in, the three cousins were discussing family affairs and had just brought up the subject of Big Rely’s garden, where they had feasted shortly before New Year. Seeing her arrival, Seeking-Spring offered Patience a foot-stool. "Here's what I was thinking," she told her. Each of us gets an extra two taels a month for hair-oil, rouge and powder.<br />
<br />
Chapter 56 Clever Seeking-Spring Devises a Scheme to Make a Profit and End Abuses<br />
Understanding Precious Hairpin Rounds It Out with a Small Act of Kindness<br />
After eating with Sister Phoenix and waiting on her while she washed and then rinsed her mouth, Patience went back to Seeking Spring. She found the Council Hall quiet,with a few maids and matrons waiting outside the windows. As she walked in, the three cousins were discussing family affairs and had just brought up the subject of Big Rely’s garden, where they had feasted shortly before New Year. Seeing her arrival, Seeking-Spring offered Patience a foot-stool. "Here's what I was thinking," she told her. Each of us gets an extra two taels a month for hair-oil, rouge and powder.<br />
--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 02:36, 15 May 2022 (UTC)<br />
<br />
==英语笔译 刘珍 Liu Zhen 202170081588==<br />
<br />
我想我们一月已有了二两月银，丫头们又另有月钱，可不是又同刚才学里的八两一样重重叠叠？这事虽小，钱有限，看起来也不妥当。你奶奶怎么就没想到这个呢？”平儿笑道：“这有个原故：姑娘们所用的这些东西，自然该有分例，每月每处买办买了，令女人们交送我们收管，不过预备姑娘们使用就罢了；没有个我们天天各人拿着钱，找人买这些去的。所以外头买办总领了去，按月使女人按房交给我们。<br />
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"It looks to me as if this is another case of duplication, like the eight taels paid to the school every year which we were dealing with earlier.I know it's not a very important matter, and the sum involved is not very great, but it's obvious at a glance that this is a bad arrangement, and I can't understand why your mistress hasn't noticed it."“There's a reason,” answered Patience.“Of course the young ladies should be provided with cosmetics every month, and as there wouldn't be much sense in our constantly running out with a few coppers to make individual purchases, the cosmetic allowances for the various departments are drawn by our buyers and used to make bulk purchases with.So the stewards get the lump sum for this item, and distribute the cosmetics each month to the different apartments."<br />
<br />
<br />
"It looks to me as if this is another case of duplication, like the eight taels paid to the school every year which we were dealing with earlier.I know it's not a very important matter, and the sum involved is not very great, but it's obvious at a glance that this is a bad arrangement, and I can't understand why your mistress hasn't noticed it."“There's a reason,” answered Patience.“Of course the young ladies should be provided with cosmetics every month, and as there wouldn't be much sense in our constantly running out with a few coppers to make individual purchases, the cosmetic allowances for the various departments are drawn by our buyers and used to make bulk purchases with.So the stewards get the lump sum for this item, and distribute the cosmetics to us each month and each apartment."--[[User:Ma Yanhuan|Ma Yanhuan]] ([[User talk:Ma Yanhuan|talk]]) 02:11, 17 May 2022 (UTC)<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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至于姑娘们每月的这二两，原不是为买这些的，为的是一时当家的<br />
奶奶太太，或不在家，或不得闲，姑娘们偶然要个钱使，省得找人去。这不过是<br />
恐怕姑娘们受委屈意思。如今我冷眼看着，各屋里我们的姐妹都是现拿钱买这<br />
些东西的，竟有了一半子。我就疑惑不是买办脱了空，就是买的不是正经货。”<br />
探春李纨都笑道：“你也留心看出来了。脱空是没有的，只是迟些日子；催急了，<br />
不知那里弄些来，不过是个名儿，其实使不得，依然还得现买。<br />
As for the two taels of the girls every month, it has been not for these, but for the grandma and ladies who was in charge at the moment, either not at home or not free, and the girls occasionally asked for money so as not to find someone else. It's just for fear that the girls will be wronged so that the two taels was given. Now I look coldly at the fact that all our sisters in the house are now using money to buy these things even reached half of them. I wondered whether the comprador was out of stock or that what he bought was not the real deal. " Seeking-Spring and Silk Plum said with a smile, "you can see it, too. There is no such thing as emptying, but later; if someone is in a hurry, just come to somewhere to get some, but it's just a name, but it doesn't work, and you still have to buy it now.<br />
<br />
<br />
As for the two taels for the girls every month, it was not for buying those things actually, but for the reason that sometimes the ladies who was in charge of the family was out or busy with handling other affairs, then with this money, the girls don’t need to find someone else if they happen to need money for some thing. It's just for fear that the girls will be wronged. Now given the fact that half of our sisters in the house are now using money to buy these things. I wondered whether the comprador was playing trick on us, and what he bought was not the real deal." Seeking-Spring and Silk Plum said with a smile, " You can see it, too. There is no such thing as emptying, it’s just a matter of time; if someone is in a hurry, just come to somewhere to get some, but it's just a name, and it doesn't work, so you still have to buy it now.--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 08:59, 14 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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<br />
就用二两银子，<br />
另叫别人的奶妈子的弟兄儿子买来，方才使得，若使官中的人去，依然是那一样<br />
的，不知他们是什么法子？”平儿便笑道：“买办买的是那样，别人买了好的来，买<br />
办的也不依他，又说他使坏心，要夺他的买办了。所以他们宁可得罪了里头，不<br />
肯得罪了外头办事的。若是姑娘们使了奶妈子们，他们也就不敢闲话了。”<br />
探春道“因此我心中不自在，饶费两起儿钱，东西又白丢一半，不如竟把买办的<br />
这一项每月蠲了为是。此是一件事。<br />
<br />
Just ask some relative of other’s nanny to spend two silver buying it for the girls. If we ask those officially working for the family, they just get us the same thing, then what’s the point of doing so?” Patience smiled and explained, “ It’s true that the compradors just get us the same thing, but they won’t allow others to do so even though the latter can purchase things of higher quality, and they will accuse them of taking away their job. That’s why the women would rather offend us than those compradors. But if it is the ladies that asked the nannies to handle those affairs, they won’t dare to complain about this.” Therefore Spring-seeker said, “ That’s why I feel uncomfortable about this. We wasted two gadgets for nothing and get half the amount of things we need. Why don’t we just abolish the spending on the comprador every month? That’s the first thing I would like to deal with.<br />
<br />
<br />
Just ask some relative of other’s nanny to spend two silver buying it for the girls. If we ask those officially working for the family, they just get us the same thing, then what’s the point of doing so?” Patience smiled and explained, “ It’s true that the compradors just get us the same thing, but they won’t allow others to do so even though the latter can purchase things of higher quality, and they will accuse them of taking away their job. That’s why the women would rather offend us than those compradors. But if it is the ladies that asked the nannies to handle those affairs, they won’t dare to complain about this.” Therefore Spring-seeker complained, “ That’s why I feel uncomfortable about this. We wasted two gadgets for nothing and just got half the amount of things we need. Why don’t we just abolish the spending on the comprador every month? That’s the first thing I would like to deal with.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 10:49, 14 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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第二件，年里往赖大家去，你也去的，你<br />
看他那小园子，比咱们这个如何？”平儿笑道：“还没有咱们这一半大，树木花草<br />
也少多着呢。”探春道：“我因和他们家女孩儿说闲话儿，他说这园子除他们<br />
带的花儿，吃的笋菜鱼虾，一年还有人包了去，年终足有二百两银子剩。从那<br />
日，我才知道一个破荷叶，一根枯草根子，都是值钱的。”<br />
宝钗笑道：“真真膏粱纨裤之谈。<br />
<br />
"Then, every year we all, including you, visit her small garden, and what do you think of hers when compared with our garden?" Wearing a smile on face, Patience responded, "Not half as big as ours, moreover, speaking of the trees and flowers in our gardens respectively, hers is far less than ours." Then Seeking-Spring said, "When chit chatting with those girls in her family, I came to know that in addition to the flowers they planted, and the vegetables and fish they eat produced form this garden, this garden has been put put to contract for someone, thus there is enough money left over for two hundred taels silver at the end of the the year. From then on, I've realized that even a broken lotus leaf, and a withered grass root, are valuable. That's the second thing." Amused by what she said, Hairpin Precious said, "You are just talking like a priviledged person!"<br />
<br />
<br />
"Then, every year we all, including you, visit Big Rely's house, and what do you think of his garden when compared with ours?" Wearing a smile on face, Patience responded, "Not half as big as ours, moreover, there are far less flowers and trees in his garden than ours." Then Seeking-Spring said, "When having a chit chat with those girls in his family, I came to know that in addition to the flowers on their heads and the vegetables and fish they eat which are from the garden, that garden, could earned two hundred taels silver for its master at the end of the year because of being contracted out. From then on, I've realized that even a rotten lotus leaf or a withered grass root, is valuable. That's the second thing." Amused by what she said, Hairpin Precious said, "You are just talking like a profligate person!"--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 11:37, 16 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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你们虽是千金，原不知道这些事，但只你<br />
们也都念过书，识过字的，竟没看见过朱夫子有一篇“不自弃”的文么？”探春笑<br />
道：“虽也看过，不过是勉人自励，虚比浮词，那里都真有的？”宝钗道：“朱子都<br />
有了虚比浮词了？那句句都是有的。你才办了两天事，就利欲熏心，把朱子都<br />
看虚浮了。你再出去，见了那些利弊大事，越发连孔子也都看虚了呢！”探春笑<br />
道：“你这样一个通人，竟没看见姬子书？<br />
<br />
As daughters of a rich family, it's not unusual that you have no idea about such matters. But as learned ladies, haven't you read the essay Don't Abandon Yourself of Zhu Zi yet?" "I've read it before." Seeking-Spring smiled, "But the words in that essay are nothing but empty talk aiming to simply encourage people, and how can they tally with the actual situation?" "Did you just say that even what Zhu Zi wrote is empty talk?" replied Precious Hairpin, "Every word in his essay is true to the fact. And only being in charge for few days makes you so blind by greed that you even regard Zhu Zi as a talker. Then you may further belittle Confucius in the face of matters of great interest later!" "Haven't you, the person of wide knowledge and sound scholarship, read what Ji Zi wrote?" smiled Seeking-Spring.<br />
<br />
<br />
As daughters of a rich family, it's not unusual that you know nothing about such things, in the course of your studies you’ve surely read Zhu Xi’s essay On Not Debasing Oneself." " Of course, I've read it before." Seeking-Spring smiled, "But the words in that essay are nothing but empty talk aiming to simply encourage people. Such things can’t really happen." " So even Zhu Xi’s writings are empty talk, are they?" replied Precious Hairpin, "Every word in his essay is true to the fact. And only being in charge for few days makes you so blind by greed that you even regard Zhu Zi as a talker. Then you may further belittle Confucius in the face of matters of great interest later!" "Haven't you, the person of wide knowledge and sound scholarship, read what Ji Zi wrote?" smiled Seeking-Spring.--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 13:31, 14 May 2022 (UTC)<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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当日姬子有云：‘登利禄之场，处运筹<br />
之界者，穷尧舜之词，背孔孟之道，……’”宝钗笑道：“底下一句呢？”探春笑道：<br />
“如今断章取意，念出底下一句，我自己骂我自己不成？”宝钗道：“天下没有不<br />
可用的东西，既可用，便值钱。难为你是个聪明人，这大节目正事竟没经历。”李<br />
纨笑道：“叫人家来了，又不说正事，你们且对讲学问！”宝钗道：“学问中便是正<br />
事。若不拿学问提着，便都流入市俗去了。”<br />
<br />
Jizi said,‘Those in a position to seek profit and emolument, or responsible for planning and calculating, may talk like Yao and Shun but disobey the precepts of Confucius and Mencius.’Baochai smiled as Tanchun broke off and urged,“Go on.”“That’s all I want to quote. Why should I go on to make fun of myself?”“There’s nothing useless in this world, and when something has a use it’s worth money. I’d have thought, where a serious matter like this is concerned, you had sense enough to grasp such a self-evident truth.”“You call us here,”put in Li Wan,“but instead of talking business the two of you just carry on an academic discussion.”“This academic discussion has a bearing on our business,” replied Baochai.“If our small tasks aren’t guided by principles, they’ll get out of hand and sink to the vulgar level of the market-place.”<br />
<br />
Jizi said, once said, “Whosoever sets his foot in the market-place or takes his seat at the counting-board must forget about Yao and Shun and turn his back on the teachings of Confucius and Mencius. ”Baochai smiled as Tanchun broke off and urged, “Go on.” “That’s all I want to quote. Why should I go on to make fun of myself?”“There’s nothing useless in this world, and when something has a use it’s worth money. I’d have thought, where a serious matter like this is concerned, you had sense enough to grasp such a self-evident truth.”“You call us here,”put in Li Wan, “but instead of talking business the two of you just carry on an academic discussion.” “This academic discussion has a bearing on our business,” replied Baochai. “If our small tasks aren’t guided by principles, they’ll get out of hand and sink to the vulgar level of the market-place.”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 11:50, 15 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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三人取笑了一回，便仍谈正事。探春又接说道：“咱们这个园子，只算比他<br />
们的多一半，加一倍算起来，一年就有四百银子的利息。若此时也出脱生发银<br />
子，自然小器，不是咱们这样人家的事；若派出两个一定的人来，既有许多值钱<br />
之物，一味任人作践，也似乎暴殄天物。不如在园子里所有的老妈妈中，拣出几<br />
个本分老成，能知园圃的，派他们收拾料理。也不必要他们交租纳税，只问他们<br />
一年可以孝敬些什么。<br />
After this joking they got down to business. Let's say for the sake of argument that our garden is only twice as big as theirs. Doubling the income they get from theirs would mean a clear profit of four hundred taels per annum. Of course, it would be petty and unworthy of our family to concentrate solely now on making money. But if a couple of women are assigned to take charge, all the valuable things here won't be squandered it's a shame to let them go to waste. I think we ought to pick out a few experienced trustworthy old women from among the ones who work in the Garden - women who know something about gardening already - and put the upkeep of the Garden into their hands. We needn't ask them to pay us rent; all we need ask them for is an annual share of the produce.<br />
<br />
After this joking they got down to business. Let's say for the sake of argument that our garden is only twice as big as theirs. Doubling the income they get from theirs, which means a clear profit of four hundred taels per annum. Of course, it would be petty and unworthy of our family to concentrate solely now on making money. But if a couple of women are assigned to take charge, all the valuable things here won't be squandered, it's a shame to let them go to waste. I think we ought to pick out a few experienced trustworthy old women from those who work in the Garden - women who know something about gardening already - and put the upkeep of the Garden into their hands. We needn't ask them to pay us rent; all we need ask them for is an annual share of the produce.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 11:14, 16 May 2022 (UTC)<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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一则园子有专定之人修理花木，自然一年好似一年的，<br />
也不用临时忙乱；二则也不致作践，白辜负了东西；三则老妈妈们也可借此小<br />
补，不枉年日家在园中辛苦；四则也可以省了这些花儿匠、山子匠并打扫人等的<br />
工费：将此有余，以补不足，未为不可。”宝钗正在地下看壁上的字画，听如此说，<br />
便点头笑道：“善哉，三年之内，无饥馑矣。”李纨道：“好主意。果然这么行，太<br />
太必喜欢。省钱事小，园子有人打扫，专司其职，又许他去卖钱。<br />
<br />
Firstly, there are special people in the garden to care for flowers and trees, and naturally they will grow better year by year, and we don't have to be in temporary hectics; secondly, , and the things are wasted; the third is that the old mothers can also take advantage of this opportunity and not waste the hard work in the garden; the fourth can also save the labor expenses of these flower craftsmen, mountain craftsmen, and cleaning people: there will be more than enough to make up for the deficiencies. Precious Hairpin was looking at the calligraphy and paintings on the wall, and when she heard this, he nodded his head and smiled: "nice, within three years, there will be no hunger." Li Yi said, "Good idea.Lady Wang would like it. it cannot only save money, but also earn money because the garden is cleaned by servants,who dedicated to his duties.<br />
<br />
Firstly, there are special people in the garden to care for flowers and trees, and naturally they will grow better year by year, and we don't have to be in temporary hectics; secondly, and the things are wasted; the third is that the old servants can also take advantage of this opportunity and the hard work in the garden not in vain; the fourth it can also save the labor expenses of these flower craftsmen, mountain craftsmen, and cleaning people: there will be more than enough to make up for the deficiencies. Precious Hairpin was looking at the calligraphy and paintings on the wall, and when she heard this, nodded her head and smiled: "nice, within three years, there will be no hunger." Silk Plum said, "Good idea.Lady King would like it. It cannot only save money, but also earn money because the garden is cleaned by servants,who dedicated to their duties.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 14:00, 16 May 2022 (UTC)<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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使之以权，动之<br />
以利，再无不尽职的了。”平儿道：“这件事须得姑娘说出来。我们奶奶虽有此<br />
心，未必好出口。此刻姑娘们在园里住着，不能多弄些玩意儿陪衬，反叫人去监<br />
管修理，图省钱，这话断不好出口。”<br />
宝钗忙走过来，摸着他的脸笑道：“你张开嘴，我瞧瞧你的牙齿舌头是什么<br />
做的？从早起来，到这会子，你说了这些话，一套一个样子，也不奉承三姑娘，也<br />
没见你们奶奶才短想不到；<br />
<br />
She threatened with power and seduced with benefits. No one could be more dutiful." Patience said, "It must be said by the girl. Although our grandmother had such a desire, it might not be suitable for her to speak it out. At present, the girls are living in the garden, we can not get more gadgets to accompany, but call people to supervise the repair, trying to save money, it is not suitable." Precious Hairpin came over and touched her face and said with a smile, "Open your mouth and let me see what your teeth and tongue are made of. Ever since you got up early in the morning, you have said the same thing in different ways, without flattering the third girl, and without inconsiderable about your grandmother’s matter.<br />
<br />
given the authority and a profit incentive they’re bound to do their best." "This proposal had to come from you, miss," remarked Patience. "My mistress had the same idea, but she could hardly suggest it with all you young ladies living in the Garden. Instead of improving the place, how could she propose putting people in charge to save money?" Precious Hairpin stepped up to her and patted her cheek. "Open your mouth and let me see what your teeth and tongue are made of!" she cried. "From first thing this morning till now you’ve done so much talking, and you’ve a different argument each time. You neither praise Seeking-spring to her face nor admit that your mistress ever overlooks anything, not do you agree to whatever Seeking-spring say;--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 08:49, 16 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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三姑娘说一套话出来，你就有一套话回奉，总是三姑娘想得到的，你们奶奶也想到了，只是必有个不可办的原故，这会子又是因姑娘们住的园子，不好因省钱令人去监管。你们想想这话，要果真交与人弄钱去的，那人自然是一枝花也不许掐，一个果子也不许动了，姑娘们分中，自然是不敢讲究，天天与小姑娘们就吵不清。他这远愁近虑，不亢不卑，他们奶奶便不是和咱们好，听他这一番话，也必要自愧的变好了。”<br />
<br />
but each time she makes some proposal you have your answer pat the same idea occurred to your mistress, too, but there was always some reason why she couldn’t suggest it. Now you’re saying that because we live here she couldn’t put people in charge so as to save money. Can’t you two see what that means? If we really let people make money out of the Garden, they naturally won’t want anyone to pick a single flower or fruit. Of course they won’t dare deny us, but they’ll be quarrelling all the time with our maids. How farsighted and circumspect Patience is! She neither argues back nor flatters you. If her mistress weren’t good to us, as in fact she is, hearing Patience talk like this would surely make her repent and mend her ways.’<br />
<br />
<br />
Whenever she has finished saying something, you come back at her with the same refrain: your mistress has thought of that too, only for some compelling reason or other she hasn't been able to do anything about it.Now you’re saying that because we live here she couldn’t put people in charge so as to save money. Can’t you two see what that means? If we really let people make money out of the Garden, they naturally won’t want anyone to pick a single flower or fruit. Of course they won’t dare deny us, but they’ll be quarrelling all the time with our maids. How farsighted and circumspect Patience is! She neither argues back nor flatters you. If her mistress weren’t good to us, as in fact she is, hearing Patience talk like this would surely make her repent and mend her ways.’--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 15:50, 16 May 2022 (UTC)<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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探春笑道：“我早起一肚子气，听他<br />
来了，忽然想起他主子来：素日当家，使出来的好撒野的人，我见了他便生气了。<br />
谁知他来了，避猫鼠儿是的，站了半日，怪可怜的。接着又说了那些话，不说他<br />
主子待我好，倒说‘不枉姑娘待我们奶奶素日的情意了’，这一句话，不但没了<br />
气，我倒愧了，又伤起心来。我细想：我一个女孩儿家，自己还闹得没人疼没人<br />
顾的，我那里还有好处去待人。”口内说到这里，不免又流下泪来。<br />
<br />
<br />
“I was in a bad temper this morning,” said Seeking-Spring Merchant. “When I heard she‘d come I suddenly thought of her mistress and of how insubordinate all the servants have grown under her management. So the sight of Pinger made me even angrier. But she came in like a mouse shrinking from a cat, and looked so pathetic all the time she stood there; and when she did speak, it was not to remind me of the many kindnesses that I owe her mistress, but to tell me that if I decided to make any changes, I should be doing her mistress a kindness which she was “sure she would appreciate”. It really wrung my heart when she said that. #3 Not only did I stop feeling angry then; I felt ashamed. “Here am I,” I thought, “only a young girl, but behaving in such a way that nobody can ever like me or care what happens to me. When shall I ever be in a position to do anyone a kindness?” At this point her emotion got the better of her and she shed some tears.--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 11:27, 15 May 2022 (UTC)<br />
<br />
<br />
Seeking Spring smiled, “I was in a bad temper this morning. When I heard she‘d come I suddenly thought of her mistress and of how insubordinate all the servants have grown under her management. So the sight of Patience made me even angrier. But she came in like a mouse shrinking from a cat, and looked so pathetic all the time she stood there; and when she did speak, it was not to remind me of the many kindnesses that I owe her mistress, but to tell me that if I decided to make any changes, I should be doing her mistress a kindness which she was “sure she would appreciate”. It really wrung my heart when she said that. Not only did I stop feeling angry then; I felt ashamed. “Here am I,” I thought, “only a young girl, but behaving in such a way that nobody can ever like me or care what happens to me. When shall I ever be in a position to do anyone a kindness?” At this point her emotion got the better of her and she shed some tears.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 11:54, 15 May 2022 (UTC)<br />
<br />
==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
<br />
李纨等见他说的恳切，又想他素日赵姨娘每生诽谤，在王夫人跟前，亦为赵姨娘所累，也都不免流下泪来，都忙劝他：“趁今日清净，大家商议两件兴利剔弊的事情，也不枉太太委托一场。又提这没要紧的事做什么！”平儿忙道：“我已明白了。姑娘竟说，谁好，竟一派人，就完了。”探春道：“虽如此说，也须得回你奶奶一声。我们这里搜剔小利，已经不当，皆因你奶奶是个明白人，我才这样行；<br />
<br />
Her distress reminded Silk Plum and the others of all the instances of Concubine Walk's outrageous behaviour, which had involved Seeking Spring, making her embarrassed to face Lady King. They could not help shedding tears of sympathy.“Don't talk like that,”they urged.“What does it matter? Now that we're free, let's work out a couple of ways to make a profit and get rid of past abuses, so as to prove ourselves worthy of the mistress'trust.”“I understand,”put in Patience hastily.“Just trust this business to some reliable people of your own choosing, miss, and that will be that.”“That's all very well, but we must consult your mistress first,”insisted Seeking Spring.“We've already overstepped our authority, scrimping and scraping, right and left, and I wouldn't suggest this if she weren't so understanding.<br />
<br />
Her distress reminded Silk Plum and the others of all the instances of Concubine Walk's outrageous behaviour, which had involved Seeking Spring, making her embarrassed to face Lady King. They can not help shedding tears of sympathy.“Don't talk like that,”they urged.“What does it matter? Now that we're free, let's work out a couple of methods to make a profit and get rid of past abuses, so as to prove ourselves worthy of the mistress'trust.”“I understand,”put in Patience hastily.“Just trust this business to some reliable people of your own choosing, miss, and that will be that.”“That's all very well, but we must consult your mistress first,”insisted Seeking Spring.“We've already overstepped our authority, scrimping and scraping, right and left, and I wouldn't suggest this if she weren't so understanding.--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 13:30, 15 May 2022 (UTC)<br />
<br />
==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
<br />
若是糊涂多歪多妒的，我也不肯，倒像抓他的乖一般了。岂可不商议了行<br />
的？”平儿笑道：“既这样，我去告诉一声儿。”说着去了；半日方回来，笑说：“我<br />
说是白走一趟。这样好事，奶奶岂有不依的！”探春听了，便和李纨命人将园中所有婆子的名单要来，大家参度，大概定<br />
了几个人。又将他们一齐传来，李纨大概告诉与他们。众人听了，无不愿意。<br />
也有说：“那片竹子单交给我，一年工夫，明年又是一片。除了家里吃的笋，一年<br />
还可交些钱粮。”<br />
<br />
<br />
If she were officious or spiteful, I’d never have dreamed of it either it would look as if I were trying to show her up. We certainly must consult her.”“In that case I’ll go and tell her,”said Patience with a smile, and with that she went off. After a while she came back to tell them gaily, “I said there was no need to go. It’s such a good idea, of course my mistress approves.”Then Seeking-Spring and Silk Plum asked for a list of the names of all the elderly women in the Garden, and after some discussion made a tentative choice of a few. These women，summoned and told the plan in outline by Silk Plum, agreed to it readily.“Just leave that bamboo plot to me,”said one. “In a year’s time there’ll be another plot. Then, apart from supplying the household with bamboo shoots, I can hand in some money too.”<br />
<br />
==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
<br />
这一个说：“那一片稻地交给我，一年这些玩的大小雀鸟的粮<br />
食，不必动官中钱粮，我还可以交钱粮。”探春才要说话，人回：“大夫来了，进园<br />
瞧史姑娘去。”众婆子只得去接大夫。平儿忙说：“单你们，有一百也不成个体<br />
统。难道没有两个管事的头脑带进大夫来？”回事的那人说：“有吴大娘和单大<br />
娘，他两个在西南角上聚锦门等着呢。”平儿听说，方罢了。众婆子去后，探春问宝钗：“如何？”<br />
<br />
This one said: "That piece of rice land to me, a year of these play the size of the birds of food, do not have to move the official in money and grain, I can also pay money and grain." Tanchun was about to speak when someone returned, "The doctor is here, go into the garden to see Miss Shi." The maids had to go and fetch the doctor. Patience was busy saying, "Even if there were a hundred of you alone, you wouldn't be a unit. Don't you have two stewards who can bring in a doctor?" The one who answered said, "There are Wu Daniang and Shan Daniang, they are waiting at the southwest corner of the house." When Ping'er heard about this, she said, "I'll be right back. After the women had left, Tanchun asked Baochai, "How is it?"<br />
<br />
This one said: "Leave that piece of rice land to me, a year of these play the size of the birds of food, do not have to resort to the official money and grain, I can also pay money and grain." Seeking-Spring was about to speak when someone replied, "The doctor is here, and let him go into the garden to see Miss History." The maids had to go and fetch the doctor. Patience was hurried to say, "Even if there were a hundred of people like you, it wouldn't count on too much. Haven't there two clever stewards who can bring in the doctor?" The one who answered said, "There are old lady Wu and old lady Shan, they are waiting at Jujin Gate which at the southwest corner of the house." When Patience heard about this, she said nothing.After the maids had left, Seeking-Spring asked Precious Hairpin, "How is it?"--[[User:Yang Ziwei|Yang Ziwei]] ([[User talk:Yang Ziwei|talk]]) 07:19, 16 May 2022 (UTC)<br />
<br />
==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
<br />
<br />
宝钗笑答道：“幸于始者怠于终，善其辞<br />
者嗜其利。”探春听了，点头称赞，便向册上指出几人来与他三人看。平儿忙去<br />
取笔砚来。他三人说道：“这一个老祝妈，是个妥当的，况他老头子和他儿子，代<br />
代都是管打扫竹子，如今竟把这所有的竹子交与他。这一个老田妈，本是种庄<br />
稼的，稻香村一带，凡有菜蔬稻稗之类，虽是玩意儿，不必认真大治大耕，也须得<br />
他去再细细按时加些培植，岂不更好？”<br />
Precious Hairpin laughed and said: “Those who are excited by lucky profit at the beginning will eventually slack off; Those who talk big are just greedy for profit, without any real ability.” Having heard this, Seeking-Spring nodded in praise and pointed out certain persons to the book for the three of them to read. Then Patience hurried to fetch writing brushes and inkstone. Three of them said: “The old lady Zhu is a careful and reliable person. Moreover, her husband and son have been in charge of cleaning up the bamboos for generations and as a result, all of bamboos’ management should have been taken over by them now. Another one is old lady Tian, who is originally a farmer. In the Rice Fragrant Village, as soon as there are vegetables, fruits, rice and wheat and the like, though they have no need to work and manage in a meticulous manner, they would grow better if old lady Tian could cultivate them carefully on schedule.”<br />
<br />
<br />
Precious Hairpin, laughing, quoted: “Those who are jealous of the start may get lax before the finish. And fine speech may hide a hankering after a profit.” Seeking-Spring nodded with agreement. Then she selected some names from the list for the other three people’s consideration. Patience hurried to fetch a brush and inkstone. “The old lady Zhu is a careful and reliable person,” they said. “Moreover, her husband and son have been looking after the bamboos, so we may give all bamboos to them for management. Another one is old lady Tian, who is originally a farmer. Those vegetables and fruits planted in Paddy- Sweet Cottage are only for fun and do not need to be cultivated seriously. However, it would be better to have her there in charge during the different seasons.”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 11:05, 14 May 2022 (UTC)<br />
<br />
==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
<br />
探春又笑道：“可惜蘅芜苑和怡红院这<br />
两处大地方，竟没有出息之物！”李纨忙笑道：“蘅芜苑更利害！如今香料铺<br />
并大市大庙卖的各处香料香草儿，都不是这些东西？算起来，比别的利息更大！<br />
怡红院别说别的，单只说春夏二季的玫瑰花，共下多少花朵儿？还有一带篱笆上<br />
的蔷薇、月季、宝相、金银花、藤花，这几色草花，干了卖到茶叶铺药铺去，也值好<br />
些钱。”探春笑道：“原来如此，只是弄香草的没有在行的人。”<br />
<br />
Seeking-Spring said: “What a pity! There is nothing that can make a profit in Happy Red Court and Asarum Garden.” “You are wrong,” said Silk Plum. “Asarum Garden can make a greater profit. It is full of herbs and spices. We can sold them to perfumers as well as big markets and temple fairs. I think those will bring in greater profit. As for Happy Red Court, not to mention anything else, just think how many roses it has in spring and summer. Also, the fence is covered with lots of roses, monthly roses, honeysuckles and other kinds of flowers. We can dry them and then sell them to tea shops and pharmacies to make money.” “That’s it,” said Seeking-Spring with a smile. “But there is nobody who are proficient in such things.”<br />
<br />
<br />
“What a pity there’s nothing we can turn to profit in Happy Red Court and Alpinia Park, large as they both are.’ remarked Seeking-Spring Merchant. “Why, Alpinia Park’s even better,” declared Li Wan. “Isn’t it full of the spices and herbs you find sold by perfumers, as well as at all the big markets and temple fairs? I reckon those will bring in the biggest profit of the lot. As for Happy Red Court, not to mention anything else, just think how many roses it has all spring and summer. That fence there is cov�ered with rambler roses and monthly-roses, as well as honeysuckle and other flowers, all of which fetch a good price in tea-shops and pharma�cies when they’re dried.” “Is that so?” asked Seeking-Spring with a smile. “We’re no one, though, who understands such things.”--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 07:45, 15 May 2022 (UTC)<br />
<br />
==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
<br />
平儿忙笑道：“跟<br />
宝姑娘的莺儿他妈，就是会弄这个的。上回他还采了些晒干了，编成花篮葫芦<br />
给我玩呢，姑娘倒忘了不成？”宝钗笑道：“我才赞你，你倒来捉弄我了。”三人<br />
都咤异问道：“这是为何？”宝钗道：“断断使不得。你们这里多少得用的人，一<br />
个个闲着没事办，这会子我又弄个人来，叫那起人连我也看小了。我倒替你们<br />
想出一个人来：怡红院有个老叶妈，他就是焙茗的娘，那是个诚实老人家；他又<br />
合我们莺儿娘极好。<br />
“The mother of Oriole who works for Miss Precious Hairpin does.” Patience informed them. “Have you forgotten that time she gathered and dried some sprigs to make me baskets?” “I’ve just been singing your praises, yet now you’re laying a trap for me, “protested Precious Hairpin Marshgrass jokingly. “What do you mean?” asked the other three in surprise. “This is out of the question,” she answered. “All your attendants here with nothing to do will certainly think badly of me if I bring in someone else. Let me suggest another woman instead: Tealeaf’s mother, old Mrs. Ye, in Happy Red Court. She’s an honest old soul and on good terms with Oriole’s mother.”<br />
<br />
"The mother of Oriole who works for Miss Precious Hairpin does." Patience informed them that, “Have you forgotten that time she gathered and dried some sprigs to make me baskets?” “I’ve just been singing your praises, yet now you’re laying a trap on me," protested Precious Hairpin Marshgrass jokingly. “What do you mean?” asked the other three in surprise. “This is out of the question,” she answered. “All your attendants here with nothing to do would certainly think badly of me if I brought in someone else. Let me suggest another woman instead: Tealeaf’s mother, old Mrs. Ye, in Happy Red Court. She’s an honest old soul and on good terms with Oriole’s mother.”--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:42, 16 May 2022 (UTC)<br />
<br />
==英语笔译 张瑞 Zhang Rui 202170081608==<br />
<br />
不如把这事交与叶妈，他有不知的，不必咱们说给他，就找<br />
莺儿的娘去商量了。那怕叶妈全不管，竟交与那一个，这是他们私情儿，有人说<br />
闲话，也就怨不到咱们身上。如此一行，你们办得又至公道，于事又甚妥。”李纨<br />
平儿都道：“是极。”探春笑道：“虽如此，只怕他们见利忘义呢。”平儿笑道：“不<br />
相干。前日莺儿还认了叶妈做干娘，请吃饭吃酒，两家和厚得很呢。”探春听了，<br />
方罢了。又共斟酌出几人来，俱是他四人素昔冷眼取中的，用笔圈出。<br />
<br />
<br />
It is better to leave this matter to Aunt Ye. There is something she does not know, and we do not need to tell her. We will find Maid Oriole's mother to discuss. Even if Aunt Ye didn't care at all and actually handed over to that one, this would th matter concerning them, and they can't complain about us if someone gossips. In such a way, you can do it fairly and very well."Silk Plum and Patience said, "Indeed." Seeking-Spring smiled, "Even so, I'm just afraid that they will just care about profit and forget righteousness." Patience smiled and said, "Irrelevant. The day before yesterday, Maid Oriole took Aunt Ye as her mother. [lease eat and drink, the two families are very close. Seeking-Spring listened and stopped. A few people were considered together, and all of them were taken by the four of them in the cold eyes and circled with a pen.<br />
<br />
<br />
<br />
<br />
It is better to leave this matter to Aunt Leaf. There is something she does not know, and we do not need to tell her. We will find Maid Oriole's mother to discuss. Even if Aunt Leaf didn't care at all and actually handed over to that one, this would be the matter concerning them, and they can't complain about us if someone gossips. In such a way, you can do it fairly and very well." Silk Plum and Patience said, "Indeed." Seeking-Spring smiled, "Even so, I'm just afraid that they will just care about profit and forget righteousness." Patience smiled and said, "Irrelevant. The day before yesterday, Maid Oriole took Aunt Leaf as her mother. With eating and drinking, the two families are very close. Seeking-Spring listened and stopped. A few people were considered together, and all of them were taken by the four of them in the cold eyes and circled with a pen.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 09:02, 16 May 2022 (UTC)<br />
<br />
==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
<br />
一时婆子们来回：“大夫已去。”将药方送上去，三人看了，一面遣人送出外<br />
边去取药，监派调服；一面探春与李纨明示诸人：某人管某处，“按四季，除家中<br />
定例用多少外，余者任凭你们采取了去取利，年终算账。”探春笑道：“我又想起<br />
一件事：若年终算账，归钱时，自然归到账房，仍是上头又添一层管主，还在他们<br />
手心里，又剥一层皮。这如今我们兴出这事来，派了你们，已是跨过他们的头去<br />
了，心里有气，只说不出来；<br />
Then the old maids came back and said, "The doctor has gone." Then they handed in the prescription. After seeing it, Seeking Spring, Silk Plum and Patience ordered a servant to take and boil the medicine under supervision, then Seeking Spring and Silk Plum expressed it clearly to everyone present: you each should be in charge of what you are in charge. "According to the four seasons, in addition to the expense spent on essential matters in the house, you can take the left money to make for profits and we will cast accounts in the end of the year." Then Seeking Spring smiled, "I think of one thing: if we cast accounts in the end of the year, the left money has to be handed in to the stewards. And now we add a new level of manager and cut on their salary like peeling their skin out of their hands. And we have made such an order and designated you guys, which is to overstep their authority. Maybe they're angry and can't express it;<br />
<br />
Then the old maids came back and said, "The doctor has gone." Then they handed in the prescription. After seeing it, Seeking Spring, Silk Plum and Patience ordered a servant to take and boil the medicine under supervision, then Seeking Spring and Silk Plum expressed it clearly to everyone present: you each should be in charge of what you are in charge. "According to the four seasons, in addition to the expense spent on essential matters in the house, you can take the left money to make for profits and we will cast accounts in the end of the year." Then Seeking Spring smiled, "I think of one thing: if we cast accounts in the end of the year, the left money has to be handed in to the stewards. And now we add a new level of manager and cut on their salary like peeling their skin out of their hands. And we have made such an order and designated you guys, which is to overstep their authority. Maybe they're angry and can't express it;--[[User:Zheng Dongqin|Zheng Dongqin]] ([[User talk:Zheng Dongqin|talk]]) 11:10, 16 May 2022 (UTC)<br />
<br />
==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
<br />
你们年终去归账，他还不捉弄你们等什么？再者，这一年间，管什么的，主子有一全分，他们就得半分，这是每常的旧规，人所共知的。如今这园子里是我的新创，竟别入他们的手，每年归账，竟归到里头来才好。”宝钗笑道：“依我说，里头也不用归账，这个多了，那个少了，倒多了事。不如问他们谁领这一分的，他就揽一宗事去。不过是园里的人动用。我替你们算出来了，有限的几宗事，不过是头油、胭脂、香、纸，每一位姑娘，几个丫头，都是有定例的；<br />
Thus they’re bound to squeeze you if you go to them to settle your annual accounts. Why, every year the steward managing each property or estate gets one-third of the proceeds. That’s how it’s always been; it’s an open secret. That’s apart from what else they filch. Our new management of the Garden shouldn’t go through their hands at all. So come to us at the end of the year to settle your accounts.'‘I don’t think accounts need be turned in at all,'said Precious Hairpin Marshgrass .'Comparisons are so invidious. Better let the woman entrusted with one job be responsible for the expenses of that place. I’ve worked it out and it doesn’t come to much, just what’s needed for hair-oil, rouge, powder, scent and toilet-paper for the young mistresses and their maids.<br />
<br />
==英语笔译 钟青 Zhong Qing 202170081611==<br />
<br />
<br />
再者各处笤帚、簸箕、掸子，并大小禽鸟、鹿、兔吃的粮食。不过这几样。<br />
都是他们包了去，不用账房去领钱。你算算，就省下多少来？”平儿笑道：“这几<br />
宗虽小，一年通共算了，也省得下四百两银子。”<br />
宝钗笑道：“却又来！一年四百，二年八百两，打租的房子也能多买几间，<br />
薄沙地也可以添几亩了。虽然还有敷余，但他们既辛苦了一年，也要叫他们剩<br />
些，粘补自家。虽是兴利节用为纲，然亦不可太啬。总再省上二三百银子，失了<br />
大体统，也不像。<br />
<br />
==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
<br />
所以如此一行，外头账房里一年少出四五百银子，也不觉得很<br />
艰啬了，他们里头却也得些小补；这些没营生的妈妈们，也宽裕了；园子里花木，<br />
也可以每年滋长繁盛；如此你们也得了可使之物，这庶几不失大体。若一味要<br />
省时，那里不搜寻出几个钱来。凡有些余利的，一概入了官中，那时里外怨声载<br />
道，岂不失了你们这样人家的大体？如今这园里几十个老妈妈们，若只给了这<br />
个，那剩的也必抱怨不公；<br />
<br />
<br />
<br />
In this way, the accountants could add four or five hundred stale of silver and they could be more ample in the future. Those women without proper income could live a better life. The vegetation in the yard could be lusher. Also, you obtained things you can avail of, and won't lose face. If you are so stubborn to save that petty time, the money you arduously collected would be savaged by government. At that time, all would be grumbling. Isn't that lose your face? Now the dozens of women in the yard wouldn't grumble for what you give.<br />
<br />
<br />
In this way, the accountants could add four or five hundred stale of silver and they could be more ample in the future. Those women without proper income could live a better life. The vegetation in the yard could be lusher. Also, you obtained things you can avail of, and won't lose face. If you are so stubborn to save that petty time, the money you arduously collected would be savaged by government. At that time, all would be grumbling. Isn't that lose your face? Now the dozens of women in the yard wouldn't grumble for what you give.--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 09:09, 16 May 2022 (UTC)<br />
<br />
==英语笔译 周哲 Zhou Zhe 202170081613==<br />
<br />
我才说的他们只供给这个几样，也未免太宽裕了。一<br />
年竟除了这个之外，他每人不论有余无余，只叫他拿出若干吊钱来，大家凑齐，单散与这些园中的妈妈们。他们虽不料理这些，却日夜也自在园中照看；当差之人，关门闭户、起早睡晚、大雨大雪，姑娘们出入，抬轿子，撑船，拉冰床，一应粗重活计，都是他们的差使：一年在园里辛苦到头，这园内既有出息，也是分内该沾带些的。<br />
For them simply to supply those few items, as I suggested, is letting them off too lightly. On top of that I think they should also give a few strings of cash each year, regardless of how much they have left; and this combined sum can be distributed to the other nannies in the Garden. After all, even if they have no special assignments they work here day and night from early to late, running errands and locking or unlocking gates, no matter how bad the weather. They carry the young ladies' sedan-chairs, punt boats, and draw sleighs in winter——in fact, they do all the hard work the whole year round in the Garden. So they should have a small share in the profits too.<br />
<br />
<br />
For them simply to supply those few items, as I suggested, is letting them off too lightly. On top of that I think they should also give a few strings of cash each year, regardless of how much they have left; and this combined sum can be distributed to the other nannies in the Garden. After all, even if they have no special assignments they work here day and night from early to late, running errands and locking or unlocking gates, no matter how bad the weather. They carry the young ladies' sedan-chairs, punt boats, and draw sleighs in winter——in fact, they do all the hard work the whole year round in the Garden. So they should have a small share in the profits too.--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 05:13, 17 May 2022 (UTC)<br />
<br />
==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
还有一句至小的话，越发说破了，你们只顾了自己宽裕，不分与他们<br />
些，他们虽不敢明怨，心里却都不服，只用假公济私的，多摘你们几个果子，多掐<br />
几枝花儿，你们有冤还没处诉呢。他们也沾带了些利息，你们有照顾不到，他们<br />
就替你照顾了。”众婆子听了这个议论，又去了帐房受辖治，又不与凤姐儿去算账，一年不<br />
过多拿出若干吊钱来，各各欢喜异常，都齐声说：“愿意。强如出去被他揉搓<br />
着，还得拿出钱来呢！”<br />
"There's another small thing, and I will put it more bluntly. If you just better yourselves without letting the others share in your good fortune, even if they don't complain openly they're bound to feel resentful; and then if they pick more fruit or flowers ostensibly for their mistresses but actually for themselves, there'll be nobody to whom you can complain. But if they benefit too, they can keep an eye on things for you when you're busy."<br />
The women were delighted with this proposal, which meant they would neither be controlled by the stewards nor have to settle accounts with Splendid Phonenix — all they needed to do was to pay a few extra strings of cash every year.<br />
"That suits us!" they cried. "This is better than being squeezed by those stewards outside and having to pay them."<br />
<br />
==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
<br />
那不得管地的，听了每年终无故得钱，也都喜欢起来，口内说：“他们辛苦收拾，是该剩些钱粘补的；我们怎么好‘稳吃三注’的？”宝钗笑道：“妈妈们也别推辞了，这原是分内应当的。你们只要日夜辛苦些，别躲懒纵放人吃酒赌钱就是了；不然，我也不该管这事，你们也知道，我姨娘亲口嘱托我三五回，说：“大奶奶如今又不得闲儿，别的姑娘又小，托我照看照看。我若不依，分明是叫姨娘操心。<br />
Those with no special assignments were also pleased to learn that they would be getting something for nothing. "If they do the hard work they deserve to make a little money,"they said. "How can we sit idle and rake in a profit too?" "You nannies needn’t decline,"replied Precious Hairpin with a smile. "This is as it should be. Just work hard and don't slack or allow any gambling or drinking. This is really none of my business but,as you know,my aunt has urged me repeatedly to help out now that Madam Bead's so busy and my other cousins are still young. I don't like to add to her worries by refusing.<br />
<br />
==比较文学与跨文化研究 Mahzad 202021080004==<br />
<br />
我们奶奶又多病，家务也忙。我原是个闲人，便是街坊邻<br />
居，也要个帮忙的，何况是姨娘托我？讲不起众人嫌我。倘或我只顾沽名钓誉<br />
的，那时酒醉赌输了，再生出事来，我怎么见姨娘？你们那时后悔也迟了，就连<br />
你们素昔的老脸也都丢了。这些姑娘们，这么一所大花园，都是你们照看，皆因<br />
看得你们是三四代的老妈妈，最是循规遵矩，原该大家齐心顾些体统。你们反<br />
纵放别人，任意吃酒赌博。姨娘听见了，教训一场犹可，倘若被那几个管家娘子<br />
听见了，他们也不用回姨娘，竟教导你们一场，你们这年老的反受了小的教训，<br />
虽是他们是管家，管的着你们，何如自己存些体统，他们如何得来作践呢！<br />
<br />
<br />
==外国语言文学 Muhammad Numan 202121080002==<br />
<br />
所以我如今替你们想出这个额外的进益来，也为的是大家齐心，把这园里周全的谨<br />
谨慎慎的，使那些有权执事的看见这般严肃谨慎，且不用他们操心，他们心里岂<br />
不敬服？也不枉替他们筹画些进益了。你们去细细想想这话。”众人都欢喜<br />
说：“姑娘说得很是。从此姑娘奶奶只管放心。姑娘奶奶这样疼顾我们，我们<br />
再要不体上情，天地也不容了！”刚说着，只见林之孝家的进来，说：“江南甄府里家眷昨日到京，今日进宫<br />
朝贺。此刻先遣人来送礼请安。”说着便将礼单送上去。探春接了，看道是：“上<br />
用的妆缎蟒缎十二匹。<br />
<br />
<br />
<br />
==英语语言文学 TOURE MARIAM 202021080005==<br />
<br />
<br />
上用杂色缎十二匹。上用各色纱十二匹。上用宫绸十<br />
二匹。宫用各色缎纱绸绫二十四匹。”李纨探春看过，说：“用上等封儿赏他。”<br />
因又命人去回了贾母。贾母命人叫李纨、探春、宝钗等都过来，将礼物看了。李<br />
纨收过一边，吩咐内库上人说：“等太太回来看了再收。”贾母因说：“这甄家又<br />
不与别家相同，上等封儿赏男人，只怕展眼又打发女人来请安，预备下尺<br />
头。”一语未了，果然人回：“甄府四个女人来请安。”贾母听了，忙命人带进来。那四个人都是四十往上年纪，穿带之物皆比主<br />
子不大差别。请安问好毕，贾母便命拿了四个脚踏来。<br />
<br />
==外国语言文学 UDDIN NIZAM 202121080007==<br />
<br />
他四人谢了坐，宝钗等<br />
坐了，方都坐下。贾母便问：“多早晚进京的？”四人忙起身回说：“昨儿进的京。<br />
今儿太太带了姑娘进宫请安去了，所以叫女人们来请安，问候姑娘们。”贾母笑<br />
问道：“这些年没进京，也不想到就来。”四人也都笑回道：“正是。今年是奉旨<br />
唤进京的。”贾母问道：“家眷都来了？”四人回说：“老太太和哥儿、两位小姐，并<br />
别位太太，都没来；就只太太带了三姑娘来了。”贾母道：“有人家没有？”四人<br />
道：“还没有呢。”贾母笑道：“你们大姑娘和二姑娘，这两家，都和我们家甚好。”<br />
<br />
<br />
==翻译学 SAGARA SEYDOU 201911080004 ==<br />
<br />
<br />
四人笑道：“正是。每年姑娘们有信回来说，全亏府上照看。”贾母笑道：“什么<br />
‘照看’？原是世交，又是老亲，原应当的。你们二姑娘更好，不自尊大，所以我<br />
们才走的亲密。”四人笑道：“这是老太太过谦了。”贾母又问：“你这哥儿也跟着你们老太太？”四人回说：“也是跟着老太太呢。”<br />
贾母道：“几岁了？”又问：“上学不曾？”四人笑说：“今年十三岁。因长得齐整，<br />
老太太很疼。自幼淘气异常，天天逃学，老爷太太也不便十分管教。”贾母笑道：<br />
“也不成了我们家的了！你这哥儿叫什么名字？”</div>Li Yuanhttps://bou.de/u/index.php?title=20220512_culture&diff=14303120220512 culture2022-05-18T05:08:20Z<p>Li Yuan: /* 英语笔译 李颖 Li Ying 202170081578 */</p>
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<div>Quicklinks:[[Chinese Language and Culture 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Joint_translation_terms]]<br />
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[[20220512_culture|culture of session 12 for session 13 May 12]]<br />
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'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is <br />
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20 Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 56% 陈路瑶 Chen Luyao<br />
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23 Literature: Modern Literature 55% 兰绮 Lan Qi<br />
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29 Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 54% 刘婷 Liu Ting<br />
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40 Literature: Contemporary Literature 50% 李婷Li Ting<br />
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'''Assignment 2''': '''Click here''' to answer the questions of the topics below <br />
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20 Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 56% <br />
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23 Literature: Modern Literature 55% <br />
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29 Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 54% <br />
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40 Literature: Contemporary Literature 50% <br />
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<br />
Due before 4:30 pm May. 19<br />
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'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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Due before 6:00 pm May. 18<br />
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<br />
IN PREPARATION<br />
<br />
=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
<br />
While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
<br />
Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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却说黛玉叫进宝钗家的女人来，问了好，呈上书子。黛玉叫他去喝茶，便将宝钗来书打开看时，只见上面写着：妹生辰不偶，家运多艰，姊妹伶仃，萱亲衰迈。兼之猇声狺语，旦暮无休；更遭惨祸飞灾，不啻惊风密雨。夜深辗侧，愁绪何堪！属在同心，能不为之愍恻乎？回忆海棠结社，序属清秋，对菊持螯，同盟欢洽。犹记“孤标傲世偕谁隐，一样花开为底迟”之句，未尝不叹冷节遗芳，如吾两人也。感怀触绪，聊赋四章。匪曰无故呻吟，亦长歌当哭之意耳。悲时序之递嬗兮，又属清秋。感遭家之不造兮，独处离愁。<br />
<br />
As Mascara Jade invited the female sender for Precious Hairpin in, the latter bade farewell to this young lady and delivered the letter to her. Mascara Jade treated her with tea and then left herself read Precious Hairpin’s letter, which said, “Dear Sister Forest: I have a bad fate. Now my family is struggling, with myself alone and my aged mom weeping. What’s worse, the slanders and rebukes are lingering around us; an unexpected disaster is just as devastating as the stormy weather. Sleepless nights see the deep depression over my mom. I am her only daughter, so how could I take no pity on her? I recall the days when we formed a begonia poets society, where we, with wine cups in hands, were indulged in composing poems against the chrysanthemum. I was still impressed by your lines ‘With whom can a lofty and proud person live in seclusion? Dear chrysanthemum, why do you bloom so late, unlike those blooming in spring?’ It really enables me to regret deserted integrity and lonely chrysanthemum, just like we two poor ones. Sadness falls on me, and four chapters written there will be. I never mean to adopt a sentimental pose, but take the loud singing as the release. I am saddened by the change of seasons in succession--another cool autumn it is now. I am suffering from familial misfortune and remain in grief of parting with you.<br />
<br />
<br />
As Mascara Jade invited the female sender for Precious Hairpin in, the latter extended greeting to this young lady and delivered the letter to her. Mascara Jade treated her with tea and then left herself read Precious Hairpin’s letter, which said, “Dear Sister Forest: I have a bad fate. Now my family is struggling, with myself alone and my aged mom weeping. What’s worse, the slanders and rebukes are lingering around us; an unexpected disaster is just as devastating as the stormy weather. Sleepless nights see the deep depression over my mom. I am her only daughter, so how could I take no pity on her? I recall the days when we formed a begonia poets society, where we, with wine cups in hands, were indulged in composing poems against the chrysanthemum. I was still impressed by your lines ‘With whom can a lofty and proud person live in seclusion? Dear chrysanthemum, why do you bloom so late, unlike those blooming in spring?’ It really enables me to regret deserted integrity and lonely chrysanthemum, just like we two poor ones. Sadness falls on me, and four poems written there will be. I never mean to adopt a sentimental pose, but take the loud singing as the release. I am saddened by the change of seasons in succession--another cool autumn it is now. I am suffering from familial misfortune and remain in the grief of parting with you.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 02:45, 16 May 2022 (UTC)<br />
<br />
==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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北堂有萱兮，何以忘忧？无以解忧兮，我心咻咻。一解。云凭凭兮秋风酸，步中庭兮霜叶干。何去何从兮，失我故欢。静言思之兮恻肺肝！二解。惟鲔有潭兮，惟鹤有梁。鳞甲潜伏兮，羽毛何长！搔首问兮茫茫，高天厚地兮，谁知余之永伤。三解。银河耿耿兮寒气侵，月色横斜兮玉漏沉。忧心炳炳兮，发我哀吟。吟复吟兮，寄我知音。四解。黛玉看了，不胜伤感。又想：“宝姐姐不寄与别人，单寄与我，也是‘惺惺惜惺惺’的意思。”正在沉吟，只听见外面有人说道：“林姐姐在家里呢么？”黛玉一面把宝钗的书叠起，口内便答应道：“是谁？”<br />
<br />
The first poem went like: I have a widowed mother at home for many years, what can I do to relieve her sorrow? But there is no cure to relieve my mother's sorrow. I am tormented by guilt and my heart is grieving! Then came the second poem: The clouds were thick and the autumn breeze was bleak. I strolled around the courtyard, only to see the frost-soaked leaves drying up. I didn't know what to do as the joy of the past would never return. When I thought about the series of unfortunate events that happened to my family, I felt pathos in my heart. Following was the third one: The tuna live in the deep pool, the crane in the river; the fish dive in the water, the birds grow in feather. They all enjoy their freedom and joy together but I am anxious and troubled by myself. I ask the heaven and the earth: who can know my eternal sorrow? And the last poem read: The cold light of the Milky Way, the bone-chilling chill of late autumn. The moon is slanting across the western sky, and there comes the lonely night. My heart is desperately sorrowful, thus I mourn painfully. I recite the poems again and again, and send them to my soulmate. Mascara Jade felt heartbroken when reading the letters. Then she thought in her mind:" Sister Precious Hairpin doesn't send it to others but to me. It's also a 'sympathetic bond between us'." Then she heard someone asking "Is Sister Forest at home now?" when she was reciting these poems. She answered "Who is it?" as she fold up the letters.<br />
<br />
<br />
<br />
The first poem went like: I have a widowed mother at home for many years, what can I do to relieve her sorrow? But there is no cure to relieve my mother's sorrow. I am tormented by guilt and my heart is grieving! Then came the second poem: The clouds were thick and the autumn breeze was bleak. I strolled around the courtyard, only to see the frost-soaked leaves drying up. I didn't know what to do as the joy of the past would never return. When I thought about the series of unfortunate events that happened to my family, I felt pathos in my heart. Following was the third one: The tuna live in the deep pool, the crane in the river; the fish dive in the water, the birds grow in feather. They all enjoy their freedom and joy together but I am anxious and troubled by myself. I ask the heaven and the earth: who can know my eternal sorrow? And the last poem read: The cold light of the Milky Way, the bone-chilling chill of late autumn. The moon is slanting across the western sky, and there comes the lonely night. My heart is desperately sorrowful, thus I mourn painfully. I recite the poems again and again, and send them to my soulmate. Mascara Jade felt heartbroken when reading the letters. Then she thought in her mind:" Sister Precious Hairpin doesn't send it to others but to me. It's also a 'sympathetic bond between us'." Then she heard someone outside asking "Is Sister Forest at home now?" when she was reciting these poems. She answered "Who is it?" as she fold up the letters.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 12:42, 15 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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正问着，早见几个人进来，却是探春、湘云、李纹、李绮。彼此问了好，雪雁倒上茶来，大家喝了，说些闲话。因想起前年的“菊花诗”来，黛玉便道：“宝姐姐自从挪出去，来了两遭，如今索性有事也不来了，真真奇怪。我看他终久还来我们这里不来。”探春微笑道：“怎么不来？横竖要来的。如今是他们尊嫂有些脾气，姨妈上了年纪的人，又兼有薛大哥的事，自然得宝姐姐照料一切。那里还比得先前有工夫呢。”正说着，忽听得“唿喇喇”一片风声，吹了好些落叶打在窗纸上。停了一回儿，又透过一阵清香来。众人闻着，都说道：“这是何处来的香风？这像什么香？”<br />
<br />
When Mascara Jade asked who was there, Seeking-Spring, Fragrant-cloud, Li Wen and Li Qi went in. They exchanged greetings while Snowgoose brought them tea,and then they chatted. Remembering the poems they had written that year on chrysanthemums, Mascara Jade remarked:“sister Precious Hairpin came over twice after moving out, yet these days even when something happens she doesn’t come. Isn’t that odd? I wonder whether she’ll ever come back or not!”“Why shouldn’t she?” asked Seeking-Spring with a smile. “She’s bound to eventually Just now, of course, she has too much to see to, what with her sister-in-law’s cranky ways,Aunt Marshgrass getting on in years, and on top of everything this trouble of Cousin Marshgrass’s. She hasn’t the time to spare that she used to have.”Just then a gust of wind sprang up, dashing fallen leaves against the window paper. After a while they smelt a faint fragrance.“Where does this scent come from?” they wondered. “What can it be?”<br />
<br />
When Mascara Jade asked who was there, Seeking-Spring, Fragrant-cloud, Li Wen and Li Qi went in. They exchanged greetings while Snowgoose brought them tea,and then they chatted. Remembering the poems they had written that year on chrysanthemums, Mascara Jade remarked:“sister Precious Hairpin came over twice after moving out, yet these days even when something happens she doesn’t come. Isn’t that odd? I wonder whether she’ll ever come back or not!”“Why shouldn’t she?” asked Seeking-Spring with a smile. “She’s bound to eventually Just now, of course, she has too much to see to, what with her sister-in-law’s cranky ways,Aunt Marshgrass getting on in years, and on top of everything this trouble of Cousin Marshgrass’s. She hasn’t the time to spare that she used to have.”Just then a gust of wind sprang up, dashing fallen leaves against the window paper. After a while they smelt a faint fragrance.“Where does this scent come from?” they wondered. “What can it be?”--[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 09:05, 14 May 2022 (UTC)<br />
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==英语笔译 崔晓凡 Cui Xiaofan 202170081566==<br />
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黛玉道：“好像木樨香。”探春笑道：“林姐姐终不脱南边人的话。这大九月里的，那里还有桂花呢？”黛玉笑道：“原是啊！不然，怎么不竟说‘是’桂花香，只说似乎‘像’呢？”湘云道：“三姐姐，你也别说。你可记得‘十里荷花，三秋桂子’？在南边正是晚桂开的时候了，你只没有见过罢了。等你明日到南边去的时候，你自然也就知道了。”探春笑道：“我有什么事到南边去？况且这个也是我早知道的，不用你们说嘴。”李纹李绮只抿着嘴儿笑。黛玉道：“妹妹，这可说不齐。俗语说，‘人是地行仙。’今日在这里，明日就不知在那里。譬如我原是南边人，怎么到了这里呢？”<br />
<br />
“It’s like fragrant osmanthus,” observed Mascara Jade. “Cousin Forest is talking like a southerner,” teased Seeking-Spring. “How could fragrant osmanthus bloom in the ninth month?” “Quite so.” Mascara Jade laughed. “That’s why I said it’s like fragrant osmanthus.” “You’d better pipe down, Seeking-Spring.” put in Fragrant-cloud. “Don’t you remember the lines:Ten li of lotus blooms.And in late autumn fragrant osmanthus seeds."This is the season for it to blossom down south, only you’ve never seen it. When you go south in future, you’ll find out.”“Why should I go south?” asked Seeking-Spring. “Besides, I knew that without your telling me."Li Wen and Li Qi said nothing, only smiled. “Don’t be so sure about that, cousin,” said Mascara Jade. “As the saying goes, ‘Man is a wanderer, here today but gone tomorrow’. For example, how did I get here, when I’m a southerner?”<br />
<br />
“It’s like fragrant osmanthus,” observed Mascara Jade. “Cousin Forest is talking like a southerner,” teased Seeking-Spring. “How could fragrant osmanthus bloom in the ninth month?” “Quite so.” Mascara Jade laughed. “That’s why I said it’s like fragrant osmanthus.” “You’d better pipe down, Seeking-Spring.” put in Fragrant-cloud. “Don’t you remember the lines:Ten li of lotus blooms.And in late autumn fragrant osmanthus seeds."This is the season for it to blossom down south, only you’ve never seen it. When you go south in future, you’ll find out.”“Why should I go south?” asked Seeking-Spring. “Besides, I knew that without your telling me."Li Wen and Li Qi said nothing, only smiled. “Don’t be so sure about that, cousin,” said Mascara Jade. “As the saying goes, ‘Man is a wanderer, here today but gone tomorrow’. For example, how did I get here, when I’m a southerner?”--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 14:24, 17 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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湘云拍着手笑道：“今儿三姐姐可叫林姐姐问住了。不但林姐姐是南边人到这里，就是我们这几个人就不同：也有本来是北边的；也有根子是南边，生长在北边的；也有生长在南边，到这北边的，今儿大家都凑在一处。可见人总有一个定数。大凡地和人，总是各自有缘分的。”众人听了，都点头，探春也只是笑。又说了一会子闲话儿，大家散出。黛玉送到门口，大家都说：“你身上才好些，别出来了，看着了风。”于是黛玉一面说着话儿，一面站在门口，又与四人殷勤了几句，便看着他们出院去了。进来坐着，看看已是林鸟归山，夕阳西坠。<br />
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Fragrant-cloud History clapped her hands and smiled, "My third sister has been questioned by Sister Lin. Not only sister Lin came from the south, but we were different. Some were originally from the north. Some have roots in the south and grow in the north; There are some that grow in the south, up here in the north, and we're all together today. So there is always a fixed number. The earth and people are bound by destiny." When everyone heard this, they all nodded, and Seeking-Spring Merchant just laughed. After another idle talk, we scattered. When Mascara Jade Forest arrived at the door, everyone said, "You are feeling better. Don't come out and get the cold." While Mascara Jade Forest was still talking, she stood at the door and paid some attention to the four men. Then she saw them leave the hospital. Come in and sit and watch the forest birds return to the mountain and the sun sets in the west.<br />
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Fragrant-cloud History clapped her hands and smiled, "My third sister has been questioned by Sister Lin. Not only sister Lin came from the south, but we were different. Some were originally from the north. Some have roots in the south and grow in the north; There are some that grow in the south, up here in the north, and we're all together today. So there is always a fixed number. The earth and people are bound by destiny." When everyone heard this, they all nodded, and Seeking-Spring Merchant just laughed. After another idle talk, we scattered. When Mascara Jade Forest arrived at the door, everyone said, "You are feeling better. Don't come out and get the cold." While Mascara Jade Forest was still talking, she stood at the door and paid some attention to the four men. Then she saw them leave the hospital. Come in and sit and watch the forest birds return to the mountain and the sun sets in the west.--[[User:Gao Zhihui|Gao Zhihui]] ([[User talk:Gao Zhihui|talk]]) 01:52, 18 May 2022 (UTC)<br />
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==英语笔译 高智慧 Gao Zhihui 202170081568==<br />
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因史湘云说起南边的话，便想着：“父母若在，南边的景致，春花秋月，水秀山明，二十四桥，六朝遗迹。不少下人伏侍，诸事可以任意，言语亦可不避。香车画舫，红杏青帘，惟我独尊。今日寄人篱下，纵有许多照应，自己无处不要留心。不知前生作了什么罪孽，今生这样孤凄。真是李后主说的‘此间日中只以眼泪洗面’矣！”一面思想，不知不觉神往那里去了。紫鹃走来，看见这样光景，想着必是因刚才说起南边北边的话来，一时触着黛玉的心事了，便问道：“姑娘们来说了半天话，想来姑娘又劳了神了。<br />
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With Fragrant-cloud History's words about the South still ringing in her ears, Mascara Jade Forest drifted into a daydream. If her parents were still alive.. . If she still lived in the South, that gentle land of spring flowers and autumn moonlight, of limpid waters and luminous hills... How she would love to be there again, to visit the Twenty Four Bridges in Yangchow and all the famous historical sites of Nanking! In the South she would have plenty of servants of her own to wait on her. She could do and speak as she pleased, sail in painted pleasure-boats and ride in perfumed carriages, watch the fields of red apricot-blossom go by, spot the inn-signs through the trees... She would be a young lady in her own right, not an outsider, dependent on others for everything. However much the Merchants did for her, she always felt the need to be on her best behaviour. What wrong had she done in a previous incarnation to deserve this lonely existence? Those words written in captivity by the last emperor of Southern Tang -Here, all day long, I bathe my face in tears -how well they expressed her own feelings! Her soul seemed transported to some distant region. When Nightingale came in, a single glance sufficed to tell her the cause of Mascara Jade Forest’s ‘absence’. She had been in the room when Fragrant-cloud History was talking, and knew how easily Mascara Jade Forest was upset by the slightest reference to the South. "I thought you might feel tired again, Miss," she said,"after all your visitors and such a lot of talking,"<br />
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With Fragrant-cloud History's words about the South still ringing in her ears, Mascara Jade Forest drifted into a daydream. If her parents were still alive.. . If she still lived in the South, that gentle land of spring flowers and autumn moonlight, of limpid waters and luminous hills... How she would love to be there again, to visit the Twenty Four Bridges in the city of Dimension Poplar and all the famous historical sites of Nanjing! In the South she would have plenty of servants of her own to wait on her. She could do and speak as she pleased, sail in painted pleasure-boats and ride in perfumed carriages, watch the fields of red apricot-blossom go by, spot the inn-signs through the trees... She would be a young lady in her own right, not an outsider, dependent on others for everything. However much the Merchants did for her, she always felt the need to be on her best behaviour. What wrong had she done in a previous incarnation to deserve this lonely existence? Those words written in captivity by the last emperor of Southern Tang -Here, all day long, I bathe my face in tears -how well they expressed her own feelings! Her soul seemed transported to some distant region. When Nightingale came in, a single glance sufficed to tell her the cause of Mascara Jade Forest’s ‘absence’. She had been in the room when Fragrant-cloud History was talking, and knew how easily Mascara Jade Forest was upset by the slightest reference to the South. "I thought you might feel tired again, Miss," she said,"after all your visitors and such a lot of talking,"<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 09:10, 14 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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刚才我叫雪雁告诉厨房里，给姑娘作了一碗火肉白菜汤，加了一点儿虾米儿，配了点青笋紫菜，姑娘想着好么？”黛玉道：“也罢了。”紫鹃道：“还熬了一点江米粥。”黛玉点点头儿，又说道：“那粥该你们两个自己熬了，不用他们厨房里熬才是。”紫鹃道：“我也怕厨房里弄的不干净，我们各自熬呢。就是那汤，我也告诉雪雁合柳嫂儿说了，要弄干净着。柳嫂儿说了：他打点妥当，拿到他屋里，叫他们五儿瞅着燉呢。”黛玉道：“我倒不是嫌人家腌臜；只是病了好些日子，不周不备，都是人家，这会子又汤儿粥儿的调度，未免惹人厌烦。”说着，眼圈儿又红了。<br />
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"Just now, I asked Snowgoose to tell the kitchen to make a bowl of cabbage soup with ham and a little dried shrimp as well as green bamboo shoots and edible seaweed. What do you think of that?" Mascara Jade replied, "All right." Nightingale said, "I also asked them to prepare some congee." Mascara Jade nodded at first and changed her minds, "You two should cook the congee yourselves, not in their kitchen." Nightingale agreed, "I'm also afraid that the kitchen would not be clean enough, so I will cook it separately. As for the soup, I also told Snowgoose to tell Willow's wife that she must make the soup very clean. Willow's wife said she would prepare all the ingredients and asked her daughter Fifth to stew it carefully in their room ." "It is not that I think they are dirty," Said Mascara Jade," It's just that being ill for a long time, I have to depend on them to prepare soup and congee for me and they may be annoyed by these orders." As she said, her eyes were red-rimmed from tears again.<br />
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"Just now, I asked Snowgoose to tell the cook in the kitchen to make a bowl of cabbage soup with ham and a little dried shrimp as well as green bamboo shoots and edible seaweed. What do you think of that?" Mascara Jade replied, "All right." Nightingale said, "I also asked them to prepare some congee." Mascara Jade nodded at first and changed her minds, "You two should cook the congee yourselves, not by people in their kitchen." Nightingale agreed, "I'm also afraid that the kitchen would not be clean enough, so I will cook it separately. As for the soup, I also told Snowgoose to tell Willow's wife that she must make the soup very clean. Willow's wife said she would prepare all the ingredients and asked her daughter Fifth to stew it carefully in their room ." "It is not that I think they are dirty," Said Mascara Jade," It's just that being ill for a long time, I have to depend on them to prepare soup and congee for me and they may be annoyed by these orders." As she said, her eyes were red-rimmed from tears again.--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 05:10, 17 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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紫鹃道：“姑娘这话也是多想。姑娘是老太太的外孙女儿，又是老太太心坎儿上的。别人求其在姑娘跟前讨好儿还不能呢，那里有抱怨的？”黛玉点点头儿，因又问道：“你才说的五儿，不是那日合宝二爷那边的芳官在一处的那个女孩儿？”紫鹃道：“就是他。”黛玉道：“不听见说要进来么？”紫鹃道：“可不是，因为病了一场；后来好了，才要进来，正是晴雯他们闹出事来的时候，也就耽搁住了。”黛玉道：“我看那丫头倒也还头脸儿干净。”说着，外头婆子送了汤来。雪雁出来接时，那婆子说道：“柳嫂儿叫回姑娘：这是他们五儿作的，没敢在大厨房里作，怕姑娘嫌腌臜。”<br />
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Nightingale said, "Miss, please don’t overthink it. You are the grand-daughter of the old lady, and she was the one who put you on her heart. People all want to rub you the right way. How would they complain?" Mascara Jade nodded her head and asked again, "You just mentioned Five. Isn't she the girl who accompanied Fragrant Official at the same place as Precious Jade?" Nightingale said: "That's her." Mascara Jade said, "Didn't you know that she would come in?""Yes," said the Nightingale , "If she hadn’t been ill. After she recovered, she was about to move in when Sunny Cloud Formation and the others got into trouble that it was delayed." Mascara Jade said, "I observed that girl has a clean face." Then the old woman brought soup in. When Snowgoose came out to get it, the old woman said:" Sister Willow asked me to reply to you: It was made by Five. In case you didn’t like it, the soup wasn’t cooked in the major kitchen."<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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雪雁答应着，接了进来。黛玉在屋里，已听见了，吩咐雪雁：“告诉那老婆子回去说，叫他费心。”雪雁出来说了，老婆子自去。这里雪雁将黛玉的碗箸安放在小几儿上，因问黛玉道：“还有咱们南来的五香大头菜，拌些麻油、醋，可好么？”黛玉道：“也使得，只不必累坠了。”一面盛上粥来。黛玉吃了半碗，用羹匙舀了两口汤喝，就搁下了。两个丫鬟撤了下来，拭净了小几，端下去，又换上一张常放的小几。黛玉漱了口，盥了手，便道：“紫鹃，添了香了没有？”紫鹃道：“就添去。”黛玉道：“你们就把那汤和粥吃了罢，味儿还好，且是干净。待我自己添香罢。”<br />
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Snowgoose said yes and brought the soup in. Mascara Jade, who had heard their communication, ordered Snowgoose to tell the woman to thank them for their care. Snowgoose did so and the old lady left. Then Snowgoose set Mascara Jade’s bowl and chopsticks on the table. “We have those five-spice things from the southern province,” she asked. “Would you like some with sesame oil and vinegar?” “Ok, if it’s not too much trouble.” When the porridge was served, Mascara Jade ate half one and two spoon¬fuls of the soup, but then laid it aside. Two servants took the bowls away and wiped the table then brought in the small table which she always used. Mascara Jade, having rinsed her mouth and washed her hands, asked Nightingale, “Have you ever added incense?” “I’ll do it now.” “You two can eat the congee and soup; they taste good and they’re clean. I’ll add incense by myself.”<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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两个人答应了，在外间自吃去了。这里黛玉添了香，自己坐着，才要拿本书看，只听得园内的风，自西边直透到东边，穿过树枝，都在那里“唏喇哗喇”不住的响。一会儿，檐下的铁马也只管“叮叮当当”的乱敲起来。一时，雪雁先吃完了，进来伺候。黛玉便问道：“天气冷了，我前日叫你们把那些小毛儿衣服晾晾，可曾晾过没有？”雪雁道：“都晾过了。”黛玉道：“你拿一件来我披披。”雪雁走去，将一包小毛衣服抱来，打开毡包，给黛玉自拣。只见内中夹着个绢包儿。黛玉伸手拿起，打开看时，却是宝玉病时送来的旧手帕，自己题的诗，上面泪痕犹在。<br />
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The two maids agreed and went to the outer room for supper. After adding some more incense, Mascara Jade settled down to read a book when a west wind sprang up and set all the trees rustling. Presently the iron chimes swinging under the eaves started a loud gangling too. Snowgoose was the first to finish her supper, and now came back to wait upon. "It's turning colder," said Mascara Jade. "Have you aired my fur clothes that I asked you the other day?" "Yes, all of them." "Bring me a piece of clothing to put over my shoulders." Snowgoose fetched in a bundle of fur-lined clothes and unwrapped it for Mascara Jade to make her choice. Inside she found a silk wrapper. Undoing this, she recognized them at once that it were old handkerchiefs Precious Jade had sent her when he was ill, on which she had written poems and even her tear-stains could still be seen.<br />
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The two maids agreed and went to the outer room for having supper. After adding some more incense, Mascara Jade settled down to read a book when a west wind sprang up and set all the trees rustling. Presently the iron chimes swinging under the eaves started a loud gangling too. Snowgoose was the first to finish her supper, and now came back to wait upon. "It's turning colder," said Mascara Jade. "Have you aired my fur clothes that I asked you the other day?" "Yes, all of them." "Bring me a piece of clothing to put over my shoulders." Snowgoose fetched a bundle of fur-lined clothes and unwrapped it for Mascara Jade to make her choice. Inside she found a silk wrapper. Undoing this, she recognized them at once that it was old handkerchiefs Precious Jade had sent her when he was ill, on which she had written poems and even her tear-stains could still be seen.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 02:36, 18 May 2022 (UTC)<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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里头却包着那剪破了的香囊、扇袋并宝玉通灵玉上的穗子。原来晾衣服时，从箱中捡出，紫鹃恐怕遗失了，遂夹在这毡包里的。这黛玉不看则已，看了时，也不说穿那一件衣服，手里只拿着那两方手帕，呆呆的看那旧诗；看了一回，不觉得簌簌泪下。紫鹃刚从外间进来，只见雪雁正捧着一毡包衣裳，在傍边呆立。小几上却搁着剪破的香囊和两三截儿扇袋和那铰折了的穗子；黛玉手中自拿着两方旧帕，上边写着字迹，在那里对着滴泪。正是：失意人逢失意事，新啼痕间旧啼痕。<br />
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What wrapped inside was a broken sachet, a fan cover, and the fringe from the jade of Precious Jade. It was Nightingale that put it in the bag when she was hanging clothes because she was afraid these things would be missing. Mascara Jade didn’t choose the cloth, only gazing at the poem on handkerchiefs, then weeping harshly. Nightingale came back, seeing Snowgoose holding a bag of clothes and standing there. A broken sachet, a fan cover, and the fringe on the tea table, Mascara Jade cried holding handkerchiefs with two poems: Unhappy people on every unhappy thing, crying all the time.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 02:32, 16 May 2022 (UTC)<br />
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What wrapped inside was a broken sachet, a fan cover, and the tassel from the jade of Precious Jade Merchant. It was Nightingale that put it in the bag when she was hanging clothes out because she was afraid these things would be missing. Mascara Jade didn’t choose which clothes to wear, only gazed at the poem on handkerchiefs and then wept harshly. Nightingale came back, seeing Snowgoose holding a bag of clothes and standing there. A broken sachet, a fan cover, and the tassel on the tea table, Mascara Jade cried and held handkerchiefs with two poems: Unhappy people on every unhappy thing, crying all the time.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 04:14, 18 May 2022 (UTC)<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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紫鹃见了这样，知是他触物伤情，感怀旧事，料道劝也无益，只得笑着道：“姑娘，还看那些东西作什么？那都是那几年宝二爷和姑娘小时，一时好了，一时恼了，闹出来的笑话儿。要象如今这样斯抬斯敬，那里能把这些东西白遭塌了呢？”紫鹃这话原给黛玉开心，不料这几句话更提起黛玉初来时和宝玉的旧事来，一发珠泪连绵起来。紫鹃又劝道：“雪雁这里等着呢，姑娘披上一件罢。”那黛玉才把手帕撂下，紫鹃连忙拾起，将香袋等物包起拿开。这黛玉方披了一件皮衣，自己闷闷的走到外间来坐下。<br />
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When Nightingale saw Mascara Jade Forest sobbing, knowing that the old handkerchiefs reopened her wound and recalled her past events. Nightingale knew that it was useless to persuade her not to dwell on the past, so she just smiled, "Lady, why are you looking at those things? They were all jokes made by you and Precious Jade Merchant when you were young and innocent. Nowadays, you respect each other, why bother to weep over these things?" Nightingale tended to amuse her, but these words mentioned the past between Mascara Jade Forest and Precious Jade Merchant when she first came here which made her burst into tears. Nightingale comforted her, " Snowgoose is waiting for us, put your clothes on." Mascara Jade Forest put down her handkerchiefs, then Nightingale picked them up and took the perfume sachet and bags away. Mascara Jade Forest put a leather clothing on, walked into the outside room, and sat in a glum mood. --[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 03:34, 15 May 2022 (UTC)<br />
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When Nightingale saw Mascara Jade Forest sobbing, knowing that the old handkerchiefs hit his wound and recalled her past events. Nightingale knew that it was useless to persuade her not to dwell on the past, so she just smiled, "Lady, why are you looking at those things? They were all jokes made by you and Precious Jade Merchant when you were young and innocent. Nowadays, you respect each other, why bother to weep over these things?" Nightingale tended to amuse her, but these words mentioned the past between Mascara Jade Forest and Precious Jade Merchant when she first came here which made her burst into tears. Nightingale comforted her, " Snowgoose is waiting for us, put your clothes on." Mascara Jade Forest put down her handkerchiefs, then Nightingale picked them up and took the perfume sachet and bags away. Mascara Jade Forest put a leather clothing on, walked into the outside room, and sat in a glum mood.--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 13:36, 16 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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回头看见案上宝钗的诗启尚未收好，又拿出来瞧了两遍，叹道：“境遇不同，伤心则一。不免也赋四章，翻入琴谱，可弹可歌，明日写出来寄去，以当和作。”便叫雪雁将外边桌上笔砚拿来，濡墨挥毫，赋成四叠。又将琴谱翻出，借他《猗兰》《思贤》两操，合成音韵。与自己做的配齐了，然后写出，以备送与宝钗，又即叫雪雁向箱中将自己带来的短琴拿出，调上弦，又操演了指法。黛玉本是个绝顶聪明人，又在南边学过几时，虽是手生，到底一理就熟。抚了一番，夜已深了，便叫紫鹃收拾睡觉，不题。<br />
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Mascara Jade Forest looked back and saw Precious Hairpin’s letter on the desk. She took it out and read it again. "Now our circumstances are different, but I still feel sad. I am also writing words and music that I can play and sing, and I will send it tomorrow as a token of our reconciliation. " Then he asked Snowgoose to bring the inkstone on the table outside and began to write with a brush dipped in ink. He wrote four lines. He found the music of orchid and Sage and combined it with the words he had written. He plans to present his work to Precious Hairpin. He then asked Snowgoose to take out his harp, tune it, and practice playing it again. Mascara Jade Forest was very clever and had learned to play the piano in the south for several years. Although she had not played it for a long time, he soon got to know it. After playing for some time, the night was already deep, so he asked Nightingale to tidy up and go back to sleep.<br />
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Mascara Jade Forest looked back and saw Precious Hairpin’s letter on the desk. She took it out and read it again, then signed, "Although now our circumstances are different, our sadness is the same. I may as well write four verses too and set them to music, to sing them to a lute accompaniment. And I will send it tomorrow as reply. " Then she asked Snowgoose to bring the brush and ink-stone on the table outside and wrote four stanzas. Then, she got out the lute scores and set her verses to the melodies Quiet Orchid and Longing for a Worthy Man. She planned to present her work to Precious Hairpin. She then ordered Snowgoose to take out her short lute from the chest that she had brought with her from hometown. Having tuned the strings she practiced some finger exercises. In fact, Mascara Jade was very clever and had learned to play the lute in the south for several years. Although she had not played it for a long time, she soon got to know it. After playing for some time, it was late, so she asked Nightingale to tidy up and went to bed.--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 15:47, 17 May 2022 (UTC)<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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却说宝玉这日起来，梳洗了，带着焙茗正往书房中来，只见墨雨笑嘻嘻的跑来，迎头说道：“二爷，今日便宜了！太爷不在书房里，都放了学了。”宝玉道：“当真的么？”墨雨道：“二爷不信，那不是三爷和兰哥儿来了？”宝玉看时，只见贾环贾兰跟着小厮们，两个笑嘻嘻的，嘴里咭咭呱呱，不知说些什么，迎头来了。见了宝玉都垂手站住。宝玉问道：“你们两个怎么就回来了？”贾环道：“今日太爷有事，说是放一天学，明儿再去呢。”宝玉听了，方回身到贾母贾政处去禀明了，然后回到怡红院中。袭人问道：“怎么又回来了？”<br />
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Precious Jade got up this day, cleaned up and took Bake Tea to the study. At this time, Inky running in with a smile, said, "Master Precious Jade, you’ve got off cheap today! The tutor is not in the study; it’s a holiday." "Are you serious?" said Precious Jade. Inky replied, "If you don’t believe me, look! Can’t you see Master Ring and Master Cymbidium coming?" When Precious Jade looked, he saw Ring Merchant and Cymbidium Merchant coming with the pages. laughing and chatting together as they approached. Seeing Precious Jade, they all dropped their hands and stopped. "Why are you two back so soon?" Precious Jade asked. Ring Merchant said, "The tutor has business to do today, so he’s given us one day’s holiday. We’re to go back tomorrow" After hearing this, Precious Jade went to report this to his grandmother and father, then returned to Happy Red Court. "Why are you back?" the Aroma asked.<br />
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recious Jade got up this day, cleaned up and took Bake Tea to the study room. At this time, Inky running in with a smile, said, "Master Precious Jade, you’ve got off cheap today! The tutor is not in here; it’s a day off." "Are you serious?" said Precious Jade. Inky replied, "If you don’t believe me, look! Can’t you see Master Ring and Master Cymbidium coming?" When Precious Jade looked, he saw Ring Merchant and Cymbidium Merchant coming with the pages. laughing and chatting together as they approached. Seeing Precious Jade, they all dropped their hands and stopped. "Why are you two back so soon?" Precious Jade asked. Ring Merchant said, "The tutor has business to do today, so he’s given us one day’s holiday. We’re to go back tomorrow" After hearing this, Precious Jade went to report this to his grandmother and father, then returned to Happy Red Court. "Why are you back again?" the Aroma asked.--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 07:18, 15 May 2022 (UTC)Li Ying<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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宝玉告诉了他，只坐了一坐儿，便往外走，袭人道：“往那里去，这样忙法？就放了学，依我说，也该养养神儿了。”宝玉站住脚，低了头，说道：“你的话也是，但是好容易放一天学，还不散散去？你也该可怜我些儿了。”袭人见说的可怜，笑道：“由爷去罢。”正说着，端了饭来。宝玉也没法儿，只得且吃饭。三口两口，忙忙的吃完，漱了口，一溜烟往黛玉房中去了。走到门口，只见雪雁在院中晾绢子呢。宝玉因问：“姑娘吃了饭了么？”雪雁道：“早起喝了半碗粥，懒待吃饭，这时候打盹儿呢。二爷且到别处走走，回来再来罢。”<br />
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Precious Jade told him, just sit a while, then go toward outside.Aroma asked: "Where are you going? Why are you so busy?" You've just been given a day off.I advise you to have a rest."He stoped his feet and lowered his head,"Of course, you're right. But it's so precious that I get a day off, why shouldn't I have fun?"You should be compationate to me Aroma saw how poor he is and said,"okay, you just do what you want to do."As soon as she said, the meal was served, Precious Jade has no idea but eat lunch at first.He swallowed the meal hastily, and gargled and spited. Then he run toward to Mascara Jade's room. When he reached the gate of the room,Snowgoose was drying silk in the courtyard. He asked:" Did sister eat lunch?" Snowgoose replied to him: " She ate half a bowl of congee in the morning, but didn't want any lunch.She's taking a nap now. My majesty, you can take a walk around the house, then you can come here again."<br />
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Precious Jade told her about it and then went toward outside after sitting there for a while. Aroma asked: "Where are you going? Why are you so busy?" You've just been given a day off. I advise you to have a rest." He stopped and lowered his head. "Of course, you're right. It's so precious that I get a day off, so why shouldn't I have fun? You should be sympathetic to me," he said. "Okay, you just do what you want," Aroma said after hearing his complaints. As she said, the meal was served. Precious Jade had no choice but to eat lunch at first. He swallowed the meal hastily, and then gargled. Then he ran to Mascara Jade's room. When he reached the gate of her room, Snowgoose was drying silk in the courtyard. He asked: "Have the Lady eaten lunch?" "She ate half a bowl of congee in the morning, but didn't want any lunch. She's taking a nap now. My young master, you can take a walk around the house, and then come back here again," Snowgoose replied.--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 05:08, 18 May 2022 (UTC)<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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宝玉只得回来。无处可去，忽然想起惜春有好几天没见，便信步走到蓼风轩来。刚到窗下，只见静悄悄一无人声；宝玉打谅他也睡午觉，不便进去。才要走时，只听屋里微微一响，不知何声；宝玉站住再听，半日，又“拍”的一响。宝玉还未听出，只见一个人道：“你在这里下了一个子儿，那里你不应么？”宝玉方知是下大棋。但只急切听不出这个人的语音是谁。底下方听见惜春道：“怕什么？你这么一吃我，我这么一应，你又这么吃，我又这么应：还缓着一着儿呢，终久连得上。”那一个又道：“我要这么一吃呢？”惜春道：“阿嗄！还有一着反扑在里头呢，我倒没防备。”<br />
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Precious Jade had no choice but to leave, having nowhere to go. It occurred to him that he had not seen Spring-cherish for a couple of days, so he strolled for the Smartweed Breeze Cot. When he arrived there and stopped under the window, there was a dead silence. He guessed that she might be taking a nap now as well, so it was not a good time for him to come in. He was about to leave when there was some sound in the room, not knowing what it was. He stood still and heard more carefully for a while, and another sound of "pa" came from the house. He was still unable to distinguish the sound. "You made a move here just now, but how about there?" he heard someone saying. At this moment, he knew that they were playing the game of Go, but he was anxious to know who was speaking just now. Then, he heard the voice of Spring-cherish. "It doesn't matter, does it? If you take me here, I'll make a move there. If you take me here again, I'll make a move there again. I can still stay one step ahead, and I will finally get it connected," she said. "What if I take this one?" the other person asked. "Ah! There is an attack behind that. I don't make preparations for it," Spring-cherish exclaimed.<br />
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==英语笔译 李梓婕 Li Zijie 202170081580==<br />
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宝玉听了听，那一个声音很熟，却不是他们姊妹。料着惜春屋里也没外人，轻轻的掀帘进去，看时，不是别人，却是那栊翠庵的“槛外人”妙玉。这宝玉见是妙玉，不敢惊动。妙玉和惜春正在凝思之际，也没理会。宝玉却站在旁边，看他两个的手段。只见妙玉低着头，问惜春道：“你这个畸角儿不要了么？”惜春道：“怎么不要？你那里头都是死子儿，我怕什么？”妙玉道：“且别说满话，试试看。”惜春道：“我便打了起来，看你怎么样。”妙玉却微微笑着，把边上子一接，却搭转一吃，把惜春的一个角儿都打起来了，笑着说道：“这叫做‘倒脱靴势’。”<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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惜春尚未答言，宝玉在旁，情不自禁，哈哈一笑。把两个人都唬了一大跳。惜春道：“你这是怎么说？进来也不言语。这么使促狭唬人。你多早晚进来的？”宝玉道：“我头里就进来了，看着你们两个争这个畸角儿。”说着，一面与妙玉施礼，一面又笑问道：“妙公轻易不出禅关，今日何缘下凡一走？”妙玉听了，忽然把脸一红，也不答言，低了头，自看那棋。宝玉自觉造次，连忙陪笑道：“倒是出家人比不得我们在家的俗人。头一件，心是静的。静则灵，灵则慧……”宝玉尚未说完，只见妙玉微微的把眼一抬，看了宝玉一眼，复又低下头去，那脸上的颜色渐渐的红晕起来。<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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宝玉见他不理，只得讪讪的旁边坐了。惜春还要下子，妙玉半日说道：“再下罢。”便起身理理衣裳，重新坐下，痴痴的问着宝玉道：“你从何处来？”宝玉巴不得这一声，好解释前头的话，忽又想道：“或是妙玉的机锋。”转红了脸，答应不出来。妙玉微微一笑，自合惜春说话。惜春也笑道：“二哥哥，这什么难答的？你没的听见人家常说的，‘从来处来’么？这也值得把脸红了，见了生人的是的。”妙玉听了这话，想起自家，心上一动，脸上一热，必然也是红的，倒觉不好意思起来。因站起来说道：“我来得久了，要回庵里去了。”惜春知妙玉为人，也不深留，送出门口。<br />
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Precious Jade saw that he ignored him and had to sit next to them. When Xichun was about to continue their game, Miao Yu said after a while, "Wait for me." And then he got up to straighten his clothes, sat down again, and asked Precious Jade foolishly, "Where are you from?" Precious Jade couldn't wait to explain the words he just had said, and suddenly thought, "Is it Miao Yu's trick." At the thought of that, he turned red and didn't know how to answer that question. Miao Yu smiled slightly and then chatted with Xichun. Xichun also laughed: "brother, what is so difficult to answer?" Don't you hear people often say, 'where are you from? How could the simple words make you blush, not to mention that Miao Yu is your friend and not a stranger. Hearing that, Miao Yu thought of herself. As her heart beat and her face was hot, so her face must also be red. Feeling embarrassed, she stood up and said, "I've been here for a long time, and I need to go back to the nunnery." "Xi Chun knows Miao Yu's character, so she walked her out of the door, instead of keeping her stay."<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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妙玉笑道：“久已不来，这里湾湾曲曲的，回去的路头都要迷住了。”宝玉道：“这到要我来指引指引，何如？”妙玉道：“不敢，二爷前请。”于是二人别了惜春，离了蓼风轩，弯弯曲曲，走近潇湘馆，忽听得叮咚之声。妙玉道：“那里的琴声？”宝玉道：“想必是林妹妹那里抚琴呢。”妙玉道：“原来他也会这个？怎么素日不听见提起？”宝玉悉把黛玉的事述了一遍，因说：“咱们去看他。”妙玉道：“从古只有听琴，再没有看琴的。”宝玉笑道：“我原说我是个俗人。”说着，二人走至潇湘馆外，在山子石坐着静听，甚觉音调清切。<br />
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Nice Jade smiled:" I haven't been here for a long time. There are so many winds which make me feel lost." Precious Jade said:" how about giving me a chance to guide you?" Nice Jade smiled:" That's my honor, please." Then they said goodbey to Spring-cherish and left for Xiaoxiangguan from Liaofengxuan by the zig-zaged road. Suddenly, they heard voice like ding-dong. Nice Jade asked:" who is playing the zither?" Precious Jade answered:" It must be Sister Forest." Nice Jade said:" So she konw how to play the zither, right? But she didn't mention it before." Then Precious Jade told all the things about Mascara Jade to Nice Jade, and then said:"let's go and take a look at her." Nice Jade said:" I only heard that people listen to the zither, but never konw somebody just takes a look at it." Preicous Jade smiled:" I've told you I'm a vulgar person." While talking to each other, they arrived at the outside of Xiaoxiangguan and listen to the zither on the rockery. It was so melodious.<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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只听得低吟道：风萧萧兮秋气深，美人千里兮独沉吟。望故乡兮何处？倚栏杆兮涕沾襟。歇了一回，听得又吟道：山迢迢兮水长，照轩窗兮明月光。耿耿不寐兮银河渺茫，罗衫怯怯兮风露凉。又歇了一歇，妙玉道：“刚才‘侵’字韵是第一叠，如今‘扬’字韵是第二叠了。咱们再听。”里边又吟道：子之遭兮不自由，予之遇兮多烦忧。之子与我兮心焉相投，思古人兮俾无尤。妙玉道：“这又是一拍。何忧思之深也！”宝玉道：“我虽不懂得，但听他音调，也觉得过悲了。”里头又调了一回弦。妙玉道：“君弦太高了，与无射律只怕不配呢。”<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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里边又吟道：人生斯世兮如轻尘，天上人间兮感夙因。感夙因兮不可惙，素心如何天上月。妙玉听了，呀然失色道：“如何忽作变徵之声？音韵可裂金石矣。只是太过。”宝玉道：“太过便怎么？”妙玉道：“恐不能持久。”正议论时，听得君弦“蹦”的一声断了。妙玉站起来，连忙就走。宝玉道：“怎么样？”妙玉道：“日后自知，你也不必多说。”竟自走了。弄得宝玉满肚疑团，没精打彩的，归至怡红院中，不表。单说妙玉归去，早有道婆接着，掩了庵门，坐了一回，把“禅门日诵”念了一遍。<br />
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Chantings continued to come out of the Bamboo Lodge, "Life is just as light as the dust, and one can sense the fate of one's previous life, both on heaven and on earth. Hard to stop or halt the same fate as the previous life in present life. How about comparing my pure heart to the moon hanging in the sky?" Adamantina listened to that and startled: "Why does she change the musical scale to zhi? Her sound can split stones, but it is too high." Then Precious Jade asked: "What does it mean?" Adamantina responded: "I'm afraid it won't last long." While talking, they were hearing a sudden sound caused by her broken string. Adamantina stood up and was ready to leave. Hence, Precious Jade inquired about her: "So what?" She answered: "You will understand what I mean later.", and walked away. Precious Jade was confused by her words and felt downhearted, uttering no words while arriving at the Happy Red Court. It 's said that the nuns were standing along the door in advance to receive Adamantina as he came back from the Bamboo Lodge, and the door was immediately closed. Then she recited the "daily scripture" once in this nunery."<br />
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The chanting began again: “Alas! this particle of dust, the human soul. Is only playing out a predetermined role. Hard to stop or halt the same fate as the previous life in present life. How about comparing my pure heart to the moon hanging in the sky?" Adamantina listened to that and startled: "Why does she change the musical scale to zhi? Her sound can split stones, but it is too high." Then Precious Jade asked: "What does it mean?" Adamantina responded: "I'm afraid it won't last long." While talking, they were hearing a sudden sound caused by her broken string. Adamantina stood up and was ready to leave. Hence, Precious Jade inquired about her: "So what?" She answered: "You will understand what I mean later.", and walked away. Precious Jade was confused by her words and felt downhearted, uttering no words while arriving at the Happy Red Court. It 's said that the nuns were standing along the door in advance to receive Adamantina as he came back from the Bamboo Lodge, and the door was immediately closed. Then she recited the "daily scripture" once in this nunery." --[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 14:59, 16 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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吃了晚饭，点上香，拜了菩萨，命道婆自去歇着，自己的禅床靠背俱已整齐，屏息垂帘，跏趺坐下，断除妄想，趋向真如。坐到三更过后，听得屋上“嗗??”一片响声，妙玉恐有贼来，下了禅床，出到前轩，但见云影横空，月华如水。那时天气尚不狠凉，独自一个，凭栏站了一回，忽听房上两个猫儿一递一声厮叫。，不觉一阵心跳耳热，自己连忙收慑心神，走进禅房，仍到禅床上坐了。怎奈神不守舍，一时如万马奔驰，觉得禅床便恍荡起来，身子已不在庵中。便有许多王孙公子，要求娶他；又有些媒婆，扯扯拽拽，扶他上车，自己不肯去。<br />
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They had dinner, and after dinner the incense braziers were replenished. They all bowed before the shrine of the Bodhisattva and the women went off duty, leaving Adamantina alone. As her couch and back-rest were ready, she quietly let down the curtain and sat cross-legged to meditate, banishing all frivolous thoughts to concentrate on the truth. She sat in meditation until well after midnight, when she was disturbed by a sudden clattering sound on the roof. Afraid there might be burglars about, she rose from her couch and went into the front hall. Looking out, all she could see were long clouds that stretched across the sky, and the moon shining through a watery haze. It was a mild night, and she stayed there for a while, leaning over the balustrade. Suddenly two cats started wailing to each other on the roof above her head. The words Bao-yu had spoken to her that afternoon came flashing into her mind. She felt an involuntary racing of the heart, her ears burned. Making a determined effort to compose herself, she went back into her meditation room and sat down again on her couch. Her efforts were in vain. Something was overpowering her. She felt ten thousand horses stampeding through her head. The couch itself seemed to start swaying, and her body seemed to leave the Hermitage. She was surrounded by handsome young noblemen, all asking for her hand in marriage. There were matchmakers hustling her towards a bridal carriage against her will.<br />
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They had dinner, and after dinner the incense braziers were replenished. They all bowed before the shrine of the Bodhisattva and the women went off duty, leaving Wonderful Jade alone. As her couch and back-rest were ready, she quietly let down the curtain and sat cross-legged to meditate, banishing all frivolous thoughts to concentrate on the truth. She sat in meditation until well after midnight, when she was disturbed by a sudden clattering sound on the roof. Afraid there might be burglars about, she rose from her couch and went into the front hall. Looking out, all she could see were long clouds that stretched across the sky, and the moon shining through a watery haze. It was a mild night, and she stayed there for a while, leaning over the balustrade. Suddenly two cats started wailing to each other on the roof above her head. The words Precious Jade had spoken to her that afternoon came flashing into her mind. She felt an involuntary racing of the heart, her ears burned. Making a determined effort to compose herself, she went back into her meditation room and sat down again on her couch. Her efforts were in vain. Something was overpowering her. She felt ten thousand horses stampeding through her head. The couch itself seemed to start swaying, and her body seemed to leave the Hermitage. She was surrounded by handsome young noblemen, all asking for her hand in marriage. There were matchmakers hustling her towards a bridal carriage against her will.--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 04:59, 17 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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一回儿，又有盗贼劫他，持刀执棍的逼勒，只得哭喊求救。早惊醒了庵中女尼道婆等众，都拿火来照看。只见妙玉两手撒开，口中流沫。急叫醒时，只见眼睛直竖，两颧鲜红，骂道：“我是有菩萨保佑，你们这些强徒敢要怎么样？”众人都唬的没了主意，都说道：“我们在这里呢，快醒转来罢。”妙玉道：“我要回家去！你们有什么好人，送我回去罢。”道婆道：“这里就是你住的房子。”说着，又叫别的女尼忙向观音前祷告。求了签，翻开签书看时，是触犯了西南角上的阴人。就有一个说：“是了，大观园中西南角上本来没有人住，阴气是有的。”<br />
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Then brigands kidnapped her and threatened her with swords and clubs, so that she screamed for help. This aroused the novices and deaconess, who came with torches to see what was the matter. Finding Wonderful Jade with outflung arms, frothing at the mouth, they hastily woke her up. Her eyes staring, crimson in the face, she shouted, “How dare you thugs attack one under Buddha’s protection!” Frightened out of their wits they assured her, “It’s us! Wake up!” “I want to go home,” she cried. “If there’s any kind soul among you, take me back!”“You’re here in your own cell,” said the deaconess, then told the novices to pray to Guanyin and ask for an oracle. They opened the book of oracles at a passage indicating that she had “offended a spirit in the southwest corner.” “That’s right!” one of them exclaimed. “No one lives in the southwest corner of Grand View Garden, so there are bound to be evil spirits there.”<br />
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Then brigands kidnapped her and threatened her with swords and clubs, so that she screamed for help. This aroused the novices and deaconess, who came with torches to see what was the matter. Finding Wonderful Jade with outflung arms, frothing at the mouth, they hastily woke her up. Her eyes staring, crimson in the face, she shouted, “How dare you thugs attack one under Buddha’s protection!” Frightened out of their wits they assured her, “It’s us! Wake up!” “I want to go home,” she cried. “If there’s any kind soul among you, take me back!”“You’re here in your own cell,” said the deaconess, then told the novices to pray to Guanyin and ask for an oracle. They opened the book of oracles at a passage indicating that she had “offended a spirit in the southwest corner.” “That’s right!” one of them exclaimed. “No one lives in the southwest corner of Grand View Garden, so there are bound to be evil spirits there.”--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 02:30, 15 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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一面弄汤弄水的在那里忙乱。那女尼原是自南边带来的，伏侍妙玉，自然比别人尽心，围着妙玉坐在禅床上。妙玉回头道：“你是谁？”女尼道：“是我。”妙玉仔细瞧了一瞧道：“原来是你。”便抱住那女尼，呜呜咽咽的哭起来，说道：“你是我的妈呀，你不救我，我不得活了。”那女尼一面唤醒他，一面给他揉着。道婆倒上茶来喝了，直到天明才睡了。女尼便打发人去请大夫来看脉。也有说是思虑伤脾的，也有说是热入血室的，也有说是邪祟触犯的，也有说是内外感冒的，终无定论。后请得一个大夫来看了，问：“曾打坐过没有？”道婆说道：“向来打坐的。”<br />
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Some busied themselves making soup, others brought water. One of the nuns, who had come with Adaniantina from the South and was for that reason closer and more devoted to her than the others, sat next to her on the couch and put her arms protectively round her.Adamantina turned her head:“Who's that?”“It's only me.”Adamantina looked at her curiously for a minute.“Oh it really is!” she cried, and flung her arms round the nun, sobbing hysterically.“Oh Mother, save me, or I'm going to die!”The nun called out to her in an attempt to bring her to her senses, and began to massage her gently.The old women brought in tea, and they sat up together till dawn when finally Adamantina dozed off.The nun sent for the doctor, and several doctors came and took her pulses.There were as many differing diagnoses as there were doctors. #2 Excessive worry damaging the spleen; phlogistic intrusion into the haematic system; offence caused to an evil spirit; a combination of internal and external chill. None of these seemed conclusive.Finally a doctor came whose first question after reading her pulses was:“Did the young lady practise meditation?”The women informed him that it was a regular thing with her.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 02:30, 15 May 2022 (UTC)<br />
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Some busied themselves making soup, others brought water. One of the nuns, who had come with Adaniantina from the South and was for that reason closer and more devoted to her than the others, sat next to her on the couch and put her arms protectively round her.Adamantina turned her head:“Who's that? ” “It's only me. ” Adamantina looked at her curiously for a minute.“Oh it really is! ” she cried, and flung her arms round the nun, sobbing hysterically. “Oh Mother, save me, or I'm going to die! ” The nun called out to her in an attempt to bring her to her senses, and began to massage her gently. The old women brought in tea, and they sat up together till dawn when finally Adamantina dozed off. The nun sent for the doctor, and several doctors came and took her pulses. There were as many differing diagnoses as there were doctors. Excessive worry damaging the spleen; phlogistic intrusion into the haematic system; offence caused to an evil spirit; a combination of internal and external chill. None of these seemed conclusive. Finally a doctor came whose first question after reading her pulses was:“Did the young lady practise meditation? ”The women informed him that it was a regular thing with her.--[[User:Long Hanliang|Long Hanliang]] ([[User talk:Long Hanliang|talk]]) 05:49, 15 May 2022 (UTC)<br />
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==英语笔译 龙翰良 Long Hanliang 202170081589==<br />
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大夫道：“这病可是昨夜忽然来的么？”道婆道：“是。”大夫道：“这是走魔入火的原故。”众人问：“有碍没有？”大夫道：“幸亏打坐不久，魔还入得浅，可以有救。”写了降伏心火的药，吃了一剂，稍稍平复些。外面那些游头浪子听见了，便造作许多谣言，说：“这样年纪，那里忍得住？况且又是很风流的人品，狠乖觉的性灵。以后不知飞在谁手里，便宜谁去呢。”过了几日，妙玉病虽略好，神思未复，终有些恍惚。一日，惜春正坐着，彩屏忽然进来，回道：“姑娘知道妙玉师父的事吗？”惜春道：“他有什么事？”<br />
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The doctor asked, “Was this a sudden fit last night? ” “That's right. ” answered the deaconess. The doctor then said, “Then it came on because evil thoughts crossed her mind and kindled a hot humour. ” One of them asked, “Is it dangerous? ” “It can be cured, as luckily she did not meditate very long, so the evil did not penetrate too deep.” The doctor answered and prescribed some medicine to alleviate the hot humour in her heart, and after taking it Wonderful Jade felt some relief. When young dandies heard this story, they spread all manner of rumours and commented, “She's too young-romantic and intelligent too to stand such an austere life. Who knows what lucky man will get hold of her in future?” After a few days, although Wonderful Jade felt better, she was still not back to normal, her mind remaining confused. One day, Spring-cherish was sitting quietly when Colored Screen came in to ask, “Do you know, miss, what happened to Sister Wonderful Jade? ” “No. What? ”Spring-cherish answered.<br />
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The doctor asked, “Was this a sudden fit last night? ” “That's right. ” answered the deaconess. The doctor then said, “Then it came on because evil thoughts crossed her mind and kindled a hot humour. ” One of them asked, “Is it dangerous? ” “It can be cured, as luckily she did not meditate very long, so the evil did not penetrate too deep.” The doctor answered and prescribed some medicine to alleviate the hot humour in her heart, and after taking it Wonderful Jade felt some relief. When young dandies heard this story, they spread all manner of rumours and commented, “She's too young-romantic and intelligent too to stand such an austere life. Who knows what lucky man will get hold of her in future?” After a few days, although Wonderful Jade felt better, she was still not back to normal, her mind remaining confused. One day, Spring-cherish was sitting quietly when Colored Screen came in to ask, “Do you know, miss, what happened to Sister Wonderful Jade? ” “No. What? ”Spring-cherish answered.--[[User:Luo Yaolin|Luo Yaolin]] ([[User talk:Luo Yaolin|talk]]) 02:13, 15 May 2022 (UTC)<br />
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==英语笔译 罗姚林 Luo Yaolin 202170081590==<br />
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彩屏道：“我昨日听见邢姑娘和大奶奶那里说呢：他自从那日合姑娘下棋回去，夜间忽然中了邪，嘴里乱嚷，说强盗来抢他来了。到如今还没好。姑娘，你说这不是奇事吗？”惜春听了，默默无语，因想：“妙玉虽然洁净，毕竟尘缘未断。可惜我生在这种人家，不便出家，我若出了家时，那有邪魔缠扰？一念不生，万缘俱寂。”想到这里，蓦与神会，若有所得，便口占一偈云：大造本无方，云何是应住？既从空中来，应向空中去。占毕，即命丫头焚香。自己静坐了一回，又翻开那棋谱来，把孔融、王积薪等所著看了几篇。内中“荷叶包蟹势”、“黄莺搏兔势”都不出奇；" Yesterday Miss City and Madam Zhu were discussing it, saying that Wonderful Jade was suddenly possessed by an evil spirit the very night after playing chess with you the other day , keeping shouting nonsense like robbers were grabbing her away or something." Replied Colored Screen, "She hasn't recovered yet now. Lady, Don't you say it is strange?" Hearing that, Spring-cherish kept silence for thinking to herself, " Wonderful Jade still abides the secular world though she looks pure. If I got the chance to be a nun, there must be no evils around me for I care and abide nothing. How pitiful for me to be born in such family for having little freedom to be a nun !" Thinking of that, Spring-cherish seemed to have met with immortals and inspired to make a verse: In the beginning Creation had no abode; Where, then, should we abide? Since we come from the void, we should return to the void. She then ordered a maid to burn incense. After meditating for a while, she opened the chess manual again to read several tactics written by Kong Rong, Wang Jixin and other literati. In it, "Crab in Lotus Leaf " and "Warbler Fighting with Rabbit " are not unusual;<br />
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“Yesterday Miss City and Madam Outstanding were discussing it, saying that Wonderful Jade was suddenly possessed by an evil spirit the very night after playing chess with you the other day , keeping shouting nonsense like robbers were grabbing her away or something." Replied Colored Screen, "She hasn't recovered yet now. Lady, Don't you say it is strange?" Hearing that, Spring-cherish kept silence for thinking to herself, " Wonderful Jade still abides the secular world though she looks pure. If I got the chance to be a nun, there must be no evils around me because I care and abide nothing. How pitiful for me to be born in such family for having little freedom to be a nun !" Thinking of that, Spring-cherish seemed to have met with immortals and inspired to make a verse: In the beginning Creation had no abode; Where, then, should we abide? Since we come from the void, we should return to the void. She then ordered a maid to burn incense. After meditating for a while, she opened the chess manual again to read several tactics written by Kong Rong, Wang Jixin and other literati. In it, "Crab in Lotus Leaf " and "Warbler Fighting with Rabbit " are not unusual;--[[User:Ma Yanhuan|Ma Yanhuan]] ([[User talk:Ma Yanhuan|talk]]) 05:07, 17 May 2022 (UTC)<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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“三十六局杀角势”一时也难会难记；独看到“八龙走马“，觉得甚有意思。正在那里作想，只听见外面一个人走进院来，连叫：“彩屏！”却说惜春正在那里揣摩棋谱，忽听院内有人叫彩屏，不是别人，却是鸳鸯的声儿。彩屏出去，同着鸳鸯进来。那鸳鸯却带着一个小丫头，提了一个小黄绢包儿。惜春笑问道：“什么事？”鸳鸯道：“老太太因明年八十一岁，是个‘暗九’，许下一场九昼夜的功德，发心要写三千六百五十零一部《金刚经》。这已发出外面人写了。但是俗说：《金刚经》就像那道家的符壳，《心经》才算是符胆，故此，《金刚经》内必要插着《心经》，更有功德。<br />
It is also challenging to have command of the "36th kata： Kill for the corner". But only when she saw the kata"eight dragons walking around the horse", Spring-cherish was obsessed and sunk in it to figure out the chess manual. Suddenly she heard someone walking into the yard and repeatedly shouting" Colored Screen". It was Mandarin Duck who was calling. Colored Screen went out to welcome and came back together with Mandarin Duck as well as her maid with a yellow silk bag. Spring-cherish mildly asked: "what’s the matter?" Mandarin Duck replied, "Grandma Merchant promised a nine-day and nine-night merits to write 3651 Diamond Sutra because she will be 81 years old which is regarded as "implied nine" (There is a common saying that the multiple of nine is implied nine or that nine is a difficult time and we must pray for the elimination of misfortune）and now has arranged someone to do these. However, as the ancient saying goes, "The Diamond sutra is just like the shell of Taoism, and the heart sutra is the core. "Therefore, it is necessary to insert the Heart Sutra in the diamond sutra, which is more meritorious.<br />
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It is also challenging to have command of the "36th kata Kill for the corner". But only when she saw the kata "eight dragons walking around the horse", Spring-cherish was obsessed and sunk in it to figure out the chess manual. Suddenly she heard someone walking into the yard and repeatedly shouting the name of Colored Screen. It was Mandarin Duck’s voice. Colored Screen went out and then came back together with Mandarin Duck who was leading a maid with a yellow silk bag. Spring-cherish mildly asked: " What’s the matter?" Mandarin Duck replied, " Grandma Merchant promised a nine-day and nine-night merits to write 3651 Diamond Sutra because she is going to be 81 years old the next year which is regarded as "implied nine" (There is a common saying that the multiple of nine is implied nine or that nine is a difficult time and we must pray for the elimination of misfortune）and now she has arranged someone to do these. However, as the ancient saying goes,‘The Diamond sutra is just like the shell of Taoism, and the heart sutra is the core.’Therefore, it is necessary to insert the Heart Sutra in the Diamond Sutra. And it can show more merits.--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 08:50, 14 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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老太太因《心经》是更要紧的，观自在又是女菩萨，所以要几个亲丁奶奶姑娘们写上三百六十五部。如此，又虔诚，又洁净。咱们家中，除了二奶奶：头一宗，他当家没有空儿；二宗，他也写不上来。其余会写字的，不论写得多少，连东府珍大奶奶姨娘们都分了去。本家里头自不用说。”惜春听了，点头道：“别的我做不来，若要写经，我最信心的。你搁下，喝茶罢。”鸳鸯才将那小包儿搁在桌上，同惜春坐下。彩屏倒了一钟茶来。惜春笑问道：“你写不写？”鸳鸯道：“姑娘又说笑话了。那几年还好；这三四年来，姑娘见我还拿了拿笔儿么。”<br />
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Given that the Heart Sutra is more important than other scriptures, and the Goddess of Mercy is a female Bodhisattva, Grandma Merchant decided to ask some ladies to transcribe 365 copies of the Heart Sutra. In doing so, we can show our piety and make sure it is clean. In our whole family, anyone who can write, no matter how many books they are able to transcribe, has to play a part in this task, except for Lady Phoenix, for she is occupied with the household affairs, and more importantly, she is illiterate. Even the wife and concubines of Treasure Merchant have to contribute to this, so there is no need to ask whether the ladies in our own house need to do so.” Hearing this, Spring-cherish Merchant nodded and said, “ It’s difficult for me fulfill other tasks, but when it comes to transcribing scriptures, no one can be more confident than me. Just leave it here and enjoy a cup of tea.” Then Mandarin put the little bag on the table and sat beside Spring-cherish. Colored Screen poured a cup of tea for them, and her lady asked with a smile, “ Then what about you? Will you write some scriptures?” Mandarin replied, “ My lady, you are teasing me again. I used to write for the past few years, but have you even seen me holding a brush these four years?”<br />
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Given that the Heart Sutra is more important than other scriptures, and the mother Buddha is a female Bodhisattva, Grandma Merchant decided to ask some ladies to transcribe 365 copies of the Heart Sutra. In doing so, we can show our piety and make sure it is clean. In our whole family, anyone who can write, no matter how many books they are able to transcribe, has to play a part in this task, except for Lady Phoenix, for she is occupied with the household affairs, and more importantly, she is illiterate. Even the wife and concubines of Treasure Merchant have to contribute to this, so there is no need to ask whether the ladies in our own house need to do so.” Hearing this, Spring-cherish Merchant nodded and said, “ It’s difficult for me fulfill other tasks, but when it comes to transcribing scriptures, no one can be more confident than me. Just leave it here and enjoy a cup of tea.” Then Mandarin put the little bag on the table and sat beside Spring-cherish. Colored Screen poured a cup of tea for them, and her lady asked with a smile, “ Then what about you? Will you write some scriptures?” Mandarin replied, “ My lady, you are teasing me again. I used to write for the past few years, but have you even seen me holding a brush these four years?”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 11:29, 14 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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惜春道：“这却是有功德的。”鸳鸯道：“我也有一件事：向来伏侍老太太安歇后，自己念上米佛，已经念了三年多了。我把这个米收好，等老太太做功德的时候，我将他衬在里头，供佛施食；也是我一点诚心。”惜春道：“这样说来，老太太做了观音，你就是龙女了。”鸳鸯道：“那里跟得上这个分儿？却是除了老太太，别的也服侍不来，不晓得前世什么缘分儿。”说着要走，叫小丫头把小绢包打开，拿出来道：“这素纸一扎，是写《心经》的。”又拿起一子儿藏香，道：“这是叫写经时点着写的。”惜春都应了。<br />
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Spring-cherish said, " However, it is a charitable and pious deed." Then Mandarin responded, "Well, I also have one thing to tell, that is, after waiting on Grandma Merchant to have a rest all along, I, myself then, have prayed to Buddha for more than three years, and then each chant for the Buddha is counted by a grain of rice. I just collected theose grains of rice to be enshrined to the Buddha for the time when Grandma Merchant does the benefactions, and that's also my heartful sincerity." Then Spring-cherish said, "In this way, if Grandma Merchant becomes the mother Buddha, then you are the daughter of the dragon." "How could I be said like that? What I can do is nothing but just wait on Grandma Merchant. I don't know what the destinies as conditioned by our past." replied Mandarin. While speaking, she was about to leave, and then ordered some servant-girl to open up the small silk bag and said, "This is plain paper which is used as transcribing the Heart Sutra." Then she picked up a stick of incense and enjoined, " It should be lit when you transcribe the Heart Sutra." And Spring-cherish gave response to all the requirements Mandarin just mentioned.<br />
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Cherishing Spring said, "However, it is a charitable deed." Then Mandarin responded, "Well, I also have one thing to tell you. After waiting on Grandma Merchant to have a rest all along, I, myself then, have always prayed to Buddha, with each chant counted by a grain of rice, for more than three years. I collected those grains of rice to be enshrined to Buddha for the time when Grandma Merchant chants sutras, which also represent my heartful sincerity." Then Cherishing Spring said, "In this way, if Grandma Merchant becomes a Bodhisattva, then you are the dragon maid serving her." "You've strongly worded. What I can do is nothing but just to wait on Grandma Merchant. I don't know what fate we had in our previous lives." replied Mandarin. While speaking, she was about to leave, and then ordered a servant-girl to open up the small silk bag and said, "This is plain paper which is used to transcribe the Heart Sutra." Then she picked up a stick of incense and enjoined, " It should be lit when you transcribe the Heart Sutra." And Cherishing Spring gave response to all the requirements Mandarin just mentioned.--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 12:37, 16 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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鸳鸯遂辞了出来，同小丫头来至贾母房中，回了一遍，看见贾母与李纨打双陆，鸳鸯旁边瞧着。李纨的骰子好，掷下去，把老太太的锤打下了好几个去，鸳鸯抿着嘴儿笑。忽见宝玉进来，手中提了两个细蔑丝的小笼子，笼内有几个蝈蝈儿，说道：“我听说老太太夜里睡不着，我给老太太留下解解闷。”贾母笑道：“你别瞅着你老子不在家，你只管淘气。”宝玉笑道：“我没有淘气。”贾母道：“你没淘气，不在学房里念书，为什么又弄这个东西呢。”宝玉道：“不是我自己弄的。今儿因师父叫环儿和兰儿对对子，环儿对不来，我悄悄的告诉了他。<br />
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Then Mandarin Duck left Cherishing Spring's place and came to Grandma Merchant's with some young maids. When Mandarin Duck delivering the message she brought back, Grandma Merchant was playing a chess game with Silk Plum, so she stood watching. Being good at throwing the dice, Silk Plum made Grandma Merchant lose many pieces, leaving Mandarin Duck tittered nearby. At that moment, Precious Jade came in with two small cages of bamboo strips in hand, in which there were several grasshoppers, and said, "Grandma, I heard that you were plagued by insomnia, so I bring this to you to relieve your boredom at night." "Don't be naughty while you father is not at home!" smiled Grandma Merchant. "I haven't been naughty." replied Precious Jade with a smile. "Then, according to what you said, why did you make such gadgets instead of studying in school?" asked Grandma Merchant. "They're not made by me." replied Precious Jade, "Today our teacher asked Ring Merchant and Cymbidium Merchant to supply the antitheses to given phrases, and I told Ring the answer in secret when he was in a dilemma.<br />
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Then Mandarin Duck left Cherishing Spring's place and came to Grandma Merchant's with some young maids to make her report. Finding her playing a chess game with Silk Plum, she stood and watched. Being good at throwing the dice, Silk Plum made Grandma Merchant lose many pieces, leaving Mandarin Duck tittered nearby. At that moment, Precious Jade came in with two small cages of bamboo strips in hand, in which there were several grasshoppers, and said, "Grandma, I heard you’re not sleeping well at night, so I bring this to you to relieve your boredom at night." "Don't be naughty while you father is not at home!" smiled Grandma Merchant. "I haven't been naughty." replied Precious Jade with a smile. " If you haven’t been playing truant from school, how did you get hold of these?" asked Grandma Merchant. "They're not made by me." replied Precious Jade, "Today our teacher asked Ring Merchant and Cymbidium Merchant to supply the antitheses to given phrases, and I told Ring the answer in secret when he was in a dilemma.--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 07:08, 15 May 2022 (UTC)<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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他说了，师父喜欢，夸了他两句。他感激我的情，买了来孝敬我的。我才拿了来孝敬老太太的。”贾母道：“他没有天天念书么？为什么对不上来？对不上来，就叫你儒大爷爷打他的嘴巴子，看他臊不臊！你也彀受了，不记得你老子在家时，一叫做诗做词，唬的倒像个小鬼儿是的？这会子又说嘴了。那环儿小子更没出息：求人替做了，就变着方法儿打点人。这么点子孩子，就闹鬼闹神的，也不害臊。赶大了，还不知是个什么东西呢！”说的满屋子人都笑了。贾母又问道：“兰小子呢，做上来了没有？这该环儿替他了，他又比他小了，是不是？”<br />
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When he recited them the teacher was pleased and commended him. He bought these for me to show his gratitude. That’s why I’m making you a present of them.”“Doesn’t he study every day? Why can’t he write a couplet? If he can’t, your Granddad Ru should slap his face to shame him! You’re bad enough yourself. Remember, when your father was at home, how devilish scared you were every time he made you write poems. But now you’re bragging again. Of course, Ring is even worse, getting other people to do his work for him, then thinking up ways to bribe them. A child of his age up to such dirty tricks, and with no sense of shame either! What sort of creature will he grow up to be?” Everyone in the room burst out laughing. “What about young Cymbidium?” the Dowager Lad asked. “Did he manage to write the couplets? Or did Ring do them for him, as Cymbidium’s smaller?”<br />
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When he recited it, the Preceptor was impressed and praised him highly for it. He bought these for me to show his gratitude. That’s why I’m making you a present of them.” Doesn’t he study every day? Why can’t he write a couplet? If he can’t, your Granddad Ru should slap his face to shame him! You’re bad enough yourself. Remember, when your father was at home, how devilish scared you were every time he made you write poems. But now you’re bragging again. Of course, Ring is even worse, getting other people to do his work for him, then thinking up ways to bribe them. A child of his age up to such dirty tricks, and with no sense of shame either! What sort of creature will he grow up to be?” Everyone in the room burst out laughing. “What about young Cymbidium?” the Dowager Lad asked. “Did he manage to write the couplets? Or did Ring do them for him, as Cymbidium’s smaller?”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 11:32, 15 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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宝玉笑道：“他倒没有，却是自己对的。”贾母道：“我不信；不然，就也是你闹了鬼了。如今你还了得，‘羊群里跑出骆驼来了’，就只你大，你又会做文章了！”宝玉笑道：“实在是他作的，师父还夸他明儿一定有大出息呢。老太太不信，就打发人叫了他来亲自试试，老太太就知道了。”贾母道：“果然这么着，我才喜欢。我不过怕你撒谎。既是他做的，这孩子明儿大概还有一点儿出息。”因看着李纨，又想起贾珠来，“这也不枉你大哥哥死了你大嫂子拉扯他一场，日后也替你大哥哥顶门壮户。”说到这里，不禁流下泪来。<br />
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No,” said Precious Jade with a smile. “Lan did them himself.” “I don't believe you. You must have been up to more monkey business. You're getting above yourself nowadays — a camel in a flock of sheep — being the eldest and the one who can write!” “He really wrote them himself,” insisted Precious Jade, smiling. “And our teacher praised him, saying he'll go far in future. If you don't believe me, madam, you can send for him and test him yourself; then you'll know.” “Well, if that's truly the case I'm very glad. I was just afraid you were fibbing. If he's up to writing couplets, the boy should get somewhere in future.” Her eye fell on Li Wan, reminding her of Bead Merchant. “That means your sister-in-law hasn't brought him up in vain since your brother Bead died. He'll become the mainstay of the house some day in place of his father.” At this point her emotion got the better of her and she shed some tears.<br />
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"He didn't, but he was right." said Precious Jade with a smile. “I don't believe you. You must have been up to more monkey business. You're getting above yourself nowadays — a camel in a flock of sheep — being the eldest and the one who can write!” “He really wrote them himself,” insisted Precious Jade, smiling. “And our teacher praised him, saying he'll have a bright future. If you don't believe me, madam, you can test him yourself; then you'll know.” “Well, if that's truly the case I'm very glad. I was just afraid you were fibbing. If he's up to writing couplets, the boy should get somewhere in future.” Her eye fell on Li Wan, reminding her of Bead Merchant. “That means your sister-in-law hasn't brought him up in vain since your brother Bead died. He'll become the mainstay of the house some day in place of his father.” At this point At this point, she can't help but shed tears.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 11:18, 16 May 2022 (UTC)<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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李纨听了这话，却也动心，只是贾母已经伤心，自己连忙忍住泪，笑劝道：“这是老祖宗的余德，我们托着老祖宗的福罢咧。只要他应得了老祖宗的话，就是我们的造化了。老祖宗看着也喜欢，怎么倒伤起心来呢？”因又回头向宝玉道：“宝叔叔明儿别这么夸他，他多大孩子，知道什么？你不过是爱惜他的意思，他那里懂得，一来二去，眼大心肥，那里还能彀有长进呢。”贾母道：“你嫂子这也说的是。就只他还太小呢，也别逼紧了他；小孩子胆儿小，一时逼急了，弄出点子毛病来，书倒念不成，把你的工夫都白糟塌了。”贾母说到这里，李纨却忍不住，扑簌簌掉下泪来，连忙擦了。<br />
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Li Yi heard this, but he was also moved, but Mother Merchant was already sad, and he quickly held back his tears, laughing and persuading: "This is the old ancestor's blessing, and we are holding the blessing of the old ancestor." As long as he deserves the words of his ancestors, it is our creation. The old ancestor also liked it when he looked at it, how could he hurt his heart? Yin turned back to Precious Jade and said, "Uncle doesn't praise him so much, he is enough old, what do you know?" You just cherish his meaning, he knows there, come and go, big eyes and fat heart, there can be growth there. Mother Merchant said, "Your sister-in-law said this too." If he is still too young, don't force him; the child is timid, and he is in a hurry, making up ideas, and the book cannot be read, and your work is in vain. Mother Merchant said this, but Li Yi couldn't help it, fluttered and shed tears, but quickly wiped them.<br />
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Silk Plum heard this, but she was also moved, but Mother Merchant was already sad, and she quickly held back her tears, laughing and persuading: "This is the old ancestor's blessing, and we are holding the blessing of the old ancestor." As long as he deserves the words of his ancestors, it is our creation. The old ancestor also liked it when he looked at it, how could he hurt his heart? Then turned back to Precious Jade and said, "Uncle doesn't praise him so much, she is enough old, what do you know?" You just care for him, but he dooesn't know. Now he grows up and cannot make progress. Mother Merchant said, "Your sister-in-law said this too." If he is still too young, don't force him; the child is timid, and he is in a hurry, making up ideas, and the book cannot be read, and your work is in vain. Mother Merchant said this, but Silk Plum couldn't help it, fluttered and shed tears, but quickly wiped them.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 14:10, 16 May 2022 (UTC)<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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只见贾环贾兰也都进来给贾母请了安。贾兰又见过他母亲，然后过来，在贾母傍边侍立。贾母道：“我刚才听见你叔叔说你对的好对子，师父夸你来着。”贾兰也不言语，只管抿着嘴儿笑。鸳鸯过来说道：“请示老太太，晚饭伺候下了。”贾母道：“请你姨太太去罢。”琥珀接着便叫人去王夫人那边请薛姨妈。这里宝玉贾环退出，素云和小丫头们过来把双陆收起，李纨尚等着伺候贾母的晚饭，贾兰便跟着他母亲站着。贾母道：“你们娘儿两个跟着我吃罢。”李纨答应了。一时，摆上饭来，丫鬟回来禀道：“太太叫回老太太：姨太太这几天浮来暂去，不能过来回老太太，今日饭后家去了。”<br />
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Cymbidium Merchant and Ring Merchant also came in and greeted Mother Merchant. Cymbidium Merchant greeted his mother again, then came over and stood beside her. Mother Merchant said, "I just heard your uncle praise that you supply a good answering phrase." Cymbidium Merchant did not say anything, just smiled. Mandarin Duck said: "Mother Merchant, dinner is served." Mother Merchant said: "Please ask your aunt to have." Amber then asked someone to go to Mrs. King's side to invite Aunt Marshgrass. Here Precious Jade and RIng Merchant withdrew, Candida and her maids came to pack up backgammon, and Silk Plum waited to serve Mother Merchant’s dinner, while Cymbidium Merchant followed her mother. Mother Merchant said: "you two eat with me." Silk Plum agreed. At moment the meal set on, the maid came back to report: "Mrs. called back to tell the old lady: aunt these days often go out and today she returned home so she can not come back to the old lady.<br />
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Cymbidium Merchant and Ring Merchant also came in and greeted Mother Merchant. Cymbidium Merchant greeted his mother again, then came over and stood beside his Grandma. Grandma Merchant said, "I heard from your uncle that your teacher commended you for writing a good couplet." Cymbidium Merchant did not say anything, and just smiled. Mandarin Duck said: "Lady Dowager, dinner is served." Hearing that, Grandma Merchant ordered the servants to invite Aunt Marshgrass over. Amber followed the instructions. Here Precious Jade and Ring Merchant withdrew, Candida and her maids came to pack up backgammon, and Silk Plum waited to serve Mother Merchant’s dinner, while Cymbidium Merchant followed her mother. Grandma Merchant said: "Why don’t you two eat with me?" Silk Plum agreed. The table was set. A maid came back to report: "Her Ladyship told me to report that Aunt Marshgrass has been shuttling back and forth these days and can’t come to see you today, madam, because after lunch she went home."--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 01:15, 16 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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于是贾母叫贾兰在身傍边坐下，大家吃饭，不必细述。却说贾母刚吃完了饭，盥漱了，歪在床上，说闲话儿。只见小丫头子告诉琥珀，琥珀过来回贾母道：“东府大爷请晚安来了。”贾母道：“你们告诉他，如今他办理家务乏乏的，叫他歇着去罢。我知道了。”小丫头告诉老婆子们，老婆子才告诉贾珍，贾珍然后退出。到了次日，贾珍过来料理诸事。门上小厮陆续回了几件事。又一个小厮回道：“庄头送果子来了。”贾珍道：“单子呢？”那小厮连忙呈上。贾珍看时，上面写着不过是时鲜果品，还夹带菜蔬野味若干在内。贾珍看完，问：“向来经管的是谁？”<br />
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Grandma Merchant invited Cymbidium Merchant to sit by her side at the table. After the meal, she rinsed her mouth and leaned against the bed chatting with the crowd. A little maid came in whispering something in Amber’s ear. Carrying the message, Amber came to Grandma Merchant, reporting, "Master Treasure of the East Mansion had come to pay a visit." "Tell him that I acknowledge his filial piety and let him go back and have some rest. He must have been very tired with so many errands to run on a daily basis." This message passed on by a maid to the serving-woman outside was relayed to Treasure Merchant, who withdrew. The next day, Treasure came over to attend to certain business. Servants at the gate reported on several matters, one of them announcing, "The bailiff of our farm has brought some produce." "Where’s the list?" demanded Treasure. The man presented it, and he saw that it comprised simply fresh fruits, vegetables, game and the like. “Which is the steward in charge of these things?” he asked.<br />
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Grandma Merchant invited Cymbidium Merchant to sit by her side at the table. After the meal, she rinsed her mouth and leaned against the bed chatting with the crowd. A little maid came in whispering something in Amber’s ear. Carrying the message, Amber came to Grandma Merchant, reporting, "Master Treasure of the East Mansion had come to pay a visit." "Tell him not to trouble, and thank him. As he must be tired out with family business, he should go and rest." This message passed on by a maid to the serving-woman outside was relayed to Treasure Merchant, who withdrew. The next day, Treasure came over to attend to certain business. Servants at the gate reported on several matters, one of them announcing, "The bailiff of our farm has brought some produce." "Where’s the list?" demanded Treasure. The man presented it, and he saw that it comprised simply fresh fruits, vegetables, game and the like. “Which is the steward in charge of these things?” he asked.--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 15:54, 16 May 2022 (UTC)<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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门上的回道：“是周瑞。”便叫周瑞：“照帐点清，送往里头交代。等我把来帐抄下一个底子，留着好对。”又叫“告诉厨房，把下菜中添几宗，给送果子的来人，照常赏饭给钱。”周瑞答应了，一面叫人搬至凤姐儿院子里去，又把庄上的帐和果子交代明白，出去了。一回儿，又进来回贾珍道：“才刚来的果子，大爷曾点过数目没有？”贾珍道：“我那里有工夫点这个呢？给了你帐，你照帐点就是了。”周瑞道：“小的曾点过，也没有少，也不能多出来。大爷既留下底子，再叫送果子来的人问问他，这帐是真的假的。”<br />
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One of the gate-keepers replied, "Auspicious Surrounding.”Auspicious Surrounding was summoned and she instructed him:“Check through all the items on this list and have them delivered. Have a copy made for my reference. Tell the kitchen to add a few dishes to the lowest-grade meal of the fellow who brought these things, and tip him according to the usual practice."Auspicious Surrounding assented and had the things delivered to Splendid Phoenix's compound. After handing over the list and the produce he left. With that she left. Before long he returned to ask Treasure Merchant, “Have you checked the amounts of the things that just arrived, sir?”“Do you think I have time to do that?” replied Cousin Treasure impatiently."I have given you the bill, you just need to count it."“I have, sir. There's nothing short, and of course nothing extra.As you've kept a copy, sir, please call the messenger in to ask whether this is the genuine list or faked." said Auspicious Surrounding.--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 12:06, 15 May 2022 (UTC)<br />
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One of the gate-keepers replied, "Auspicious Surrounding.” Then Treasure Merchant ordered him :“Check through all the items on this list and have them delivered. Have a copy made for my reference. Tell the kitchen to add a few dishes to the lowest-grade meal of the fellow who brought these things, and tip him according to the usual practice."Auspicious Surrounding assented and had the things delivered to Splendid Phoenix's compound. After handing over the list and the produce he left. With that she left. Before long he returned to ask Treasure Merchant, “Have you checked the amounts of the things that just arrived, sir?”“Do you think I have time to do that?” replied Cousin Treasure impatiently."I have given you the bill, you just need to count it."“I have, sir. There's nothing short, and of course nothing extra. As you've kept a copy, sir, please call the messenger in to ask whether this is the genuine list or faked." said Auspicious Surrounding.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 02:05, 17 May 2022 (UTC)<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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贾珍道：“这是怎么说？不过是几个果子罢咧，有什么要紧？我又没有疑你。”说着，只见鲍二走来磕了一个头，说道：“求大爷原旧放小的在外头伺候罢。”贾珍道：“你们这又是怎么着？”鲍二道：“奴才在这里又说不上话来。”贾珍道：“谁叫你说话？”鲍二道：“何苦来，在这里作眼睛珠儿。”周瑞接口道：“奴才在这里经管地租庄子银钱出入，每年也有三五十万来往，老爷太太奶奶们从没有说过话的，何况这些零星东西。若照鲍二说起来，爷们家里的田地房产都被奴才们弄完了。”贾珍想道：“必是鲍二在这里拌嘴，不如叫他出去。”<br />
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Treasure Merchant said,“What are you driving at? Only a little fruit, what does it matter? And I'm not doubting your word.”Just at this point, Bao Er came in and kowtowed.“Please, sir, let me go back to working outside,” he requested.“What have the two of you been up to now?” demanded Treasure Merchant “I can't speak out here,” said Bao Er.“Who's asking you to speak?”“Why should I stay here—getting in people’s way?”Auspicious Surrounding cut in, “I handle the rents and the income and expenditure of the farm—a matter of three to five hundred thousand a year—and the master and mistresses have never found fault, not to say over a few trifles like these. Yet, judging by Bao Er, we've eaten up all our masters' farms and properties!”It was clear to Treasure Merchant that Bao Er had been making trouble and he had better dismiss him.<br />
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Treasure Merchant said,“What are you driving at? Only a little fruit, what does it matter? And I'm not doubting your word.”Just at this point, Bao Er came in and kowtowed.“Please, sir, let me go back to working outside,” he requested.“What have the two of you been up to now?” demanded Treasure Merchant “I can't speak out here,” said Bao Er.“Who's asking you to speak?”“Why should I stay here—getting in people’s way?”Auspicious Surrounding cut in, “I handle the rents and the income and expenditure of the farm—a matter of three to five hundred thousand a year—and the master and mistresses have never found fault, not to say over a few trifles like these. Yet, judging by Bao Er, we've eaten up all our masters' farms and properties!”It was clear to Treasure Merchant that Bao Er had been making trouble and he had better dismiss him.--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 13:05, 15 May 2022 (UTC)<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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因向鲍二说道：“快滚罢！”又告诉周瑞说：“你也不用说了，你干你的事罢。”二人各自散了。贾珍正在厢房里歇着，听见门上闹的翻江搅海。叫人去查问，回来说道：“鲍二和周瑞的干儿子打架。”贾珍道：“周瑞的干儿子是谁？”门上的回道：“他叫何三，本来是个没味儿的，天天在家里喝酒闹事，常来门上坐着。听见鲍二和周瑞拌嘴，他就插在里头。”贾珍道：“这却可恶！把鲍二和那个什么何几给我一块儿捆起来！周瑞呢？”门上的回道：“打架时！他先走了。”贾珍道：“给我拿了来！这还了得了！”众人答应了。<br />
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“Get out, quick!” he ordered, then turned to Auspicious Surrounding. “You needn’t say any more either. Go and attend to your business.”Then the two men went away. Treasure Merchant was relaxing in his study when he heard a great uproar at the gate. He sent to find out what had happened and the gate-keepers reported:“Bao Er is fighting with Auspicious Surrounding’s adopted son.”“And who may that be?” he asked.“A rascal called He San, who gets drunk and brawls every day at home and often comes to sit at our gate. When he heard Bao Er scrapping with Auspicious Surrounding he joined in.”“Outrageous!” swore Treasure Merchant. “Have Bao Er and that fellow He San tied up. Where is Auspicious Surrounding?”“When they started fighting, he slipped away.”“Bring him here! This is the limit!”The servants assented.<br />
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==英语笔译 颜媛 Yan Yuan 202170081603==<br />
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正嚷着，贾琏也回来了，贾珍便告诉了一遍。贾琏道：“这还了得！”又添了人去拿周瑞。周瑞知道躲不过，也找到了。贾珍便叫：“都捆上！”贾琏便向周瑞道：“你们前头的话也不要紧，大爷说开了狠是了。为什么外头又打架？你们打架已经使不得，又弄个野杂种什么何三来闹。你不压伏压伏他们，倒竟走了。”就把周瑞踢了几脚。贾珍道：“单打周瑞不中用。”喝命人把鲍二和何三各人打了五十鞭子，撵了出去，方和贾琏两个商量正事。下人背地里便生出许多议论来：也有说贾珍护短的；也有说不会调停的；<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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也有说他本不是好人，前儿尤家姐妹弄出许多丑事来，那鲍二不是他调停着二爷叫了来的吗？这会子又嫌鲍二不济事，必是鲍二的女人伏侍不到了。人多嘴杂，纷纷不一。却说贾政自从在工部掌印，家人中尽有发财的。那贾芸听见了，也要插手弄一点事儿，便在外头说了几个工头，讲了成数，便买了些时新绣货，要走凤姐儿门子。凤姐正在房中，听见丫头们说：“大爷二爷都生了气，在外头打人呢。”凤姐听了，不知何故。正要叫人去问问，只见贾琏已进来了，把外面的事告诉了一遍。凤姐道：“事情虽不要紧，但这风俗儿断不可长。<br />
It is also said that he is not a good person, and the former sisters and sisters of the You family have made a lot of scandals. Isn't Bao Er called by him to mediate the second master? At this moment, I think that Bao Er is not good enough, and it must be that Bao Er's woman can't serve. There are many people, and they are different. However, he said that since Jia Zheng took the seal of the Ministry of Industry, everyone in his family has made a fortune. Then Jia Yun heard it and wanted to intervene, so she talked about a few foremen outside, and after talking a lot, she bought some new embroidery goods and wanted to go to Sister Feng's house. Sister Feng was in the room when she heard the girls say, "The uncle and the second master are both angry and beat people outside." Sister Feng heard this, for some unknown reason. Just as he was about to ask someone to ask, he saw Jia Lian had come in and told the outside world. Sister Feng said: "It doesn't matter, but this custom cannot last forever.<br />
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It is also said that he is not a good person, and in past several days, sisters of the You family have made a lot of scandals. Isn't Bao Er called by him to mediate the second master? At this moment, Bao Er was thought not good at handling those things, and it must be that Bao Er's wife did not serve him well. Different people had different ideas. However, he said that since Government Merchant took the seal of the Ministry of Industry, everyone in his family has made a fortune. Then Ruta Merchant heard it and wanted to engage in it too, so she employed a few foremen outside and negotiated the salary with them, then she bought some fashionable embroidery goods and wanted to visit Splendid Phoenix. Splendid Phoenix was in the room and she heard the girls said, "Treasure Merchant and Romance Merchant are both angry and beat people outside." Splendid Phoenix heard this but did not know the reason. Therefore, as she was about to ask someone to inquire about it, she saw Romance Merchant have come in and told him what happened outside. Splendid Phoenix said: "It doesn't matter, but this cannot last forever.--[[User:Yang Ziwei|Yang Ziwei]] ([[User talk:Yang Ziwei|talk]]) 08:17, 17 May 2022 (UTC)<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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此刻还算咱们家里正旺的时候儿，他们就敢打架，以后小辈儿们当了家，他们越发难制伏了。前年我在东府里亲眼见过焦大吃的烂醉，躺在台阶子底下骂人，不管上上下下，一混汤子的混骂。他虽是有过功的人，到底主子奴才的名分，也要存点儿体统才好。珍大奶奶，不是我说，是个老实头，个个人都叫他养得无法无天的。如今又弄出一个什么鲍二。我还听见是你和珍大爷得用的人，为什么今儿又打他呢？”贾琏听了这话刺心，便觉赸赸的，拿话来支开，借有事，说着就走了。小红进来回道：“芸二爷在外头要见奶奶。”凤姐一想，”他又来做什么？”<br />
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Nowadays, when our family was still prosperous, they dared to fight with each other. Since then, if younger generations have been in charge in the days to come, they would have become even more difficult to control. The year before last, I saw Big Coke get drunk, lying at the bottom of the stairs, swearing no matter who was in high or low position. Though he had done meritorious service, he had better retain some decency as a servant. Not only me but others said that Grandmother Pearl was an honest person that people related to her were all lawless. And now there's another Bao’ er. I also heard that you and Treasure Merchant are satisfied with him, but why he got beaten today?" When Romance Merchant heard this, he felt heart-broken and very embarrassed. Then he switched the topic and left. Little Red came in and said, "Ruta Merchant wants to see you outside." "What is he doing here?" thought Splendid Phoenix.<br />
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“We must stop such kind of behavior. If they thunk they can get away with it now, when our family is still prosperous, what is going to happen when the young generation takes over tha family? Several years ago, I saw Big Coke getting drunk, lying at the bottom of the stairs, swearing no matter who was in high or low position. I do not care if he has rendered distinguished services in the past. Servants should know their place and show the proper sense of respect. That were all caused by Treasure Merchant’s wife. She is too unsuspecting so the servants get away with anything. And now there come a Bao er. I also heard that you and Treasure Merchant are satisfied with him, but why he got beaten today?” When Romance Merchant heard this, he felt heart-broken and very embarrassed. Then he switched the topic and left. Little Red came in and said: “Ruta Merchant wants to see you outside, my lady.” “I wonder what he is after this time?” mused Splendid Phoenix to herself.--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 04:31, 15 May 2022 (UTC)<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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便道：“叫他进来罢。”小红出来，瞅着贾芸微微一笑。贾芸赶忙凑近一步，问道：“姑娘替我回了没有？”小红红了脸，说道：“我就是见二爷的事多！”贾芸道：“何曾有多少事能到里头来劳动姑娘呢？就是那一年姑娘在宝二叔房里，我才和姑娘……”小红怕人撞见，不等说完，赶忙问道：“那年我换给二爷的一块绢子，二爷见了没有？”那贾芸听了这句话，喜的心花俱开，才要说话，只见一个小丫头从里面出来，贾芸连忙同着小红往里走。两个人一左一右，相离不远。贾芸悄悄的道：“回来我出来，还是你送出我来。我告诉你，还有笑话儿呢。”<br />
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Splendid Phoenix King said: “Let him in.” Then Little Red went out. She looked at Cloud Merchant and give him a sweet chuckle. He approached towards her and said: “Have you told Romance Merchant that I was here, Miss Little Red?” Her face turned red and said: “I suppose you have a lot of important business, Mr. Cloud.” “On the contrary, I only wish I had reasons to come here and trouble you more often. I remember last year, when you were employed at Uncle Precious Jade’s room...” He was about to continue to say more, and Little Red was afraid that someone may interrupt them, therefore she asked in a hurry: “That year I had given you a handkerchief. Did you get that?” Cloud Merchant was very excited after hearing what she said and he was ready to say something. Before he could say something to Little Red, a young maid came out from Splendid Phoenix’ room. Then he and Little Red entered the room together at once. They walked side by side and they are close to each other. Cloud Merchant whispered: “When I came out, be sure to see me out. And I have something that amuses you to tell you.”<br />
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“Invite him in,” said Splendid Phoenix King, wondering why he had come. Little Red went out and smiled at Rue Merchant, who hastily stepped closer. “Did you give her my message, miss?” he asked. Blushing she said, “You seem to have a lot of business, sir!” “How often have I troubled you before?” he protested. “Only once, the other year when you were in Uncle Precious’s place....” For fear of detection she cut him short by asking, “Did you see the handkerchief I left you that time, sir?” Rue Merchant was overjoyed by this question. But before he could answer a young maid came out, and he and Little Red hurried towards the house, walking side by side, not keeping their distance from each other. “When I come out presently,” whispered Rue Merchant, “I want you to see me out, I’ve something amusing to tell you.” --[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 15:04, 14 May 2022 (UTC)<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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小红听了，把脸飞红，瞅了贾芸一眼，也不答言。同他到了凤姐门口，自己先进去回了，然后出来，掀起帘子，点手儿，口中却故意说道：“奶奶请芸二爷进来呢。”贾芸笑了一笑，跟着他走进房来，见了凤姐儿，请了安，并说：“母亲叫问好。”凤姐也问了他母亲好。凤姐道：“你来有什么事？”贾芸道：“侄儿从前承婶娘疼爱，心上时刻想着，总过意不去。欲要孝敬婶娘，又怕婶娘多想。如今重阳时候，略备了一点儿东西。婶娘这里那一件没有？不过是侄儿一点孝心。只怕婶娘不肯赏脸。”凤姐儿笑道：“有话坐下说。”贾芸才侧身坐了，连忙将东西捧着搁在傍边桌上。<br />
Little Red blushed and glanced at him, but did not answer. When they reached Splendid Phoenix King’s room, she went in first to announce him, then came out again and raised the portiere. She beckoned him in, but said deliberately, “Madam asks you to come in, Master Rue.” Smiling, he followed her into the room and paid his respects to Splendid Phoenix King. “My mother sends her greetings,” he added. Splendid Phoenix inquired after his mother too, then asked, “What can I do for you?” “I’ve never forgotten your past goodness to me, aunt, and have al�ways wished I could show my gratitude. Only I was afraid you might suspect I had ulterior motives. Now I’ve brought you a little gift for the Double-Ninth Festival. Of course you lack for nothing here, but this is just to show your nephew’s respect. I only hope you’ll condescend to accept it.” Splendid Phoenix smiled. “Sit down if you have something to say.” Rue Merchant perched on the edge of a chair, hastily placing his present on the table beside him.<br />
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Little Red blushed and glanced at him without any answers. When they reached Sister Phoenix’s room, she went in first to announce him, then came out again and raised the portiere. She beckoned him in, but said deliberately, “Madam asks you to come in, Master Rue.” Smiling, he followed her into the room and paid his respects to Splendid Phoenix King. “My mother sends her greetings,” he added. Splendid Phoenix inquired after his mother too, then asked, “What can I do for you?” “I’ve never forgotten your past goodness to me, aunt, and have always wished I could show my gratitude. Only I was afraid you might suspect I had ulterior motives. Now I’ve brought you a little gift for the Double-Ninth Festival. Of course you lack for nothing here, but this is just to show your nephew’s respect. I only hope you’ll condescend to accept it.” Splendid Phoenix smiled. “Sit down if you have something to say.” Rue Merchant perched on the edge of a chair, hastily placing his present on the table beside him.--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:57, 16 May 2022 (UTC)<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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凤姐又道：“你不是什么有余的人，何苦又去花钱？我又不等着使。你今日来意，是怎么个想头儿，你倒是实说。”贾芸道：“并没有别的想头儿，不过感念婶娘的恩惠，过意不去罢咧。”说着，微微的笑了。凤姐道：“不是这么说。你手里窄，我狠知道，我何苦白白儿使你的？你要我收下这个东西须先和我说明白了。要是这么‘含着骨头露着肉’的，我倒不收。”贾芸没法儿，只得站起来，陪着笑儿说道：“并不是有什么妄想：前几日听见老爷总办陵工，侄儿有几个朋友办过好些工程，极妥当的，要求婶娘在老爷跟前提一提。<br />
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Sister Phoenix said, "You are not a person with more than enough money, why bother to spend money again?" I'm not waiting to use it. What do you think about today. Tell me the truth." Merchant Yun said, "I don't have any other thoughts, but I miss my aunt's favor and can't help feeling gratefulness" He said, smiling slightly. Sister Phoenix said, "That's not what I said. Your hands are in need of money, and I know that fiercely, why should I use yours for free? If you want me to accept this thing, you must first explain it to me. If you keep being sovague, I won't take it." Merchant Yun had nothing to do but to stand up and say with a smile: "It's not that there is any delusion: A few days ago, I heard that the master would be doing some mausoleum work, and the nephew had a few friends who had done a lot of projects, which was very appropriate, and I want to ask the aunt to mention it to the master."<br />
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Sister Phoenix said, "You are not a person with more than enough money, why bother to spend money again? I'm not waiting to use it. What do you think about today? Tell me the truth." Merchant Yun said, "I don't have any other thoughts, but I miss my aunt's favor and can't help feeling gratefulness" He said, smiling slightly. Sister Phoenix said, "That's not what I said. Your are in need of money, and I know that fiercely, why should I order you for free? If you want me to accept this thing, you must first explain it to me. If you keep being sovague, I won't take it." Merchant Yun had nothing to do but to stand up and say with a smile: "It's not that there is any delusion: A few days ago, I heard that the master would be doing some mausoleum work, and I had a few friends who had done a lot of projects, which was very appropriate, and I want to ask the aunt to mention it to the master.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 09:14, 16 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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办得一两种，侄儿再忘不了婶娘的恩典！若是家里用得着侄儿，也能给婶娘出力。”凤姐道：“若是别的，我却可以作主。至于衙门里的事，上头呢，都是堂官司员定的；底下呢，都是那些书办衙役们办的，别人只怕插不上手，连自己的家人也不过跟着老爷伏侍伏侍。就是你二叔去，亦只是为的是各自家里的事，他也并不能搀越公事。论家事，这里是踩一头儿橇一头儿的，连珍大爷还弹压不住。你的年纪儿又轻，辈数儿又小，那里缠的清这些人呢？况且衙门里头的事差不多儿也要完了，不过吃饭瞎跑。你在家里什么事作不得，难道没了这碗饭吃不成？<br />
I would appreciate it if you could help me get some work from my uncle. And I am also ready to give a hand if there is something I can help." Sister Phoenix said, "I can decide over other things. As for the matters in the yamen(a kind of government office in feudal China), the officers decide over the major issues and those clerks and magistrates decide over the other matters. I am afraid that we cannot even have the right to intervene, and even their own family members are just attending to their Mater at home. Even for your second uncle, he can just go there for the sake of his own family matters instead of intervening with official business. As for the family matters, there's a lot of deception and scheming going on there, which your First Master can't deal with, too. And you're young and junior in the family, how can you deal with those people? And the matters in yamen are about to be finished, leaving some inessential work. You can do any kind of work in your home, won't you make a living without such kind of work?"<br />
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I would appreciate it if you could help me get some work from my uncle. And I am also ready to give a hand if there is something I can help." Sister Phoenix said, "I can decide over other things. As for the matters in the yamen(a kind of government office in feudal China), the officers decide over the major issues and those clerks and magistrates decide over the other matters. I am afraid that we cannot even have the right to intervene, and even their own family members are just attending to their Mater at home. Even for your second uncle, he can just go there for the sake of his own family matters instead of intervening with official business. As for the family matters, there's a lot of deception and scheming going on there, which your First Master can't deal with, too. And you're young and junior in the family, how can you deal with those people? And the matters in yamen are about to be finished, leaving some inessential work. You can do any kind of work in your home, won't you make a living without such kind of work?"--[[User:Zheng Dongqin|Zheng Dongqin]] ([[User talk:Zheng Dongqin|talk]]) 11:32, 16 May 2022 (UTC)<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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我这是实在话，你自己回去想想就知道了。你的情意，我已经领了，把东西快拿回去，是那里弄来的，仍旧给人家送了去罢。”正说着，只见奶妈子一大起带了巧姐儿进来。那巧姐儿身上穿得锦团花簇，手里拿着好些顽意儿，笑嘻嘻走到凤姐身边学舌。贾芸一见，便站起来，笑盈盈的赶着说道：“这就是大妹妹么？你要什么好东西不要？”那巧姐儿便“哑”的一声哭了。贾芸连忙退下。凤姐道：“乖乖不怕。”连忙将巧姐揽在怀里，道：“这是你芸大哥哥，怎么认起生来了？”贾芸道：“妹妹生得好相貌，将来又是个有大造化的。”那巧姐儿回头把贾芸一瞧，又哭起来，叠连几次。<br />
This is honest advice. Go back and think it over and you’ll see that. I appreciate your offer, but take these things back and return them to whomever you got them from.”bust then in came some nannies with little Sister Ingenious, tricked out in embroidered silks, her arms filled with toys. She went up to her mother, smiling, to prattle to her. At once Cloud Merchant sprang to his feet.Beaming, he asked, “Is this my younger sister? Do you want something nice?”The child burst out crying, and he quickly stepped back.“Don’t be frightened, darling,” said Splendid Phoenix King, taking Sister Ingenious on her lap. “This is your big Cousin Cloud Merchant . Why be shy?”“What a pretty child!” he exclaimed. “She’s another who’s destined to enjoy great good fortune.”Sister Ingenious turned to look at him, then started crying again.This had happened several times.<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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贾芸看这光景坐不住，便起身告辞要走。凤姐道：“你把东西带了去罢。”贾芸道：“这一点子，婶娘还不赏脸？”凤姐道：“你不带去，我便叫人送到你家去。芸哥儿，你不要这么样。你又不是外人。我这里有机会，少不得打发人去叫你；没有事也没法儿，不在乎这些东东西西上的。”贾芸看见凤姐执意不受，只得红着脸道：“既这么着，我再找得用的东西来孝敬婶娘罢。”凤姐儿便叫小红拿了东西，跟着贾芸送出来。贾芸走着，一面心中想道：“人说二奶奶利害，果然利害。一点儿都不漏缝，真正斩钉截铁！怪不得没有后世。<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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这巧姐儿更怪，见了我好像前世的冤家是的，真正晦气。白闹了这么一天。”小红见贾芸没得彩头，也不高兴，拿着东西跟出来。贾芸接过来，打开包儿，拣了两件，悄悄的递给小红。小红不接，嘴里说道：“二爷别这么着。看奶奶知道了，大家倒不好看。”贾芸道：“你好生收着罢。怕什么，那里就知道了呢？你若不要，就是瞧不起我了。”小红微微一笑，才接过来，说道：“谁要你这些东西！算什么呢？”说了这句话，把脸又飞红了。贾芸也笑道：“我也不是为东西。况且那东西也算不了什么。”说着话儿，两个已走到二门口。贾芸把下剩的仍旧揣在怀内。<br />
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Sister Ingenious was stranger. She looked as if we had a family feud. So damn. Wasted a day." Seeing that Jiayun didn't win, Red was not happy. She took the things and followed out. Jiayun took the things in her hand and opened it. He secretly took out two pieces and handed to Red without others notice. Red refused to take it and said, "Master, don't. If Madame saw, it would be so embarrassing." Jiayun said, "You take it. What are you afraid of? How would they know? If you don't accept, I would count it as a humiliation." Red smiled and then took the things. She said, "Who wants your things. What would I be?" Then, she flushed. Jiayun also smiled, "I didn't come for these things. Besides, these are no big deal." Saying, they had reached the second gate. Jiayun still carried the rest in his arms.<br />
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Sister Ingenious was stranger. She looked as if we had a family feud. So damn. Wasted a day." Seeing that Cloud Merchant didn't win, Little Red was not happy. She took the things and followed out. Cloud took the bundle from her and opened it. He secretly took out two pieces and slip to Little Red without others notice. Little Red refused to take it and said, "Master, don't. If Madame saw, it would be bad for both of us." Cloud said, "You take it. What is there to be afraid of? How would they know? If you don't accept, that means you look down on me." Little Red smiled and then took the things. She said, "Why should I want these things of yours. What would I be?" Then, she flushed. Cloud also smiled, "I didn't come for these things. Besides, these are no big deal." Saying, they had reached the second gate. Cloud still carried the rest in his arms.--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 09:07, 16 May 2022 (UTC)<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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小红催着贾芸道：“你先去罢。有什么事情，只管来找我。我今日在这院里了，又不隔手。”贾芸点点头儿，说道：“二奶奶太利害，我可惜不能长来！刚才我说的话，你横竖心里明白，得了空儿，再告诉你罢。”小红满脸羞红，说道：“你去罢。明儿也长来走走。谁叫你和他生疏呢。”贾芸道：“知道了。”贾芸说着，出了院门。这里小红站在门口，怔怔的看他去远了，才回来了。却说凤姐在房中吩咐预备晚饭，因又问道：“你们熬了粥了没有？”丫鬟们连忙去问，回来回道：“预备了。”凤姐道：“你们把那南边来的糟东西弄一两碟来罢。”秋桐答应了，叫丫头们伺候。<br />
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Little Red urged Cloud Merchant to leave. "If there's anything you want, just come and ask me," she said. "Now that I'm working here it's easy to find me." Cloud nodded. "It's too bad your mistress is such a martinet that I can't call too often. Anyway you must understand what I meant just now. I've something more to tell you when I have the chance." Blushing all over her face she answered, "Go now. You must call more often in future. You shouldn't have kept at such a distance from her." "Right." Then Cloud Merchant left the compound. Little Red stood at the gate watching till he was out of sight before finally turning back. Sister Phoenix in her room now ordered dinner and asked the maids if they had prepared any congee. Some went to ask, returning with the answer, "Yes, we have." "Get a couple of southern dishes preserved in liquor." "Very good, madam," said Autumn, and sent some young maids for these.<br />
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Little Red urged Cloud Merchant to leave. "If there's anything you want, just come and ask me," she said. "Now that I'm working here it's easy to find me." Cloud nodded. "It's too bad your mistress is such a martinet that I can't call too often. Anyway you must understand what I meant just now. I've something more to tell you when I have the chance." Blushing all over her face she answered, "Go now. You must call more often in future. You shouldn't have kept at such a distance from her." "Right." Then Cloud Merchant left the compound. Little Red stood at the gate watching till he was out of sight before finally turning back. Sister Phoenix in her room now ordered dinner and asked the maids if they had prepared any congee. Some went to ask, returning with the answer, "Yes, we have." "Get a couple of southern dishes preserved in liquor." "Very good, madam," said Autumn, and sent some young maids for these.--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 05:23, 17 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
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平儿走来笑道：“我倒忘了：今儿晌午，奶奶在上头老太太那边的时候，水月庵的师父打发人来，要向奶奶讨两瓶南小菜，还要支用几个月的月银，说是身上不受用。我问那道婆来着：‘师父怎么不受用？’他说：‘四五天了。前儿夜里，因那些小沙弥小道士里头有几个女孩子，睡觉没有吹灯，他说了几次不听。那一夜，看见他们三更以后灯还点着呢，他便叫他们吹灯，个个都睡着了，没有人答应，只得自己亲自起来给他们吹灭了。回到炕上，只见有两个人，一男一女，坐在炕上。他赶着问是谁，那里把一根绳子往他脖子上一套，他便叫起人来。<br />
Patience now stepped forward and said, "It had slipped my mind, but at noon today while you were with the old lady, the abbess of Water Moon Convent sent a nun to ask for two jars of southern pickles, madam. She wants a few months' allowance advanced too, because she isn't well. I asked the nun what was wrong, and she said the abbess has been unwell for four or five days. The other night some acolytes and novices refused to blow out the light when they went to bed. She scolded them severaltimes, but they paid no attention. When she saw that the lamp was still burning after midnight, she told them to blow it out; but as they were all asleep no one answered, so she had to get up herself to put it out. When she went back to her room, she saw a man and a woman sitting on the kang. And when she asked who they were, they fastened a rope round her neck! She screamed for help.<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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众人听见，点上灯火，一齐赶来，已经躺在地下，满口吐白沫子。幸亏救醒了。此时还不能吃东西，所以叫来寻些小菜儿的。’我因奶奶不在房中，不便给他。我说：‘奶奶此时没有空儿，在上头呢，回来告诉。’便打发他回去了。才刚听见说起南菜，方想起来了；不然，就忘了。”凤姐听了，呆了一呆，说道：“南菜不是还有呢，叫人送些去就是了。那银子，过一天叫芹哥来领就是了。”又见小红进来回道：“才刚二爷差人来，说是今晚城外有事，不能回来，先通知一声。”凤姐道：“是了。”说着，只听见小丫头从后面喘吁吁的嚷着，直跑到院子里来。<br />
That roused the others who lit lamps and hurried over. They found her lying on the ground,foaming at the mouth. Luckily they managed to bring her round. But she still has no appetite; that's why she asked for the pickles. As I couldn’t give her any in your absence,I told the nun you were busy with the old lady and would tell you after you came back. Then I sent her away. Just now that talk about preserves from the south reminded me; otherwise I'd have forgotten." Splendid Phoenix digested this in silence." We still have some of those preserves from the south,don't we?" she said. "Send her some. As for the money,tell Master Qin to come in a day or so to take it. Then Hongyu came and reported,"Just now Master Romance sent a messenger to let you know that he has business to see to outside town and won't be back tonight." "Very well," said Splendid Phoenix. Just then they heard a young maid screaming at the back and come panting to the courtyard.<br />
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==英语口译 方楚晗 Fang Chuhan 202170081616==<br />
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外面平儿接着，还有几个丫头们，咕咕唧唧的说话。凤姐道：“你们说什么呢？”平儿道：“小丫头子有些胆怯，说鬼话。”凤姐说：“那一个？”小丫头进来。问道：“什么鬼话？”那丫头道：“我才刚到后边去叫打杂儿的添煤，只听得三间空屋子里‘哗喇哗喇’的响，我还道是猫儿耗子，又听得‘嗳’的一声，像个人出气儿的是的。我害怕，就跑回来了。”凤姐骂道：“胡说！我这里断不兴说神说鬼。我从来不信这些个话，快滚出去罢！”那小丫头出去了。凤姐便叫彩明将一天零碎日用帐对过一遍。时已将近二更。大家又歇了一回，略说些闲话，遂叫各人安歇去罢。<br />
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==英语口译 胡雯雯 Hu Wenwen 202170081617==<br />
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凤姐也睡下了。将近三更，凤姐似睡不睡，觉得身上寒毛一乍，自己惊醒了，越躺着越发起渗来，因叫平儿秋桐过来作伴。二人也不解何意。那秋桐本来不顺凤姐，后来贾琏因尤二姐之事，不大爱惜他了，凤姐又笼络他，如今倒也安静，只是心里比平儿差多了，外面情儿。今见凤姐不受用，只得端上茶来。凤姐喝了一口道：“难为你，睡去罢，只留平儿在这里就彀了。”秋桐却要献勤儿，因说道：“奶奶睡不着，倒是我们两个轮流坐坐也使得。”凤姐一面说，一面睡着了。平儿秋桐看见凤姐已睡，只听得远远的鸡声叫了，二人方都穿着衣服略躺了一躺，就天亮了，连忙起来伏侍凤姐梳洗。<br />
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==英语口译 黄天琪 Huang Tianqi 202170081618==<br />
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凤姐因夜中之事，心神恍惚不宁，只是一味要强，仍然扎挣起来。正坐着纳闷，忽听个小丫头子在院里问道：“平姑娘在屋里么？”平儿答应了一声。那小丫头掀起帘子进来，却是王夫人打发过来来找贾琏，说：“外头有人回要紧的官事。老爷才出了门，太太叫快请二爷过去呢。”凤姐听见，唬了一跳。却说凤姐正自起来纳闷，忽听见小丫头这话，又唬了一跳，连忙问道：“什么官事？”小丫头道：“也不知道。刚才二门上小厮回进来，回老爷有要紧的官事，所以太太叫我请二爷来了。”<br />
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When she awoke, Splendid Phoenix’s mind was still haunted by the terrors of the night. Despite her shaky state, her habitual determination to keep going at all costs prevailed, and with a great effort she struggled up. She was sitting rapt in thought when she heard a maid in the courtyard calling: ‘Is Patience in?’ Patience called out in reply, and the maid lifted the door-curtain and came in. It turned out that she had been sent by Lady Wang to summon Romance Merchant. ‘There’s a messenger from the yamen on urgent business,’ she said, and as the Master has just gone out, Her Ladyship sent me to ask for Mr Romance to come over.’ Splendid Phoenix caught her breath in alarm.What has happened?’ she asked in alarm. ‘I don’t know, ma’am,’ replied the maid. ‘A messenger has come from the Ministry for the Master. One of the pages on the inner gate reported to Her Ladyship, and Her Ladyship sent me here to ask for Mr Romance.’<br />
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==英语口译 李丹 Li Dan 202170081620==<br />
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凤姐听是工部里的事，才把心略略的放下，因说道：“你回去回太太，就说二爷昨日晚上出城有事，没有回来,打发人先回珍大爷去罢。”那丫头答应着去了。一时，贾珍过来。见了部里的人，问明了，进来见了王夫人，回道：“部中来报：昨日总河奏到，河南一带决了河口，湮没了几府州县。又要开销国帑，修理城工。工部司官又有一番照料。所以部里特来报知老爷的。”说完退出。及贾政回家来，回明。从此，直到冬间，贾政天天有事，常在衙门里。宝玉的工课也渐渐松了，只是怕贾政觉察出来，不敢不常在学房里去念书，连黛玉处也不敢常去。<br />
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==英语口译 李立飞 Li Lifei 202170081621==<br />
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那时已到十月中旬，宝玉起来，要往学房中去。这日天气陡寒，只见袭人早已打点出一包衣服，向宝玉道：“今日天气狠冷，早晚宁使暖些。”说着，把衣裳拿出来，给宝玉挑了一件穿。又包了一件，叫小丫头拿出，交给焙茗，嘱咐道：“天气凉，二爷要换时，好生预备着。”焙茗答应了，抱着毡包，跟着宝玉自去。宝玉到了学房中，做了自己的工课，忽听得纸窗“呼喇喇”一派风声。代儒道：“天气又发冷。”把风门推开一看，只见西北上一层层的黑云，渐渐往东南扑上来。焙茗走进来回宝玉道：“二爷，天气冷了，再添些衣服罢。”宝玉点点头儿。<br />
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==英语口译 莫雨婷 Mo Yuting 202170081622==<br />
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只见焙茗拿进一件衣服来，宝玉不看则已，看了时，神已痴了。那些小学生都巴着眼瞧。却原是晴雯所补的那件雀金裘。宝玉道：“怎么拿这一件来？是谁给你的？”焙茗道：“是里头姑娘们包出来的。”宝玉道：“我身上不大冷，且不穿呢，包上罢。”代儒只当宝玉可惜这件衣服，却也心里喜他知道俭省。焙茗道：“二爷穿上罢。着了凉，又是奴才的不是了。二爷只当疼奴才罢！”宝玉无奈，只得穿上，呆呆的对着书坐着。代儒也只当他看书，不甚理会。晚间放学时，宝玉便往代儒托病告假一天。代儒本来上年纪的人，也不过伴着几个孩子解闷儿，时常也八病九痛的，乐得去一个少操一日心。<br />
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Tealeaf walked across the room. The sight of the garment he was carrying had a most curious effect on Bao-yu, who gazed at it as if in a trance. The other boys watched with fascination. "Why did you have to bring this?" asked Bao-yu. "Who gave it to you?" He had recognized it at once as the Peacock Gold snow-cape, the one that Skybright had so bravely mended for him during her last illness. "The maids wrapped it up and told me to bring it," replied Tealeaf. "Well, I’m not feeling particularly cold," said Bao-yu. "I<br />
don’t think I’ll wear it just now. You may as well wrap it up again." The Preceptor supposed that Bao-yu was reluctant to spoil so fine a garment, and noted with gratification this evidence of thrift. "Please put it on, Master Bao!" pleaded Tealeaf. "For my sake! You know I’ll get the blame if you catch a cold." With extreme reluctance Bao-yu put it on, sat down again and stared glumly at his books. The Preceptor presumed that he was concentrating once more on his studies and gave the incident no further thought. That afternoon, when the day’s lessons were over, Baoyu said that he felt unwell and asked to be excused from school the next day. Dai-ru had, of late, come to view his students in a more lenient light, more as companions with whom to while away his old age. His own health was poor, and he was glad to lessen his burden of work by the judicious dispensation of sick-leave.<br />
<br />
Tealeaf walked across the room. The sight of the garment he was carrying had a most curious effect on Bao-yu, who gazed at it as if in a trance. The other boys watched with fascination. ‘Why did you have to bring this?’ asked Bao-yu. ‘Who gave it to you?’ He had recognized it at once as the Peacock Gold snow-cape, the one that Skybright had so bravely mended for him during her last illness. ‘The maids wrapped it up and told me to bring it,’ replied Tealeaf. ‘Well, I’m not feeling particularly cold,’said Bao-yu. ‘I don’t think I’ll wear it just now. You may as well wrap it up again.’ The Preceptor supposed that Bao-yu was reluctant to spoil so fine a garment, and noted with gratification this evidence of thrift. ‘Please put it on, Master Bao!’ pleaded Tealeaf. ‘For my sake! You know I’ll get the blame if you catch a cold.’ With extreme reluctance Bao-yu put it on, sat down again and stared glumly at his books. The Preceptor presumed that he was concentrating once more on his studies and gave the incident no further thought. That afternoon, when the day’s lessons were over, Baoyu said that he felt unwell and asked to be excused from school the next day. Dai-ru had, of late, come to view his students in a more lenient light, more as compani9ns with whom to while away his old age. His own health was poor, and he was glad to lessen his burden of work by the judicious dispensation of sick-leave.--[[User:Peng Huixuan|Peng Huixuan]] ([[User talk:Peng Huixuan|talk]]) 11:49, 17 May 2022 (UTC)<br />
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==英语口译 彭慧璇 Peng Huixuan 202170081623==<br />
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况且明知贾政事忙，贾母溺爱，便点点头儿。宝玉一径回来，见过贾母王夫人，也是这样说，自然没有不信的。略坐一坐，便回园中去了。见了袭人等，也不似往日有说有笑的，便和衣躺在炕上。袭人道：“晚饭预备下了，这会儿吃，还是等一等儿？”宝玉道：“我不吃了，心里不舒服。你们吃去罢。”袭人道：“那么着，你也该把这件衣服换下来了。那个东西那里禁得住揉搓？”宝玉道：“不用换。”袭人道：“倒也不但是娇嫩物儿，你睄睄那上头的针线，也不该这么糟塌他呀。”宝玉听了这话，正碰在他心坎儿上，叹了一口气道：“那么着，你就收起来，给我包好了。我也总不穿他了！”<br />
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Besides, he knew that Sir Zheng had more important matters on his mind, and that Grandmother Jia always indulged her favourite grandson. With a nod he indicated to Bao-yu that his request was granted. Bao-yu went straight home. After calling briefly on his mother and grandmother, neither of whom questioned his plea of illness, he returned to the Garden. He was not at all his usual smiling talkative self, in fact he hardly said a word to Aroma and the others, but lay down dressed as he was on the kang. ‘Dinner’s ready,’ said Aroma. “Do you want it now, or will you wait till later?” Bao-yu: “I won’t have anything to eat. I’m not feeling well. You just have yours. Aroma: “Well, you might at least take off that lovely cape. You’ll crumple it and ruin it.” Bao-yu: “I want to keep it on.” Aroma: “It’s not just the cape that I’m worried about. Look how carefully it’s been darned. You’ll spoil the stitching.” This touched Bao-yu to the quick. He heaved a deep sigh. “Oh all right! Put it away then. Wrap it up carefully. I shall never wear it again.”<br />
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Besides, he knew that Sir Zheng had more important matters on his mind, and that Grandmother Jia always indulged her favourite grandson. With a nod he indicated to Bao-yu that his request was granted. Bao-yu went straight home. After calling briefly on his mother and grandmother, neither of whom questioned his plea of illness, he returned to the Garden. He was not at all his usual smiling talkative self, in fact he hardly said a word to Aroma and the others, but lay down dressed as he was on the kang. ‘Dinner’s ready,’ said Aroma. “Do you want it now, or will you wait till later?” Bao-yu: “I won’t have anything to eat. I’m not feeling well. You just have yours. Aroma: “Well, you might at least take off that lovely cape. You’ll crumple it and ruin it.” Bao-yu: “I want to keep it on.” Aroma: “It’s not just the cape that I’m worried about. Look how carefully it’s been darned. You’ll spoil the stitching.” This touched Bao-yu to the quick. He heaved a deep sigh. “Oh all right! Put it away then. Wrap it up carefully. I shall never wear it again.”--[[User:Shi Youjie|Shi Youjie]] ([[User talk:Shi Youjie|talk]]) 14:01, 17 May 2022 (UTC)<br />
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==英语口译 时友洁 Shi Youjie 202170081624==<br />
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说着，站起来脱下。袭人才过来接时，宝玉已经自己叠起。袭人道：“二爷怎么今日这样勤谨起来了？”宝玉也不答言，叠好了，便问：“包这个的包袱呢？”麝月连忙递过来，让他自己包好，回头却和袭人挤着眼儿笑。宝玉也不理会，自己坐着，无精打彩。猛听架上钟响，自己低头看了看表针已指到酉初二刻了。一时小丫头点上灯来。袭人道：“你不吃饭，喝一口粥儿罢，别净饿着。看仔细饿上虚火来，那又是我们的累赘了。”宝玉摇摇头儿，说：“这不大饿，强吃了倒不受用。”袭人道：“既这么着，就索性早些歇着罢。”于是袭人麝月铺设好了，宝玉也就歇下。<br />
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He stood up to take it off. Aroma came over to take it from him, but he had already begun to fold it himself. ‘Why are you being so industrious today?’ she asked in surprise. He made no reply but went on folding. ‘Where’s the wrapper?’ he asked when he had finished. Musk handed it to him, and as he carefully wrapped the cape, she turned to give Aroma a wink. Bao-yu took no notice of them but sat down, looking thoroughly dejected. The clock on the shelf chimed, and he glanced down at his watch. It was already half-past five. Shortly afterwards a junior maid came in to light the lamps. ‘If you won’t have a proper meal, at least have a little hot congee,’ pleaded Aroma. ‘If you go to bed on an empty stomach you could easily catch a fever. And then think of all the trouble we’ll have.’ He shook his head. ‘I’m not hungry. I’d only feel worse if I tried to force something down.’ ‘Well in that case,’ said Aroma, ‘you should at least have an early night.’ She and Musk made his bed and Bao-yu lay down.<br />
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He stood up to take it off. Aroma came over to take it from him, but he had already begun to fold it himself. “Why were you so industrious today?” she asked in surprise. He made no reply but went on folding. “Where’s the wrapper?” he asked when he had finished. Musk handed it to him, and as he carefully wrapped the cape, she turned to give Aroma a wink. Baoyu took no notice of them but sat down, looking thoroughly dejected. The clock on the shelf chimed, and he glanced down at his watch. It was already half-past five. Shortly afterward, a junior maid came to light the lamps. “If you won’t have a proper meal, at least have a little hot congee,” pleaded Aroma. “If you go to bed on an empty stomach you could easily catch a fever. And then think of all the trouble we’ll have.” He shook his head. “I’m not hungry. I only feel worse if I tried to force something down.” “Well in that case,” said Aroma, “you should have an early night at least.” She and Musk made his bed and Baoyu lay down.--[[User:Wu Jiahui|Wu Jiahui]] ([[User talk:Wu Jiahui|talk]]) 15:57, 17 May 2022 (UTC)<br />
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==英语口译 伍佳惠 Wu Jiahui 202170081625==<br />
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翻来复去，只睡不着，将及黎明，反朦胧睡去，不一顿饭时，早又醒了。此时袭人麝月也都起来。袭人道：“昨夜听着你翻腾到五更多，我也不敢问你。后来我就睡着了，不知到底你睡着了没有？”宝玉道：“也睡了一睡，不知怎么就醒了。”袭人道：“你没有什么不受用？”宝玉道：“没有，只是心上发烦。”袭人道：“今日学房里去不去？”宝玉道：“我昨儿已经告了一天假了，今儿我要想园里逛一天，散散心，只是怕冷。你叫他们收拾一间房子，备下一炉香，搁下纸墨笔砚，你们只管干你们的，我自己静坐半天才好，别叫他们来搅我。”<br />
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He tossed and turned but could not sleep, only dozing off when it was nearly dawn. However, after no more than the time it takes for a meal, he was awake again. By now, Aroma and Musk Deer Month were up. Aroma said, “I heard you tossing about last night till the fifth watch, but I didn’t like to disturb you. And then I dropped off myself. Did you get any sleep or not?” Precious Jade said, “I just sleep a little, but then somehow I woke up again.” She continued, “Aren’t you feeling well?” He answered, “I’m all right, just rather edgy.” Then, she said, “Are you going to school today?” He replied, “No, I asked for a day’s leave yesterday. I’d like to amuse myself in the Garden today, but just now I feel cold. Get them to clean up a room for me, and put ready some incense, paper, ink, and a brush, and then you can get on with your work while I sit there quietly for a bit. I don’t want to be disturbed.<br />
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He tossed and turned but could not sleep, only dozing off when it was nearly dawn. But after no more than the time it takes for a meal, he was awake again. By now Aroma and Musk Deer Month were up. Aroma said, “I heard you tossing about last night till the fifth watch, but I didn’t like to disturb you. And then I dropped off myself. Did you get any sleep or not?” Precious Jade said,“A little, but then somehow I woke up again.” She continued, “Aren’t you feeling well?” And he answered, “I’m all right, just rather edgy.” Then she said, “Are you going to school today?” He replied, “No, yesterday I asked for a day’s leave. I’d like to amuse myself in the Garden today, but just now I feel cold. Get them to clean up a room for me, and put ready some incense, paper, ink and a brush; then you can get on with your work while I sit there quietly for a bit. I don’t want to be disturbed.”--[[User:Xia Jing|Xia Jing]] ([[User talk:Xia Jing|talk]]) 09:40, 14 May 2022 (UTC)<br />
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==英语口译 夏晶 Xia Jing 202170081626==<br />
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麝月接着道：“二爷要静静儿的用工夫，谁敢来搅！”袭人道：“这么着狠好，也省得着了凉，自己坐坐，心神也不散。”因又问：“你既懒待吃饭，今日吃什么？早说，好传给厨房里去。”宝玉道：“还是随便罢，不必闹的大惊小怪的。倒是要几个果子搁在那屋里，借点果子香。”袭人道：“那个屋里好？别的都不大干净，只有晴雯起先住的那一间，因一向无人，还干净。就是清冷些。”宝玉道：“不妨，把火盆挪过去就是了。”袭人答应了。正说着，只见一个小丫头端了一个茶盘儿，一个碗，一双牙箸，递给麝月，道：“这是刚才花姑娘要的，厨房里老婆子送了来了。”<br />
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“If you want to study quietly,” Musk Deer Month said, “who'd dream of disturbing you?”“That's a good idea,”agreed Aroma. “You won't catch cold, and sitting quietly by yourself you won't be distracted either. But what will you eat today, if you've lost your appetite? Let us know in good time so that we can tell the kitchen.” Precious Jade said,“Anything will do; don’t fuss. But I'd like some fruit put in that room to scent it.”“Which room would be best?” Aroma wondered. “The only clean one, really, is Sunny Cloud Formation's old room. As no one goes there nowadays, it's quite tidy. Only it may be chilly.”“That's all right,”he said. “Just put a brazier in there.”She readily agreed to this. While they were talking a young maid had brought in a saucer, bowl and pair of chopsticks, which she handed to Musk Deer Month saying:“Just now Miss Aroma asked for these, and the old woman from the kitchen has brought them.”<br />
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Revision: “If you want to study quietly,” Musk Deer Month said, “who'd dream of disturbing you?”“That's a good idea,”agreed Aroma. “You won't catch cold, and sitting quietly by yourself you won't be distracted either. But what will you eat today, if you've lost your appetite? Let us know in good time so that we can tell the kitchen.” Precious Jade said,“Anything will do; don’t fuss. But I'd like some fruit put in that room to scent it.”“Which room would be best?” Aroma wondered. “The only clean one, really, is Sunny Cloud Formation's old room. As no one goes there nowadays, it's quite tidy. Only it may be chilly.”“That's all right,”he said. “Just put a brazier in there.”She readily agreed to this. While they were talking a young maid had brought in a saucer, bowl and pair of chopsticks, which she handed to Musk Deer Month saying:“Just now Miss Aroma asked for these, and the old woman from the kitchen has brought them.”--[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 13:43, 14 May 2022 (UTC)<br />
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==英语口译 向师琦 Xiang Shiqi 202170081627==<br />
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麝月接了一看，却是一碗燕窝汤，便问袭人道：“这是姐姐要的么？”袭人笑道：“昨夜二爷没吃饭，又翻腾了一夜，想来今日早起心里必是发空的，所以我告诉小丫头们，叫厨房里作了这个来的。”袭人一面叫小丫头放桌儿。麝月打发宝玉喝了，漱了口，只见秋纹走来说道：“那屋里已经收拾妥了，但等着一时炭劲过了，二爷再进去罢。”宝玉点头，只是一腔心事，懒意说话。一时，小丫头来请，说：“笔砚都安放妥当了。”宝玉道：“知道了。”又一个小丫头回道：“早饭得了，二爷在那里吃？”宝玉道：“就拿了来罢，不必累赘了。”小丫头答应了自去。一时端上饭来。<br />
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Musk Deer Month saw that it was a bowl of bird’s-nest soup. “Did you order this?” she asked Aroma. “He had no supper yesterday evening and passed a sleepless night,” Aroma explained. “I thought he must be feeling hollow inside this morning; so I got the girls to ask the kitchen for this.” She told the younger maids to bring a table, and Musk Deer Month waited on Precious Jade Merchant while he finished the soup and rinsed his mouth. Then Autumn Vein came in. “The room’s been tidied,” she said. “But Master Bao had better wait till the charcoal is red before going there.” Precious Jade Merchant nodded, too preoccupied by his own thoughts to talk. Soon a young maid came to announce, “The writing things have been put ready.” “Good,” he said. Yet another girl announced, “Breakfast is ready. Where will you have it, sir?” “Just bring it here; that’s simplest.” She assented and went out to fetch the food.<br />
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Musk Deer Month saw that it was a bowl of bird’s-nest soup. “Did you order this?” she asked Aroma. “He had no supper yesterday evening and passed a sleepless night,” Aroma explained. “I thought he must be feeling hollow inside this morning; so I got the girls to ask the kitchen for this.” She told the younger maids to bring a table, and Musk Deer Month waited on Precious Jade Merchant while he finished the soup and rinsed his mouth. Then Autumn Vein came in. “The room’s been tidied,” she said. “But Master Bao had better wait till the charcoal is red before going there.” Precious Jade Merchant nodded, too preoccupied with his own thoughts to talk. Soon a young maid came to announce, “The writing things have been put ready.” “Good,” he said. Yet another girl announced, “Breakfast is ready. Where will you have it, sir?” “Just bring it here; that’s simplest.” She assented and went out to fetch the food.--[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 15:21, 16 May 2022 (UTC)<br />
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==英语口译 向望 Xiang Wang 202170081628==<br />
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宝玉笑了一笑，向麝月袭人道：“我心里闷得狠，自己吃只怕又吃不下去，不如你们两个同我一块儿吃，或者吃的香甜，我也多吃些。”麝月笑道：“这是二爷的高兴，我们可不敢。”袭人道：“其实也使得，我们一处喝酒，也不止今日。只是偶然替你解闷儿，还使得；若认真这样，还有什么规矩体统呢。”说着，三人坐下，宝玉在上首，袭人麝月两个打横陪着。吃了饭，小丫头端上漱口茶来，两个看着撤了下去。宝玉因端着茶，默默如有所思，又坐了一坐，便问道：“那屋里收拾妥了么？”麝月道：“头里就回过了，这回子又问。”宝玉略坐了一坐，便过这间屋子来。<br />
<br />
Baoyu remarked with a smile to Xiren and Sheyue, “I’m feeling so depressed, I doubt if I can eat anything alone. Why don’t you have break¬fast with me? If I see you enjoying it, I may eat more.”“You may like the idea, Master Bao,” chuckled Sheyue. “But that would never do!”“Actually it doesn’t matter,” countered Xiren. “We’ve drunk together more than once before. But we can only do this occasionally to cheer you up, young master. If it wasn’t in fun, that would be against all the rules of propriety!”So the three of them sat down, Baoyu in the top place, the two girls on either side. After they had finished the meal, a young maid brought them tea to rinse their mouths and they had the table removed. Baoyu holding his cup sat silent, lost in thought. “Is that room ready?” he asked presently.“We told you it was,” said Sheyue. “Why ask again?”After a while he went to Qingwen’s old room.<br />
<br />
==英语口译 徐舞 Xu Wu 202170081629==<br />
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亲自点了一炷香，摆上些果品，便叫人出去，关上了门。外面袭人等都静悄无声。宝玉拿了一幅泥金角花的粉红笺出来，口中祝了几句，便提起笔来写道：怡红主人焚付晴姐知之：酌茗清香，庶几来飨。其词云：随身伴，独自意绸缪。谁料风波平地起，顿教躯命即时休。孰与话轻柔？东逝水，无复向西流。想像更无怀梦草，添衣还见翠云裘。脉脉使人愁！写毕，就在香上点个火，焚化了。静静儿等着，直待一炷香点尽了，才开门出来。袭人道：“怎么出来了？想来又闷的慌了。”宝玉笑了一笑，假说道：“我原是心里烦，才找个地方儿静坐坐儿。这会子好了，还要外头走走去呢。”<br />
<br />
==英语口译 张静芝 Zhang Jingzhi 202170081630==<br />
<br />
说着，一径出来。到了潇湘馆中，在院里问道：“林妹妹在家里呢么？”紫鹃接应道：“是谁？”掀帘看时，笑道：“原来是宝二爷。姑娘在屋里呢，请二爷到屋里坐着。”宝玉同着紫鹃走进来。黛玉却在里间呢，说道：“紫鹃，请二爷屋里坐罢。”宝玉走到里间门口，看见新写的一副紫墨色泥金云龙笺的小对，上写着：“绿窗明月在，青史古人空。”宝玉看了，笑了一笑，走入门去，笑问道：“妹妹做什么呢？”黛玉站起来，迎了两步，笑着让道：“请坐。我在这里写经，只剩得两行了。等写完了再说话儿。”因叫雪雁倒茶。<br />
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==日语笔译 曹梦然 Cao Mengran 202170081632==<br />
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宝玉道：“你别动，只管写。”说着，一面看见中间挂着一幅单条，上面画着一个嫦娥，带着一个侍者；又一个女仙，也有一个侍者，捧着一个长长儿的衣囊似的：二人身边略有些云护，别无点缀，全仿李龙眠白描笔意，上有“斗寒图”三字，用八分书写着。宝玉道：“妹妹这幅斗寒图可是新挂上的？”黛玉道：“可不是。昨日他们收拾屋子，我想起来，拿出来叫他们挂上的。”宝玉道：“是什么出处？”黛玉笑道：“眼前熟的狠的，还要问人。”宝玉笑道：“我一时想不起，妹妹告诉我罢。”黛玉道：“岂不闻‘青女素娥俱耐冷，月中霜里斗婵娟’？”<br />
<br />
==日语笔译 胡梦琪 Hu Mengqi 202170081633==<br />
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宝玉道：“是啊，这个实在新奇雅致，却好此时拿出来挂。”说着，又东瞧瞧，西走走。雪雁沏了茶来，宝玉吃着。又等了一会子，黛玉经才写完，站起来道：“简慢了。”宝玉笑道：“妹妹还是这么客气。”但见黛玉身上穿着月白绣花小毛皮袄，加上银鼠坎肩；头上挽着随常云髻，簪上一枝赤金匾簪，别无花朵；腰下系着杨妃色绣花绵裙。真比如：亭亭玉树临风立，冉冉香莲带露开。宝玉因问道：“妹妹这两日弹琴来着没有？”黛玉道：“两日没弹了。因为写字已经觉得手冷，那里还去弹琴？”宝玉道：“不弹也罢了。<br />
<br />
“Of course!” he exclaimed. “How original and cultured! And this is the right season, too, to hang this up.”<br />
He strolled around looking at this and that till Snowgoose brought him some tea. And soon Mascara Jade, her copying finished, stood up.<br />
“Excuse me for neglecting you,” she said.<br />
“Always so polite, cousin!” he chuckled.<br />
He noticed now that Daiyu was wearing a pale-blue embroidered fur-lined jacket under a short white squirrel tunic, and a pink embroidered silk padded skirt of the kind worn by Lady Yang. With no flowers in her cloudy tresses, which were loosely knotted and clasped with a flat gold pin, she was truly like:<br />
A jade tree standing gracefully in the breeze.<br />
Or sweet dewy lotus in bloom.<br />
“Have you been playing the lute these days, cousin?” he asked.<br />
“Not for the last two days, because I found copying made my fingers too cold.”<br />
“It’s just as well not to play.<br />
<br />
<br />
“Of course!” he exclaimed. “How original and cultured! And this is the right season, too, hang this up.”<br />
He strolled around looking at it and that till Snowgoose brought him some tea. And soon Mascara Jade, her copying finished, stood up.<br />
“Excuse me for neglecting you,” she said.<br />
“Always so polite, cousin.” he chuckled.<br />
He noticed now that Mascara Jade Forest was wearing a pale-blue embroidered fur-lined jacket under a short white squirrel tunic, and a pink embroidered silk padded skirt of the kind worn by Lady Yang. With no flowers in her cloudy tresses, which were loosely knotted and clasped with a flat gold pin, she was truly like:<br />
A jade tree standing gracefully in the breeze.<br />
Or sweet dewy lotus in bloom.<br />
“Have you been playing the lute these days, cousin?” he asked.<br />
“Not for the last two days, because I found copying made my fingers too cold.”<br />
“It’s just as well not to play.”--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 12:55, 14 May 2022 (UTC)<br />
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==日语笔译 张白鹭 Zhang Bailu 202170081634==<br />
<br />
我想琴虽是清高之品，却不是好东西，从没有弹琴里弹出富贵寿考来的，只有弹出忧思怨乱来的。再者，弹琴也得心里记谱，未免费心。依我说，妹妹身子又单弱，不操这心也罢了。”黛玉抿着嘴儿笑。宝玉指着壁上道：“这张琴可就是么？怎么这么短？”黛玉笑道：“这张琴不是短，因我小时学抚的时候，别的琴都彀不着，因此特地做起来的。虽不是焦尾枯桐，这鹤山凤尾，还配得齐整；龙池雁足，高下还相宜。你看这断纹，不是牛旄是的么？所以音韵也还清越。”宝玉道：“妹妹这几天来做诗没有？”黛玉道：“自结社以后，没大作。”<br />
<br />
“It’s just as well not to play. Though the lute is a refined instrument, I don’t think much of it. No one ever won wealth, nobility or long life from playing it, only grief and longing. Besides, to play, you have to memorize the score which is rather an effort. As you’re so delicate, cousin, it seems to me you shouldn’t waste energy on it.”<br />
Mascara Jade Forest simply smiled and said nothing.<br />
Then, pointing at a lute on the wall, he asked, “Is this yours? Why is it so short?”<br />
“Because when I first learned to play, being small I couldn’t reach the strings of regular lutes, so this was specially made for me. Though it’s not anything exceptional, its parts are well fitted and it’s well proportioned. See the grain of the wood. Isn’t it as fine as yak hair? So it has quite a clear timbre.”<br />
“Have you written any poems these days?”<br />
“Hardly any since the last poetry club.”<br />
<br />
“It’s just as well not to play. Though the lute is a lofty instrument, I don’t think much of it. No one ever won wealth, nobility or long life from playing it, only grief and longing. Besides, to play, you have to memorize the score which is rather an effort. As you’re so delicate, cousin, it seems to me you shouldn’t waste energy on it.”<br />
Mascara Jade Forest simply smiled and said nothing.<br />
Then, pointing at a lute on the wall, he asked, “Is this yours? Why is it so short?”<br />
“Because when I first learned to play, being small I couldn’t reach the strings of regular lutes, so this was specially made for me. Though it’s not anything exceptional, its parts are well fitted and it’s well proportioned. See the grain of the wood. Isn’t it as fine as yak hair? So it has quite a clear timbre.”<br />
“Have you written any poems these days?”<br />
“Hardly any since the last poetry club.”--[[User:Liu Anli|Liu Anli]] ([[User talk:Liu Anli|talk]]) 12:23, 15 May 2022 (UTC)<br />
<br />
[[File:Example.jpg]]==朝鲜语笔译 刘安莉 Liu Anli 202170081635==<br />
<br />
宝玉笑道：“你别瞒我。我听见你吟的，什么‘不可惙，素心如何天上月’，你搁在琴里，觉得音响分外的响亮。有的没有？”黛玉道：“你怎么听见了？”宝玉道：“我那一天从蓼风轩来听见的，又恐怕打断你的清韵，所以静听了一会，就走了。我正要问你：前路是平韵，到末了儿忽转了仄韵，是个什么意思？”黛玉道：“这是人心自然之音，做到那里就到那里，原没有一定的。”宝玉道：“原来如此。可惜我不知音，枉听了一会子。”黛玉道：“古来知音人能有几个？”宝玉听了。又觉得出言冒失了，又怕寒了黛玉的心。<br />
<br />
Precious Jade smiled and said, “Don’t try to hide it from me! I heard you chanting something like ‘Why repine? Would that my heart were pure as the moon in the sky.’ You accompanied it on the lute, and the sound seemed exceptionally clear. Can you deny that?”“How did you happen to hear?”“I heard it the other day on my way back from Smartweed Breeze Cot, and not wanting to disturb you I just listened quietly then went away. I’ve been meaning to ask you: Why did you start with level rhymes, then at the end change suddenly to an oblique one?4 What was the reason for that?”“Music comes naturally from the heart,” she answered. “There are no set rules you just play as you feel.”“So that’s the reason. It’s too bad I don’t understand music and so it was wasted on me.”“How many understanding people have there been since of old?” she replied.At that,Precious Jade realized that he had been tactless, and feared he had hurt her feelings.<br />
<br />
Precious Jade smiled and said, “Don’t try to hide it from me! I heard you chanting something like ‘Why repine? Would that my heart were pure as the moon in the sky.’ You accompanied it on the lute, and the sound seemed exceptionally clear. Can you deny that?” “How did you happen to hear?” “I heard it the other day on my way back from Smartweed Breeze Cot, and not wanting to disturb you I just listened quietly then went away. I’ve been meaning to ask you: Why did you start with level rhymes, then at the end change suddenly to an oblique one? What was the reason for that?” “Music comes naturally from the heart,” she answered. “There are no set rules you just play as you feel.” “So that’s the reason. It’s too bad I don’t understand music and so it was wasted on me.” “How many understanding people have there been since of old?” she replied. At that,Precious Jade realized that he had been tactless, and feared he had hurt her feelings.--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 02:56, 16 May 2022 (UTC)<br />
<br />
==朝鲜语笔译 王思佳 Wang Sijia 202170081636==<br />
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坐了一坐，心里像有许多话，却再无可讲的。黛玉因方才的话也是冲口而出，此时回想，觉得太冷淡些，也就无话。宝玉一发打量黛玉设疑，遂讪讪的站起来说道：“妹妹坐着罢，我还要到三妹妹那里瞧瞧去呢。”黛玉道：“你若见了三妹妹，替我问候一声罢。”宝玉答应着，便出来了。黛玉送至屋门口，自己回来，闷闷的坐着，心里想道：“宝玉近来说话，半吐半吞，忽冷忽热，也不知他是什么意思。”正想着，紫鹃走来道：“姑娘，经不写了？我把笔砚都收好了。”黛玉道：“不写了，收起去罢。”说着，自己走到里间屋里床上歪着，慢慢的细想。<br />
<br />
After sitting for a while, it was as if there were many words in my heart, but there was nothing more to say. Mascara Jade Forest's words also rushed out of his mouth, and when he thought back at this time, he felt that he was too cold, and he had no words. Precious Jade Merchant looked at Mascara Jade Forest with doubts, so he stood up and said, "Sister sit down, I still have to go to the third sister to have a look." Mascara Jade Forest said, "If you see her, greet me." Precious Jade Merchant agreed and came out. Mascara Jade Forest sent her to the door of the house, came back by herself, sat sullenly, and thought to herself, "Precious Jade Merchant has been talking lately, half spitting and half swallowing, suddenly cold and hot, and I don't know what he means." Just thinking, Nightingale came up and said, "Girl, did you write it?" I put away all the pens. Mascara Jade Forest said, "Don't write it, just put it away." Saying that, he walked to the bed in the inner room and tilted it, thinking slowly.<br />
<br />
After sitting for a while, it was as if there were many words in my heart, but there was nothing more to say. Mascara Jade Forest's words also rushed out of her mouth, and when she thought back at this time, she felt that she was too cold, and she had no words. Precious Jade Merchant looked at Mascara Jade Forest with doubts, so he stood up and said, "Sister sit down, I still have to go to the third sister to have a look." Mascara Jade Forest said, "If you see her, greet me." Precious Jade Merchant agreed and came out. Mascara Jade Forest sent him to the door of the house, came back by herself, sat sullenly, and thought to herself, "Precious Jade Merchant has been talking lately, half spitting and half swallowing, suddenly cold and hot, and I don't know what he means." Just thinking, Nightingale came up and said, "Girl, did you write it?" I put away all the pens. Mascara Jade Forest said, "Don't write it, just put it away." Saying that, she walked to the bed in the inner room and tilted it, thinking slowly.<br />
<br />
==朝鲜语笔译 徐盖 Xu Gai 202170081638==<br />
<br />
紫鹃进来问道：“姑娘喝碗茶罢？”黛玉道：“不喝呢。我略歪歪儿，你们自己去罢。”紫鹃答应着出来，只见雪雁一个人在那里发呆。紫鹃走到他跟前，问道：“你这会子也有了什么心事了么？”雪雁只顾发呆，倒被他吓了一跳；因说道：“你别嚷，今日我听见了一句话，我告诉你听，奇不奇。你可别言语！”说着，往屋里努嘴儿。因自己先行，点着头儿叫紫鹃同他出来，到门外平台底下，悄悄儿的道：“姐姐，你听见了么？宝玉定了亲了。”紫鹃听见，吓了一跳，说道：“这是那里来的话？只怕不真罢？”雪雁道：“怎么不真！别人大概都知道，就只咱们没听见。”<br />
<br />
Nightingale came in and asked, "Would you like a bowl of tea, girl?" Masajade Forest said, "I don't want to drink. I'll lie down and you can go by yourself. " Nightingale promised to come out, only to see Snowgoose alone in a daze. Nightingale walked up to her and asked, "Do you have something on your mind now?" Snowgoose was stunned, but she got a fright; "Don't shout," said . "I heard a word today. I'll tell you. Is it strange? Don't talk! " Say, make signal with the lips to the house. I went first and asked Nightingale to come out with her, nodding her head. She went to the platform outside the door and whispered, "Sister, did you hear that?" Precious Jade Merchant is engaged. " Nightingale was startled and said, "Where did this come from? I'm afraid it's not true? " "It's not true," said Snowgoose. Everyone else probably knows it, but we didn't hear it. "<br />
<br />
==朝鲜语笔译 徐文慧 Xu Wenhui 202170081639==<br />
<br />
紫鹃道：“你是那里听来的？”雪雁道：“我听见侍书说的，是个什么知府家，家资也好，人才也好。”紫鹃正听时，只听得黛玉咳嗽了一声，似乎起来的光景。紫鹃恐怕他出来听见，便拉了雪雁，摇摇手儿，往里望望，不见动静，才又悄悄儿的问道：“他到底怎么说来？”雪雁道：“前儿不是叫我到三姑娘那里去道谢吗，三姑娘不在屋里，只有侍书在那里。大家坐着，无意中说起宝二爷的淘气来。他说：‘宝二爷怎么好！只会顽儿，全不像大人的样子，已经说亲了，还是这么呆头呆脑。’我问他：‘定了没有？’他说是：‘定了，是个什么王大爷做媒的。<br />
<br />
==比较文学与跨文化研究 Mahzad Heydarian 202021080004==<br />
<br />
那王大爷是东府里的亲戚，所以也不用打听，一说就成了。’”紫鹃侧着头想了一想，“这句话奇！”又问道：“怎么家里没有人说起？”雪雁道：“侍书也说的，是老太太的意思。若一说起，恐怕宝玉野了心，所以都不提起。侍书告诉了我，又叮嘱千万不可露风说出来，只道是我多嘴。”把手往里一指，“所以他面前也不提。今日是你问起，我不犯瞒你。”正说到这里，只听鹦鹉叫唤，学着说：“姑娘回来了，快倒茶来！”倒把紫鹃雪雁吓了一跳。回头并不见有人，便骂了鹦鹉一声。走进屋内。只见黛玉喘吁吁的刚坐在椅子上。紫鹃搭赸着问茶问水。<br />
<br />
==外国语言文学 Akira 202121080009==<br />
<br />
黛玉问道：“你们两个那里去了？再叫不出一个人来。”说着，便走到炕边，将身子一歪，仍旧倒在炕上，往里躺下，叫把帐子撩下。紫鹃雪雁答应出去，他两个心里疑惑方才的话只怕被他听了去了，只好大家不提。谁知黛玉一腔心事，又窃听了紫鹃雪雁的话，虽不狠明白，已听得了七八分，如同将身撂在大海里一般。思前想后，竟应了前日梦中之谶，千愁万恨，堆上心来。左右打算，不如早些死了，免得眼见了意外的事情，那时反倒无趣。又想到自己没了爹娘的苦，自今以后，把身子一天一天的遭塌起来，一年半载，少不得身登清净。<br />
<br />
Mascara Jade asked, "Where have you two gone? Can't call anyone else." After speaking, she walked to the edge of the kang, tilted her body, still fell on the kang, lay down inside, and called for the curtain Pull down.Nightingale Snowgoose agreed to go out, and the two of them had doubts in their hearts just now that he was afraid that he had heard them, so they had no choice but to not mention it. Who knows that Mascara Jade has a heart, and eavesdrops on Nightingale Snowgoose's words. Although he doesn't understand it, he can hear it with seven or eight points, as if he was thrown into the sea. After thinking about it, I actually fulfilled the prophecy in my dream the day before, and I was filled with sorrow and hatred. Thinking about it, it would be better to die earlier, so as not to see unexpected things, it would be boring at that time. I thought of the pain of my parents, and from now on, my body will collapse day by day for a year and a half.<br />
<br />
==英语语言文学 Mariam Tourse 2020GBJ002301==<br />
<br />
打定了主意，被也不盖，衣也不添，竟是合眼装睡。紫鹃和雪雁来伺候几次，不见动静，又不好叫唤。晚饭都不吃。点灯已后，紫鹃掀开帐子，见已睡著了，被窝都蹬在脚后。怕他着了凉，轻轻儿拿来盖上。黛玉也不动，单待他出去，仍然褪下。那紫鹃只管问雪雁：“今儿的话到底是真的是假的？”雪雁道：“怎么不真！”紫鹃道：“侍书怎么知道的？”雪雁道：“是小红那里听来的。”紫鹃道：“头里咱们说话，只怕姑娘听见了。你看刚才的神情，大有原故。今日以后，咱们倒别提这件事了。”说着，两个人也收拾要睡。</div>Li Yuanhttps://bou.de/u/index.php?title=20220512_homework&diff=14270120220512 homework2022-05-14T11:55:29Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
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Assignment 1: '''Click here''' [[Chinese Classics Translation 2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is '''Cinema Movie Adaptions of Chinese Classics 张姣玲 熊嘉玲 杨紫微 肖冬晴'''<br />
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Assignment 2: Please do the translation below here<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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本来无可添减之事，如今听你一说，倒要找出两件来斟酌斟酌，不辜负你这话。”<br />
探春笑道：“我一肚子气，正要拿他奶奶出气去，偏他碰了来，说了这些话，叫我<br />
也没了主意了。”一面说，一面叫进方才那媳妇来问：“环爷和兰哥家学里这一<br />
年的银子，是做那一项用的？”那媳妇便回说：“一年学里吃点心或者买纸笔，每<br />
位有八两银子的使用。”探春道：“凡爷们的使用，都是各屋里支月钱的：环哥的<br />
是姨娘领二两；宝玉的，老太太屋里袭人领二两；<br />
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“There is no cut at first. Now your words remind Seeking Spring to cut the payment on some items so as to live up to your advice.” “I was full of anger and should have meant to ask her mistress for justice. But Patience came and offered some advice as such. I, instead, lose my idea,” Seeking Spring mocked herself, and asked that married woman to come in, “Where were the schooling payments for Cymbidium Merchant and Ring Merchant spent?” “On pastries, paper or brushes. Eight taels are available per person,” she answered. Seeking Spring disapproved, “Young men get their monthly payment in a unit of the house. For Ring Merchant, his mother draws two taels. For Precious Jade, Aroma draws another two taels on behalf of the old lady.<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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兰哥儿是大奶奶屋里领：怎么学里每人多这八两？原来上学去的是为这八两银子！从今日起，把这一项蠲了。平儿回去，告诉你奶奶，说我的话，把这一条务必免了。”平儿笑道：“早就该免。旧年奶奶原说要免的，因年下忙，就忘了。”那媳妇只得答应着去了。就有大观园中媳妇捧了饭盒子来，侍书素云早已抬过一张小饭桌来，平儿也忙着上菜。探春笑道：“你说完了话，干你的去罢，在这里又忙什么？”<br />
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"His monthly payment was from Lady Plum. How could it be, that everyone got eight taels for attending the private school? No wonder they're willing to go there, just for the eight-teal silver! From today on, remove this payment from list. Patience, you go back to tell your mistress, Lady Splendid Phoenix, to cut this sum of money down, which is my suggestion." Patience smiled and said: "It's high time we should cut it down. Last year our mistress has expressed this idea. But due to the advent of the New Year, she had so much work to do that it slipped her memory." Then the servant responded obediently and went away. In a little while, there came another female servant from the Garden, with a mess tin in her arm. Candida, a book server, has already carried a small dining table, and Patience helped to serve dishes. Seeking-Spring said with amusement: "What you need do is merely to send my word to your mistress. Who orders you to serve the dishes? You such an industrious bee!"<br />
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"His monthly payment was from Lady Plum.How could it be, that everyone got more eight taels for attending the private school? No wonder they're willing to go there, just for the eight-teal silver! From today on, remove this payment from the list. Patience, you go back to tell your mistress, Lady Splendid Phoenix, to cut this sum of money down, which is my suggestion." Patience smiled and said: "It's high time we should cut it down. Last year our mistress has expressed this idea. But due to the advent of the New Year, she had so much work to do that it slipped out of her memory." Then the servant responded obediently and went away. In a little while, there came another female servant from the Garden, with a mess tin in her arm. Candida, a book server, has already carried a small dining table, and Patience helped to serve dishes. Seeking-Spring said with amusement: "What you need to do is merely to send my word to your mistress. Who orders you to serve the dishes? You such an industrious bee!"--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 14:01, 13 May 2022 (UTC)<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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平儿笑道：“我原没事的，二奶奶打发了我来，一则说话，二则<br />
恐这里人不方便，原是叫我帮着妹妹们伏侍奶奶姑娘的。”探春因问：“宝姑娘<br />
的怎么不端来一处吃？”丫鬟们听说，忙出至檐外，命媳妇们去说：“宝姑娘如今<br />
在厅上一处吃，叫他们把饭送了这里来。”探春听说，便高声说道：“你别混支使<br />
人！那都是办大事的管家娘子们，你们支使他要饭要茶的，连个高低都不知道！<br />
平儿这里站着，叫他叫去。”<br />
平儿忙答应了一声出来。<br />
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‘I’m free now.The Mistress Splendid Phoenix sent me partly to tell you that, partly to help the girls wait on you when you're short-handed.'answered Patience, smiling.'Where's Precious Hairpin's lunch?'asked Seeking-Spring.Some girls hurried out to notify the matrons,'Miss Precious Hairpin has her lunch here too. Have her food brought over.'Hearing this,Seeking-Spring said loudly, 'Don't start ordering them about. They're all the wives of chief stewards, not people you can send to fetch rice and tea! You fuck know nothing!Patience has nothing to do here. Let her go.'Patience promptly agreed and went out.<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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那些媳妇们都悄悄的拉住笑道：“那里用姑娘去<br />
叫，我们已有人叫去了。”一面说，一面用手帕摊石矶上，说：“姑娘站了半天，乏<br />
了，这太阳地里且歇歇。”平儿便坐下。又有茶房里的两个婆子拿了个坐褥铺<br />
下，说：“石头冷，这是极干净的，姑娘将就坐一坐儿罢。”平儿忙陪笑道：“多<br />
谢。”一个又捧了一碗精致新茶出来，也悄悄笑说：“这不是我们常用的茶，原是<br />
伺候姑娘们的，姑娘且润一润罢。”<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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平儿忙欠身接了，因指众媳妇悄悄说道：“你<br />
们太闹的不像了。他是个姑娘家，不肯发威动怒，这是他尊重，你们就藐视欺负<br />
他。果然招他动了大气，不过说他一个粗糙就完了，你们就现吃不了的亏！他<br />
撒个娇，太太也得让他一二分，二奶奶也不敢怎样。你们就这么大胆子小看他，<br />
可是鸡蛋往石头上碰！”众人都忙道：“我们何尝敢大胆了，都是赵姨娘闹的！”<br />
平儿也悄悄的说：“罢了，好奶奶们，‘墙倒众人推’，<br />
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Patience bent forward to take it and point at them, saying stealthily, " You are over the line. She is only a girl, and does not want to be violent or angry. But that's not the reason why you should despise her. If she got mad, she would be blamed at the worst but you would get into big trouble! If she threw a tantrum, Lady Wang would have to give way to her,and our Second Mistress would also dare not do anything else. How dare you think so little of her? It's like an egg throwing itself against a stone!" The crowed protested, "How dare we? It was all Concubine Walk's fault!" Patience then whispered, "It's all right.But if a wall is about to collapse, every gives it a push."<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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那赵姨奶奶原有些颠倒，<br />
‘着三不着两’，有了事都赖他。你们素日那眼里没人，心术利害，我这几年难<br />
道还不知道！二奶奶若是略差一点儿的，早被你们这些奶奶们治倒了。饶这么<br />
着，得一点空儿，还要难他一难！好几次没落了你们的口声。众人都道他利害，<br />
你们都怕他，惟我知道他心里也就不算不怕你们呢。前日我们还议论到这里：<br />
每不能依头顺尾，必有两场气生。那三姑娘虽是个姑娘，你们都横看了他。<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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二奶奶在这些大姑子小姑子里头，也就只单怕他五分。你们这会子倒不把他放在<br />
眼里了！”正说着，只见秋纹走来。众媳妇忙赶着问好，又说：“姑娘也且歇一歇，里头<br />
摆饭呢。等撒下桌子来，再回话去。”秋纹笑道：“我比不得你们，我那里等得！”<br />
说着，便直要上厅去。平儿忙叫：“快回来！”秋纹回头，见了平儿，笑道：“你又<br />
在这里充什么‘外围子的防护’？”一面回身便坐在平儿褥上。平儿悄问：“回什<br />
么？”<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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秋纹道：“问一问宝玉的月银，我们的月钱，多早晚才领？”平儿道：“这什么<br />
大事！你快回去告诉袭人，说我的话：凭有什么事，今日都别回。若回一件，管<br />
驳一件；回一百件，管驳一百件！”秋纹听了，忙问：“这是为什么？”平儿与众媳<br />
妇等都忙告诉他原故；又说：“正要找几处利害事与有体面的人来开例，作法子<br />
镇压，与众人作榜样呢。何苦你们先来碰在这钉子上？你这一去说了，他们若<br />
拿你们也作一二件榜样，又碍着老太太、太太；<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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若不拿着你们做一二件，人家又<br />
说：‘偏一个向一个，仗着老太太、太太威势的就怕，不敢惹，只拿着软的做鼻子<br />
头。’你听听罢，二奶奶的事，他还要驳两件，才压得众人口声呢！”<br />
秋纹听了，伸了伸舌头，笑道：“幸而平姐姐在这里，没得臊一鼻子灰，趁早<br />
知会他们去。”说着，便起身走了。接着宝钗的饭至，平儿忙进来伏侍。那时赵<br />
姨娘已去，三人在板床上吃饭，宝钗面南，探春面西，李纨面东。<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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众媳妇皆在廊下静候，里头只有他们紧跟常侍的丫鬟伺候，别人一概不敢擅入。这些媳妇们<br />
都悄悄的议论说：“大家省事罢！别安着没良心的主意。连吴大娘才都讨了没<br />
意思，咱们又是什么有脸的！”都一边悄议，等饭完回事。只觉里面鸦雀无闻，并<br />
不闻碗箸之响。一时，只见一个丫头将帘栊高揭，又有两个将桌抬出。茶房内有三个丫<br />
鬟，捧着三个沐盆儿。见饭桌已出，三人便进去了。<br />
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All the Madams were waiting on the porch with their close maids, and no one else dared to enter. Madams all whispered, "Don't make trouble and scheme conscienceless ideas. Even Woman Wu suffered setbacks, let alone us!" They all talked quietly, waiting for the meal to finish. They only felt that there was as still, and heard nothing of the sound of tableware. A maid lifted the curtain high for a moment, and two more carried the table out. Three servant girls in the tea house hold three washbowls. As the tables out, the three went in.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 03:46, 14 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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一回又捧出沐盆并漱盂来，<br />
方有侍书、素云、莺儿三个，每人用茶盘捧了三盖碗茶进去。一时等他三人出<br />
来，侍书命小丫头子：“好生伺候着，我们吃饭来换你们，可又别偷坐着去。”众媳<br />
妇们方慢慢的安分回事，不敢如先前轻慢疏忽了。探春气方渐平，因向平儿道：<br />
“我有一件大事，早要和你奶奶商议，如今可巧想起来。你吃了饭快来。宝姑<br />
娘也在这里，咱们四个人商议了，再细细的问你奶奶可行可止。”平儿答应回去。<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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凤姐因问：“为何去这半日？”平儿便笑着将方才的原故细细说与他听了。凤姐儿笑道：“好，好，好！好个三姑娘！我说不错。只可惜他命薄，没托生在太太肚里。”平儿笑道：“奶奶也说糊涂话了。他便不是太太养的，难道谁敢小看他，不与别的一样看待么？”凤姐叹道：“你那里知道？虽然庶出一样，女儿却比不得男人，将来攀亲时，如今有一种轻狂人，先要打听姑娘是正出是庶出，多有为庶出不要的。<br />
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Sister Phoenix asked: "Why did you go so long?" Patience smiled and told her what had happened in detail. “Good, good, good! What a splendid Seeking-Spring!” Sister Phoenix laughed. “It's a pity she wasn't the mistress’ own daughter." "Grandma is confused too. She may not be the mistress’ own daughter. Will anyone dare to look down upon her? She has received the same respect as the other daughters of the house." said Patience. Sister Phoenix sighed, "How do you know? Although they are the same, a girl can’t compare with a boy. When the time comes to arrange her marriage, some foolish people will first ask whether she’s the daughter of the wife or of a concubine, and most likely refuse her in the second case.<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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殊不知，别说庶出，便是我们的丫头，比人家<br />
的小姐还强呢！将来不知那个没造化的，为挑庶正误了事呢；也不知那个有造<br />
化的，不挑庶正的得了去。”说着，又向平儿笑到：“你知道我这几年生了多少省<br />
俭的法子，一家子大约也没个背地里不恨我的。我如今也是‘骑上老虎’了，虽<br />
然看破些，无奈一时也难宽放。二则家里出去的多，进来的少，凡百大小事儿，<br />
仍是照着老祖宗手里的规矩，却一年进的产业，又不及先时多；<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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省俭了，外人又<br />
笑话，老太太、太太也受委屈，家下也抱怨克薄。若不趁早儿料理省俭之计，再<br />
几年就都赔尽了。平儿道：“可不是这话！将来还有三四位姑娘，还有两三个小爷们，一位老<br />
太太，这几件大事未完呢。”凤姐儿笑道：“我也虑到这里，倒也够了。宝玉和林<br />
妹妹，他两个一娶一嫁，可以使不着官中钱，老太太自有体己拿出来。二姑娘是<br />
大老爷那边的，也不算。剩了三四个，满破着每人花上一万银子。<br />
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"If we are economical, others will laugh at us. Later, Grandma and other madams will be upset, and the maids and other servants will complain about us being so mean," she said, "In this regard, the money will run out in a few years if we don't come up with some ways to save it in advance." "That's true!" Patience replied, "There are still three or four young ladies, two or three young gentlemen and Grandma who are going to spend much money in the future." "I've considered this, too. We can just afford it," Sister Phoenix laughed, "Precious Jade's and Sister Forest's marriage cost will be paid by Grandma, and the marriage expenses of Spring Pleasure will be covered by the big Master. There are just three or four left, each of whom will need ten thousand at most."<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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环哥娶亲有<br />
限，花上三千银子；若不够，那里省一抿子也就够了。老太太的事出来，一应都<br />
是全了的，不过零星杂项使费些，满破三五千两。如今再俭省些，陆续就够了。<br />
只怕如今平空再生出一两件事来，可就了不得了。咱们且别虑后事，你且吃了<br />
饭，快听他们商议什么。这正碰了我的机会，我正愁没个膀臂。虽有个宝玉，他<br />
又不是这里头的货，纵收伏了他，也不中用。大奶奶是个佛爷，也不中用。<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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二姑娘更不中用，亦且不是这屋里的人。四姑娘小呢，兰小子与环儿更是个燎毛的<br />
小冻猫子，只等有热灶火坑让他钻去罢，真真一个娘肚子里跑出这样天悬地隔<br />
的两个人来，我想到那里就不服！再者林丫头和宝姑娘他两个人倒好，偏又都<br />
是亲戚，又不好管咱们家务事。况且一个是美人灯儿，风吹吹就坏了；一个是拿<br />
定了主意，“不干己事不张口，一问摇头三不知’，也难十分去问他。<br />
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Miss Yingchun is even less useful, and she doesn't belong to this house. Miss Xichun are small, and Lan and Huan'er are even more like a little frozen cat with burning hair, just looking for a warm stove or a Kang to lie on. How the same mother could produce two totally different children, which I can never understand. In addition, Miss Forest and Miss Precious are capable, but they are all relatives, and they are not expected to involve in our affairs. Moreover, one of them is like a beautiful lamp, and a puff of wind can blow it down; the other has made up her mind, "Do not open her mouth about things beyond her business, you can only get a shake or an 'I don't know when asking her". So it is also very difficult to ask her to do anything.<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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倒只剩了三姑娘一个，心里嘴里都也来得，又是咱家的正人，太太又疼他，虽然脸上淡淡的，皆因是赵姨娘那老东西闹的，心里却是和宝玉一样呢。比不得环儿，实在令人难疼，要依我的性子，早撵出去了！如今他既有这主意，正该和他协同，大家做个膀臂，我也不孤不独了。按正礼天理良心上论，咱们有他这一个人帮着，咱们也省些心，与太太的事也有益。若按私心藏奸上论，我也太行毒了，也该抽回退步，回头看看；<br />
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There is only Third Lady. She is a nice persion and is our people . The Grandma favors her very much. Though she don't show her mood on her face. It is all because of maternal aunt Zhao. But she is as sensitive as Precious Jade. She is not like the Ring, and i don't like her. In my opinion, I would ask her to get out! Now she want that, we should help her. We can accompany each other. And on the basis of conscience, we can be less worried and get along better with the Grandma with the help of her. On the basis of our own profit, we should slow down and step back of a little bit.<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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再要穷追苦克，人恨极了，他们笑里藏刀，咱们两个才四个眼睛<br />
两个心，一时不防，倒弄坏了。趁着紧溜之中，他出头一料理，众人就把往日咱<br />
们的恨暂可解了。还有一件，我虽知你极明白，恐怕你心里挽不过来，如今嘱咐<br />
你：他虽是姑娘家，心里却事事明白，不过是言语谨慎。他又比我知书识字，更<br />
利害一层了。如今俗语说：‘擒贼必先擒王。’他如今要作法开端，一定是先拿<br />
我开端，倘或他要驳我的事，你可别分辩，你只越恭敬越说驳的是才好。<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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千万别想着怕我没脸，和他一强，就不好了。”<br />
平儿不等说完，便笑道：“你太把人看糊涂了！我才已经行在先了，这会子<br />
才嘱咐我！”凤姐儿笑道：“我是恐怕你心里眼里只有了我、一概没有他人之故，<br />
不得不嘱咐；既已行在先，更比我明白了。这不是你又急了，满嘴里‘你’呀<br />
‘我’的起来了！”平儿道：“偏说‘你’！你不依，这不是嘴巴子，再打一顿。难道<br />
这脸上还没尝过的不成！”凤姐儿笑道：“你这小蹄子儿，要掂多少过儿才罢。<br />
<br />
Sister Phoenix said:" Don't be afraid that you would lose my face. You'd better not offend her." Before Sister Phoenix finished her words, Patience then laughed: "You are looking down on me! I have made reactions before you instruct me." Sister Phoenix then laughed: "I am afraid that you are only concerned about me with no consideration of others, so I talk to you like this. I believe that you know what I mean since you have already made responses. Now, you become anxious again, and "you" and "I"are coming out from your mouth" Patience replied: "You don't agree with me to say "you", or my mouth will be beatened. Have my face never experienced this punishment before?" Sister Phoenix said with a smile: "You little maid, how many times you'd like to be punished."--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 13:49, 13 May 2022 (UTC)<br />
<br />
==英语笔译 刘婷 Liu Ting 202170081586==<br />
<br />
你看我病的这个样儿，还来怄我呢！过来坐下，横竖没人来，咱们一处吃饭是正<br />
经。”说着，丰儿等三四个小丫头进来，放小炕桌。凤姐只吃燕窝粥，两碟子<br />
精致小菜，每日分例菜已暂减去。丰儿便将平儿的四样分例菜端至桌上，与平<br />
儿盛了饭来。平儿屈一膝于炕沿之上，半身犹立于炕下，陪着凤姐儿吃了饭，伏<br />
侍漱口毕，吩咐了丰儿些话，方往探春处来。只见院中寂静，人已散出。要知端<br />
的，且听下回分解。<br />
<br />
<br />
<br />
<br />
==英语笔译 刘瑶 Liu Yao 202170081587==<br />
<br />
◎第五十六回 敏探春兴利除宿弊 贤宝钗小惠全大体<br />
话说平儿陪着凤姐儿吃了饭，伏侍盥漱毕，方往探春处来，只见院中寂静，<br />
只有丫鬟婆子，诸内壸近人在窗外听候。平儿进入厅中，他姊妹姑嫂三人正议<br />
论些家务，说的便是年内赖大家请吃酒，他家花园中事故。见他来了，探春便命<br />
他脚踏上坐了，因说道：“我想的事，不为别的，只想着我们一月所用的头油脂粉<br />
又是二两的事。<br />
<br />
Chapter 56 Clever Seeking-Spring Devises a Scheme to Make a Profit and End Abuses<br />
Understanding Precious Hairpin Rounds It Out with a Small Act of Kindness<br />
After eating with Sister Phoenix and waiting on her while she washed and then rinsed her mouth, Patience went back to Seeking Spring. She found the Council Hall quiet,with a few maids and matrons waiting outside the windows. As she walked in, the three cousins were discussing family affairs and had just brought up the subject of Big Rely’s garden, where they had feasted shortly before New Year. Seeing her arrival, Seeking-Spring offered Patience a foot-stool. "Here's what I was thinking," she told her. Each of us gets an extra two taels a month for hair-oil, rouge and powder.<br />
<br />
==英语笔译 刘珍 Liu Zhen 202170081588==<br />
<br />
我想我们一月已有了二两月银，丫头们又另有月钱，可不是又<br />
同刚才学里的八两一样重重叠叠？这事虽小，钱有限，看起来也不妥当。你奶奶<br />
怎么就没想到这个呢？”平儿笑道：“这有个原故：姑娘们所用的这些东西，自然该有分例，每月每处买办买了，令女人们交送我们收管，不过预备姑娘们使用就罢了；没有个我们<br />
天天各人拿着钱，找人买这些去的。所以外头买办总领了去，按月使女人按房<br />
交给我们。<br />
<br />
==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
<br />
至于姑娘们每月的这二两，原不是为买这些的，为的是一时当家的<br />
奶奶太太，或不在家，或不得闲，姑娘们偶然要个钱使，省得找人去。这不过是<br />
恐怕姑娘们受委屈意思。如今我冷眼看着，各屋里我们的姐妹都是现拿钱买这<br />
些东西的，竟有了一半子。我就疑惑不是买办脱了空，就是买的不是正经货。”<br />
探春李纨都笑道：“你也留心看出来了。脱空是没有的，只是迟些日子；催急了，<br />
不知那里弄些来，不过是个名儿，其实使不得，依然还得现买。<br />
As for the two taels of the girls every month, it has been not for these, but for the grandma and ladies who was in charge at the moment, either not at home or not free, and the girls occasionally asked for money so as not to find someone else. It's just for fear that the girls will be wronged so that the two taels was given. Now I look coldly at the fact that all our sisters in the house are now using money to buy these things even reached half of them. I wondered whether the comprador was out of stock or that what he bought was not the real deal. " Seeking-Spring and Silk Plum said with a smile, "you can see it, too. There is no such thing as emptying, but later; if someone is in a hurry, just come to somewhere to get some, but it's just a name, but it doesn't work, and you still have to buy it now.<br />
<br />
<br />
As for the two taels for the girls every month, it was not for buying those things actually, but for the reason that sometimes the ladies who was in charge of the family was out or busy with handling other affairs, then with this money, the girls don’t need to find someone else if they happen to need money for some thing. It's just for fear that the girls will be wronged. Now given the fact that half of our sisters in the house are now using money to buy these things. I wondered whether the comprador was playing trick on us, and what he bought was not the real deal." Seeking-Spring and Silk Plum said with a smile, " You can see it, too. There is no such thing as emptying, it’s just a matter of time; if someone is in a hurry, just come to somewhere to get some, but it's just a name, and it doesn't work, so you still have to buy it now.--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 08:59, 14 May 2022 (UTC)<br />
<br />
==英语笔译 聂薇 Nie Wei 202170081592==<br />
<br />
<br />
就用二两银子，<br />
另叫别人的奶妈子的弟兄儿子买来，方才使得，若使官中的人去，依然是那一样<br />
的，不知他们是什么法子？”平儿便笑道：“买办买的是那样，别人买了好的来，买<br />
办的也不依他，又说他使坏心，要夺他的买办了。所以他们宁可得罪了里头，不<br />
肯得罪了外头办事的。若是姑娘们使了奶妈子们，他们也就不敢闲话了。”<br />
探春道“因此我心中不自在，饶费两起儿钱，东西又白丢一半，不如竟把买办的<br />
这一项每月蠲了为是。此是一件事。<br />
<br />
Just ask some relative of other’s nanny to spend two silver buying it for the girls. If we ask those officially working for the family, they just get us the same thing, then what’s the point of doing so?” Patience smiled and explained, “ It’s true that the compradors just get us the same thing, but they won’t allow others to do so even though the latter can purchase things of higher quality, and they will accuse them of taking away their job. That’s why the women would rather offend us than those compradors. But if it is the ladies that asked the nannies to handle those affairs, they won’t dare to complain about this.” Therefore Spring-seeker said, “ That’s why I feel uncomfortable about this. We wasted two gadgets for nothing and get half the amount of things we need. Why don’t we just abolish the spending on the comprador every month? That’s the first thing I would like to deal with.<br />
<br />
<br />
Just ask some relative of other’s nanny to spend two silver buying it for the girls. If we ask those officially working for the family, they just get us the same thing, then what’s the point of doing so?” Patience smiled and explained, “ It’s true that the compradors just get us the same thing, but they won’t allow others to do so even though the latter can purchase things of higher quality, and they will accuse them of taking away their job. That’s why the women would rather offend us than those compradors. But if it is the ladies that asked the nannies to handle those affairs, they won’t dare to complain about this.” Therefore Spring-seeker complained, “ That’s why I feel uncomfortable about this. We wasted two gadgets for nothing and just got half the amount of things we need. Why don’t we just abolish the spending on the comprador every month? That’s the first thing I would like to deal with.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 10:49, 14 May 2022 (UTC)<br />
<br />
==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
<br />
第二件，年里往赖大家去，你也去的，你<br />
看他那小园子，比咱们这个如何？”平儿笑道：“还没有咱们这一半大，树木花草<br />
也少多着呢。”探春道：“我因和他们家女孩儿说闲话儿，他说这园子除他们<br />
带的花儿，吃的笋菜鱼虾，一年还有人包了去，年终足有二百两银子剩。从那<br />
日，我才知道一个破荷叶，一根枯草根子，都是值钱的。”<br />
宝钗笑道：“真真膏粱纨裤之谈。<br />
<br />
"Then, every year we all, including you, visit her small garden, and what do you think of hers when compared with our garden?" Wearing a smile on face, Patience responded, "Not half as big as ours, moreover, speaking of the trees and flowers in our gardens respectively, hers is far less than ours." Then Seeking-Spring said, "When chit chatting with those girls in her family, I came to know that in addition to the flowers they planted, and the vegetables and fish they eat produced form this garden, this garden has been put put to contract for someone, thus there is enough money left over for two hundred taels silver at the end of the the year. From then on, I've realized that even a broken lotus leaf, and a withered grass root, are valuable. That's the second thing." Amused by what she said, Hairpin Precious said, "You are just talking like a priviledged person!"<br />
<br />
==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
<br />
你们虽是千金，原不知道这些事，但只你<br />
们也都念过书，识过字的，竟没看见过朱夫子有一篇“不自弃”的文么？”探春笑<br />
道：“虽也看过，不过是勉人自励，虚比浮词，那里都真有的？”宝钗道：“朱子都<br />
有了虚比浮词了？那句句都是有的。你才办了两天事，就利欲熏心，把朱子都<br />
看虚浮了。你再出去，见了那些利弊大事，越发连孔子也都看虚了呢！”探春笑<br />
道：“你这样一个通人，竟没看见姬子书？<br />
<br />
<br />
==英语笔译 童略雅 Tong Lueya 202170081595==<br />
<br />
当日姬子有云：‘登利禄之场，处运筹<br />
之界者，穷尧舜之词，背孔孟之道，……’”宝钗笑道：“底下一句呢？”探春笑道：<br />
“如今断章取意，念出底下一句，我自己骂我自己不成？”宝钗道：“天下没有不<br />
可用的东西，既可用，便值钱。难为你是个聪明人，这大节目正事竟没经历。”李<br />
纨笑道：“叫人家来了，又不说正事，你们且对讲学问！”宝钗道：“学问中便是正<br />
事。若不拿学问提着，便都流入市俗去了。”<br />
<br />
<br />
==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
<br />
三人取笑了一回，便仍谈正事。探春又接说道：“咱们这个园子，只算比他<br />
们的多一半，加一倍算起来，一年就有四百银子的利息。若此时也出脱生发银<br />
子，自然小器，不是咱们这样人家的事；若派出两个一定的人来，既有许多值钱<br />
之物，一味任人作践，也似乎暴殄天物。不如在园子里所有的老妈妈中，拣出几<br />
个本分老成，能知园圃的，派他们收拾料理。也不必要他们交租纳税，只问他们<br />
一年可以孝敬些什么。<br />
After this joking they got down to business. Let's say for the sake of argument that our garden is only twice as big as theirs. Doubling the income they get from theirs would mean a clear profit of four hundred taels per annum. Of course, it would be petty and unworthy of our family to concentrate solely now on making money. But if a couple of women are assigned to take charge, all the valuable things here won't be squandered it's a shame to let them go to waste. I think we ought to pick out a few experienced trustworthy old women from among the ones who work in the Garden - women who know something about gardening already - and put the upkeep of the Garden into their hands. We needn't ask them to pay us rent; all we need ask them for is an annual share of the produce.<br />
<br />
==英语笔译 王思琪 Wang Siqi 202170081597==<br />
<br />
一则园子有专定之人修理花木，自然一年好似一年的，<br />
也不用临时忙乱；二则也不致作践，白辜负了东西；三则老妈妈们也可借此小<br />
补，不枉年日家在园中辛苦；四则也可以省了这些花儿匠、山子匠并打扫人等的<br />
工费：将此有余，以补不足，未为不可。”宝钗正在地下看壁上的字画，听如此说，<br />
便点头笑道：“善哉，三年之内，无饥馑矣。”李纨道：“好主意。果然这么行，太<br />
太必喜欢。省钱事小，园子有人打扫，专司其职，又许他去卖钱。<br />
<br />
==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
<br />
使之以权，动之<br />
以利，再无不尽职的了。”平儿道：“这件事须得姑娘说出来。我们奶奶虽有此<br />
心，未必好出口。此刻姑娘们在园里住着，不能多弄些玩意儿陪衬，反叫人去监<br />
管修理，图省钱，这话断不好出口。”<br />
宝钗忙走过来，摸着他的脸笑道：“你张开嘴，我瞧瞧你的牙齿舌头是什么<br />
做的？从早起来，到这会子，你说了这些话，一套一个样子，也不奉承三姑娘，也<br />
没见你们奶奶才短想不到；<br />
<br />
She threatened with power and seduced with benefits. No one could be more dutiful." Patience said, "It must be said by the girl. Although our grandmother had such a desire, it might not be suitable for her to speak it out. At present, the girls are living in the garden, we can not get more gadgets to accompany, but call people to supervise the repair, trying to save money, it is not suitable." Precious Hairpin came over and touched her face and said with a smile, "Open your mouth and let me see what your teeth and tongue are made of. Ever since you got up early in the morning, you have said the same thing in different ways, without flattering the third girl, and without inconsiderable about your grandmother’s matter.<br />
<br />
==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
<br />
三姑娘说一套话出来，你就有一套话回奉，总是三姑<br />
娘想得到的，你们奶奶也想到了，只是必有个不可办的原故，这会子又是因姑娘<br />
们住的园子，不好因省钱令人去监管。你们想想这话，要果真交与人弄钱去的，<br />
那人自然是一枝花也不许掐，一个果子也不许动了，姑娘们分中，自然是不敢讲<br />
究，天天与小姑娘们就吵不清。他这远愁近虑，不亢不卑，他们奶奶便不是和咱<br />
们好，听他这一番话，也必要自愧的变好了。”<br />
<br />
<br />
==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
<br />
探春笑道：“我早起一肚子气，听他<br />
来了，忽然想起他主子来：素日当家，使出来的好撒野的人，我见了他便生气了。<br />
谁知他来了，避猫鼠儿是的，站了半日，怪可怜的。接着又说了那些话，不说他<br />
主子待我好，倒说‘不枉姑娘待我们奶奶素日的情意了’，这一句话，不但没了<br />
气，我倒愧了，又伤起心来。我细想：我一个女孩儿家，自己还闹得没人疼没人<br />
顾的，我那里还有好处去待人。”口内说到这里，不免又流下泪来。<br />
<br />
<br />
<br />
==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
<br />
李纨等见他说的恳切，又想他素日赵姨娘每生诽谤，在王夫人跟前，亦为赵姨娘所累，也都不免流下泪来，都忙劝他：“趁今日清净，大家商议两件兴利剔弊的事情，也不枉太太委托一场。又提这没要紧的事做什么！”平儿忙道：“我已明白了。姑娘竟说，谁好，竟一派人，就完了。”探春道：“虽如此说，也须得回你奶奶一声。我们这里搜剔小利，已经不当，皆因你奶奶是个明白人，我才这样行；<br />
<br />
Her distress reminded Silk Plum and the others of all the instances of Concubine Walk's outrageous behaviour, which had involved Seeking Spring, making her embarrassed to face Lady King. They could not help shedding tears of sympathy.“Don't talk like that,”they urged.“What does it matter? Now that we're free, let's work out a couple of ways to make a profit and get rid of past abuses, so as to prove ourselves worthy of the mistress'trust.”“I understand,”put in Patience hastily.“Just trust this business to some reliable people of your own choosing, miss, and that will be that.”“That's all very well, but we must consult your mistress first,”insisted Seeking Spring.“We've already overstepped our authority, scrimping and scraping, right and left, and I wouldn't suggest this if she weren't so understanding.<br />
<br />
==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
<br />
若是糊涂多歪多妒的，我也不肯，倒像抓他的乖一般了。岂可不商议了行<br />
的？”平儿笑道：“既这样，我去告诉一声儿。”说着去了；半日方回来，笑说：“我<br />
说是白走一趟。这样好事，奶奶岂有不依的！”探春听了，便和李纨命人将园中所有婆子的名单要来，大家参度，大概定<br />
了几个人。又将他们一齐传来，李纨大概告诉与他们。众人听了，无不愿意。<br />
也有说：“那片竹子单交给我，一年工夫，明年又是一片。除了家里吃的笋，一年<br />
还可交些钱粮。”<br />
<br />
==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
<br />
这一个说：“那一片稻地交给我，一年这些玩的大小雀鸟的粮<br />
食，不必动官中钱粮，我还可以交钱粮。”探春才要说话，人回：“大夫来了，进园<br />
瞧史姑娘去。”众婆子只得去接大夫。平儿忙说：“单你们，有一百也不成个体<br />
统。难道没有两个管事的头脑带进大夫来？”回事的那人说：“有吴大娘和单大<br />
娘，他两个在西南角上聚锦门等着呢。”平儿听说，方罢了。众婆子去后，探春问宝钗：“如何？”<br />
<br />
This one said: "That piece of rice land to me, a year of these play the size of the birds of food, do not have to move the official in money and grain, I can also pay money and grain." Tanchun was about to speak when someone returned, "The doctor is here, go into the garden to see Miss Shi." The maids had to go and fetch the doctor. Patience was busy saying, "Even if there were a hundred of you alone, you wouldn't be a unit. Don't you have two stewards who can bring in a doctor?" The one who answered said, "There are Wu Daniang and Shan Daniang, they are waiting at the southwest corner of the house." When Ping'er heard about this, she said, "I'll be right back. After the women had left, Tanchun asked Baochai, "How is it?"<br />
<br />
==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
<br />
<br />
宝钗笑答道：“幸于始者怠于终，善其辞<br />
者嗜其利。”探春听了，点头称赞，便向册上指出几人来与他三人看。平儿忙去<br />
取笔砚来。他三人说道：“这一个老祝妈，是个妥当的，况他老头子和他儿子，代<br />
代都是管打扫竹子，如今竟把这所有的竹子交与他。这一个老田妈，本是种庄<br />
稼的，稻香村一带，凡有菜蔬稻稗之类，虽是玩意儿，不必认真大治大耕，也须得<br />
他去再细细按时加些培植，岂不更好？”<br />
Precious Hairpin laughed and said: “Those who are excited by lucky profit at the beginning will eventually slack off; Those who talk big are just greedy for profit, without any real ability.” Having heard this, Seeking-Spring nodded in praise and pointed out certain persons to the book for the three of them to read. Then Patience hurried to fetch writing brushes and inkstone. Three of them said: “The old lady Zhu is a careful and reliable person. Moreover, her husband and son have been in charge of cleaning up the bamboos for generations and as a result, all of bamboos’ management should have been taken over by them now. Another one is old lady Tian, who is originally a farmer. In the Rice Fragrant Village, as soon as there are vegetables, fruits, rice and wheat and the like, though they have no need to work and manage in a meticulous manner, they would grow better if old lady Tian could cultivate them carefully on schedule.”<br />
<br />
<br />
Precious Hairpin, laughing, quoted: “Those who are jealous of the start may get lax before the finish. And fine speech may hide a hankering after a profit.” Seeking-Spring nodded with agreement. Then she selected some names from the list for the other three people’s consideration. Patience hurried to fetch a brush and inkstone. “The old lady Zhu is a careful and reliable person,” they said. “Moreover, her husband and son have been looking after the bamboos, so we may give all bamboos to them for management. Another one is old lady Tian, who is originally a farmer. Those vegetables and fruits planted in Paddy- Sweet Cottage are only for fun and do not need to be cultivated seriously. However, it would be better to have her there in charge during the different seasons.”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 11:05, 14 May 2022 (UTC)<br />
<br />
==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
<br />
探春又笑道：“可惜蘅芜苑和怡红院这<br />
两处大地方，竟没有出息之物！”李纨忙笑道：“蘅芜苑更利害！如今香料铺<br />
并大市大庙卖的各处香料香草儿，都不是这些东西？算起来，比别的利息更大！<br />
怡红院别说别的，单只说春夏二季的玫瑰花，共下多少花朵儿？还有一带篱笆上<br />
的蔷薇、月季、宝相、金银花、藤花，这几色草花，干了卖到茶叶铺药铺去，也值好<br />
些钱。”探春笑道：“原来如此，只是弄香草的没有在行的人。”<br />
<br />
Seeking-Spring said: “What a pity! There is nothing that can make a profit in Happy Red Court and Asarum Garden.” “You are wrong,” said Silk Plum. “Asarum Garden can make a greater profit. It is full of herbs and spices. We can sold them to perfumers as well as big markets and temple fairs. I think those will bring in greater profit. As for Happy Red Court, not to mention anything else, just think how many roses it has in spring and summer. Also, the fence is covered with lots of roses, monthly roses, honeysuckles and other kinds of flowers. We can dry them and then sell them to tea shops and pharmacies to make money.” “That’s it,” said Seeking-Spring with a smile. “But there is nobody who are proficient in such things.”<br />
<br />
==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
<br />
平儿忙笑道：“跟<br />
宝姑娘的莺儿他妈，就是会弄这个的。上回他还采了些晒干了，编成花篮葫芦<br />
给我玩呢，姑娘倒忘了不成？”宝钗笑道：“我才赞你，你倒来捉弄我了。”三人<br />
都咤异问道：“这是为何？”宝钗道：“断断使不得。你们这里多少得用的人，一<br />
个个闲着没事办，这会子我又弄个人来，叫那起人连我也看小了。我倒替你们<br />
想出一个人来：怡红院有个老叶妈，他就是焙茗的娘，那是个诚实老人家；他又<br />
合我们莺儿娘极好。<br />
<br />
==英语笔译 张瑞 Zhang Rui 202170081608==<br />
<br />
不如把这事交与叶妈，他有不知的，不必咱们说给他，就找<br />
莺儿的娘去商量了。那怕叶妈全不管，竟交与那一个，这是他们私情儿，有人说<br />
闲话，也就怨不到咱们身上。如此一行，你们办得又至公道，于事又甚妥。”李纨<br />
平儿都道：“是极。”探春笑道：“虽如此，只怕他们见利忘义呢。”平儿笑道：“不<br />
相干。前日莺儿还认了叶妈做干娘，请吃饭吃酒，两家和厚得很呢。”探春听了，<br />
方罢了。又共斟酌出几人来，俱是他四人素昔冷眼取中的，用笔圈出。<br />
<br />
==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
<br />
一时婆子们来回：“大夫已去。”将药方送上去，三人看了，一面遣人送出外<br />
边去取药，监派调服；一面探春与李纨明示诸人：某人管某处，“按四季，除家中<br />
定例用多少外，余者任凭你们采取了去取利，年终算账。”探春笑道：“我又想起<br />
一件事：若年终算账，归钱时，自然归到账房，仍是上头又添一层管主，还在他们<br />
手心里，又剥一层皮。这如今我们兴出这事来，派了你们，已是跨过他们的头去<br />
了，心里有气，只说不出来；<br />
<br />
==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
<br />
你们年终去归账，他还不捉弄你们等什么？再者，这<br />
一年间，管什么的，主子有一全分，他们就得半分，这是每常的旧规，人所共知<br />
的。如今这园子里是我的新创，竟别入他们的手，每年归账，竟归到里头来才好。”<br />
宝钗笑道：“依我说，里头也不用归账，这个多了，那个少了，倒多了事。不如问<br />
他们谁领这一分的，他就揽一宗事去。不过是园里的人动用。我替你们算出来<br />
了，有限的几宗事，不过是头油、胭脂、香、纸，每一位姑娘，几个丫头，都是有定<br />
例的；<br />
<br />
==英语笔译 钟青 Zhong Qing 202170081611==<br />
<br />
<br />
再者各处笤帚、簸箕、掸子，并大小禽鸟、鹿、兔吃的粮食。不过这几样。<br />
都是他们包了去，不用账房去领钱。你算算，就省下多少来？”平儿笑道：“这几<br />
宗虽小，一年通共算了，也省得下四百两银子。”<br />
宝钗笑道：“却又来！一年四百，二年八百两，打租的房子也能多买几间，<br />
薄沙地也可以添几亩了。虽然还有敷余，但他们既辛苦了一年，也要叫他们剩<br />
些，粘补自家。虽是兴利节用为纲，然亦不可太啬。总再省上二三百银子，失了<br />
大体统，也不像。<br />
<br />
==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
<br />
所以如此一行，外头账房里一年少出四五百银子，也不觉得很<br />
艰啬了，他们里头却也得些小补；这些没营生的妈妈们，也宽裕了；园子里花木，<br />
也可以每年滋长繁盛；如此你们也得了可使之物，这庶几不失大体。若一味要<br />
省时，那里不搜寻出几个钱来。凡有些余利的，一概入了官中，那时里外怨声载<br />
道，岂不失了你们这样人家的大体？如今这园里几十个老妈妈们，若只给了这<br />
个，那剩的也必抱怨不公；<br />
<br />
<br />
==英语笔译 周哲 Zhou Zhe 202170081613==<br />
<br />
我才说的他们只供给这个几样，也未免太宽裕了。一<br />
年竟除了这个之外，他每人不论有余无余，只叫他拿出若干吊钱来，大家凑齐，单<br />
散与这些园中的妈妈们。他们虽不料理这些，却日夜也自在园中照看；当差之<br />
人，关门闭户、起早睡晚、大雨大雪，姑娘们出入，抬轿子，撑船，拉冰床，一应粗<br />
重活计，都是他们的差使：一年在园里辛苦到头，这园内既有出息，也是分内该<br />
沾带些的。<br />
<br />
<br />
==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
还有一句至小的话，越发说破了，你们只顾了自己宽裕，不分与他们<br />
些，他们虽不敢明怨，心里却都不服，只用假公济私的，多摘你们几个果子，多掐<br />
几枝花儿，你们有冤还没处诉呢。他们也沾带了些利息，你们有照顾不到，他们<br />
就替你照顾了。”众婆子听了这个议论，又去了帐房受辖治，又不与凤姐儿去算账，一年不<br />
过多拿出若干吊钱来，各各欢喜异常，都齐声说：“愿意。强如出去被他揉搓<br />
着，还得拿出钱来呢！”<br />
<br />
==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
<br />
那不得管地的，听了每年终无故得钱，也都喜欢起来，口<br />
内说：“他们辛苦收拾，是该剩些钱粘补的；我们怎么好‘稳吃三注’的？”宝钗笑<br />
道：“妈妈们也别推辞了，这原是分内应当的。你们只要日夜辛苦些，别躲懒纵<br />
放人吃酒赌钱就是了；不然，我也不该管这事，你们也知道，我姨娘亲口嘱托我<br />
三五回，说：“大奶奶如今又不得闲儿，别的姑娘又小，托我照看照看。我若不依，<br />
分明是叫姨娘操心。<br />
<br />
==比较文学与跨文化研究 Mahzad 202021080004==<br />
<br />
我们奶奶又多病，家务也忙。我原是个闲人，便是街坊邻<br />
居，也要个帮忙的，何况是姨娘托我？讲不起众人嫌我。倘或我只顾沽名钓誉<br />
的，那时酒醉赌输了，再生出事来，我怎么见姨娘？你们那时后悔也迟了，就连<br />
你们素昔的老脸也都丢了。这些姑娘们，这么一所大花园，都是你们照看，皆因<br />
看得你们是三四代的老妈妈，最是循规遵矩，原该大家齐心顾些体统。你们反<br />
纵放别人，任意吃酒赌博。姨娘听见了，教训一场犹可，倘若被那几个管家娘子<br />
听见了，他们也不用回姨娘，竟教导你们一场，你们这年老的反受了小的教训，<br />
虽是他们是管家，管的着你们，何如自己存些体统，他们如何得来作践呢！<br />
<br />
<br />
==外国语言文学 Muhammad Numan 202121080002==<br />
<br />
所以我如今替你们想出这个额外的进益来，也为的是大家齐心，把这园里周全的谨<br />
谨慎慎的，使那些有权执事的看见这般严肃谨慎，且不用他们操心，他们心里岂<br />
不敬服？也不枉替他们筹画些进益了。你们去细细想想这话。”众人都欢喜<br />
说：“姑娘说得很是。从此姑娘奶奶只管放心。姑娘奶奶这样疼顾我们，我们<br />
再要不体上情，天地也不容了！”刚说着，只见林之孝家的进来，说：“江南甄府里家眷昨日到京，今日进宫<br />
朝贺。此刻先遣人来送礼请安。”说着便将礼单送上去。探春接了，看道是：“上<br />
用的妆缎蟒缎十二匹。<br />
<br />
<br />
<br />
==英语语言文学 TOURE MARIAM 202021080005==<br />
<br />
<br />
上用杂色缎十二匹。上用各色纱十二匹。上用宫绸十<br />
二匹。宫用各色缎纱绸绫二十四匹。”李纨探春看过，说：“用上等封儿赏他。”<br />
因又命人去回了贾母。贾母命人叫李纨、探春、宝钗等都过来，将礼物看了。李<br />
纨收过一边，吩咐内库上人说：“等太太回来看了再收。”贾母因说：“这甄家又<br />
不与别家相同，上等封儿赏男人，只怕展眼又打发女人来请安，预备下尺<br />
头。”一语未了，果然人回：“甄府四个女人来请安。”贾母听了，忙命人带进来。那四个人都是四十往上年纪，穿带之物皆比主<br />
子不大差别。请安问好毕，贾母便命拿了四个脚踏来。<br />
<br />
==外国语言文学 UDDIN NIZAM 202121080007==<br />
<br />
他四人谢了坐，宝钗等<br />
坐了，方都坐下。贾母便问：“多早晚进京的？”四人忙起身回说：“昨儿进的京。<br />
今儿太太带了姑娘进宫请安去了，所以叫女人们来请安，问候姑娘们。”贾母笑<br />
问道：“这些年没进京，也不想到就来。”四人也都笑回道：“正是。今年是奉旨<br />
唤进京的。”贾母问道：“家眷都来了？”四人回说：“老太太和哥儿、两位小姐，并<br />
别位太太，都没来；就只太太带了三姑娘来了。”贾母道：“有人家没有？”四人<br />
道：“还没有呢。”贾母笑道：“你们大姑娘和二姑娘，这两家，都和我们家甚好。”<br />
<br />
<br />
==翻译学 SAGARA SEYDOU 201911080004 ==<br />
<br />
<br />
四人笑道：“正是。每年姑娘们有信回来说，全亏府上照看。”贾母笑道：“什么<br />
‘照看’？原是世交，又是老亲，原应当的。你们二姑娘更好，不自尊大，所以我<br />
们才走的亲密。”四人笑道：“这是老太太过谦了。”贾母又问：“你这哥儿也跟着你们老太太？”四人回说：“也是跟着老太太呢。”<br />
贾母道：“几岁了？”又问：“上学不曾？”四人笑说：“今年十三岁。因长得齐整，<br />
老太太很疼。自幼淘气异常，天天逃学，老爷太太也不便十分管教。”贾母笑道：<br />
“也不成了我们家的了！你这哥儿叫什么名字？”</div>Li Yuanhttps://bou.de/u/index.php?title=20220512_homework&diff=14269920220512 homework2022-05-14T11:43:19Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
<hr />
<div>Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]<br />
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Assignment 1: '''Click here''' [[Chinese Classics Translation 2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is '''Cinema Movie Adaptions of Chinese Classics 张姣玲 熊嘉玲 杨紫微 肖冬晴'''<br />
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Assignment 2: Please do the translation below here<br />
<br />
<br />
<br />
IN PREPARATION<br />
<br />
=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
<br />
While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
<br />
==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
<br />
本来无可添减之事，如今听你一说，倒要找出两件来斟酌斟酌，不辜负你这话。”<br />
探春笑道：“我一肚子气，正要拿他奶奶出气去，偏他碰了来，说了这些话，叫我<br />
也没了主意了。”一面说，一面叫进方才那媳妇来问：“环爷和兰哥家学里这一<br />
年的银子，是做那一项用的？”那媳妇便回说：“一年学里吃点心或者买纸笔，每<br />
位有八两银子的使用。”探春道：“凡爷们的使用，都是各屋里支月钱的：环哥的<br />
是姨娘领二两；宝玉的，老太太屋里袭人领二两；<br />
<br />
==英语笔译 曹姣 Cao Jiao 202170081564==<br />
<br />
兰哥儿是大奶奶屋里领：怎么学里每人多这八两？原来上学去的是为这八两银子！从今日起，把这一项蠲了。平儿回去，告诉你奶奶，说我的话，把这一条务必免了。”平儿笑道：“早就该免。旧年奶奶原说要免的，因年下忙，就忘了。”那媳妇只得答应着去了。就有大观园中媳妇捧了饭盒子来，侍书素云早已抬过一张小饭桌来，平儿也忙着上菜。探春笑道：“你说完了话，干你的去罢，在这里又忙什么？”<br />
<br />
"His monthly payment was from Lady Plum. How could it be, that everyone got eight taels for attending the private school? No wonder they're willing to go there, just for the eight-teal silver! From today on, remove this payment from list. Patience, you go back to tell your mistress, Lady Splendid Phoenix, to cut this sum of money down, which is my suggestion." Patience smiled and said: "It's high time we should cut it down. Last year our mistress has expressed this idea. But due to the advent of the New Year, she had so much work to do that it slipped her memory." Then the servant responded obediently and went away. In a little while, there came another female servant from the Garden, with a mess tin in her arm. Candida, a book server, has already carried a small dining table, and Patience helped to serve dishes. Seeking-Spring said with amusement: "What you need do is merely to send my word to your mistress. Who orders you to serve the dishes? You such an industrious bee!"<br />
<br />
<br />
<br />
"His monthly payment was from Lady Plum.How could it be, that everyone got more eight taels for attending the private school? No wonder they're willing to go there, just for the eight-teal silver! From today on, remove this payment from the list. Patience, you go back to tell your mistress, Lady Splendid Phoenix, to cut this sum of money down, which is my suggestion." Patience smiled and said: "It's high time we should cut it down. Last year our mistress has expressed this idea. But due to the advent of the New Year, she had so much work to do that it slipped out of her memory." Then the servant responded obediently and went away. In a little while, there came another female servant from the Garden, with a mess tin in her arm. Candida, a book server, has already carried a small dining table, and Patience helped to serve dishes. Seeking-Spring said with amusement: "What you need to do is merely to send my word to your mistress. Who orders you to serve the dishes? You such an industrious bee!"--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 14:01, 13 May 2022 (UTC)<br />
<br />
==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
<br />
<br />
平儿笑道：“我原没事的，二奶奶打发了我来，一则说话，二则<br />
恐这里人不方便，原是叫我帮着妹妹们伏侍奶奶姑娘的。”探春因问：“宝姑娘<br />
的怎么不端来一处吃？”丫鬟们听说，忙出至檐外，命媳妇们去说：“宝姑娘如今<br />
在厅上一处吃，叫他们把饭送了这里来。”探春听说，便高声说道：“你别混支使<br />
人！那都是办大事的管家娘子们，你们支使他要饭要茶的，连个高低都不知道！<br />
平儿这里站着，叫他叫去。”<br />
平儿忙答应了一声出来。<br />
<br />
‘I’m free now.The Mistress Splendid Phoenix sent me partly to tell you that, partly to help the girls wait on you when you're short-handed.'answered Patience, smiling.'Where's Precious Hairpin's lunch?'asked Seeking-Spring.Some girls hurried out to notify the matrons,'Miss Precious Hairpin has her lunch here too. Have her food brought over.'Hearing this,Seeking-Spring said loudly, 'Don't start ordering them about. They're all the wives of chief stewards, not people you can send to fetch rice and tea! You fuck know nothing!Patience has nothing to do here. Let her go.'Patience promptly agreed and went out.<br />
<br />
==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
<br />
那些媳妇们都悄悄的拉住笑道：“那里用姑娘去<br />
叫，我们已有人叫去了。”一面说，一面用手帕摊石矶上，说：“姑娘站了半天，乏<br />
了，这太阳地里且歇歇。”平儿便坐下。又有茶房里的两个婆子拿了个坐褥铺<br />
下，说：“石头冷，这是极干净的，姑娘将就坐一坐儿罢。”平儿忙陪笑道：“多<br />
谢。”一个又捧了一碗精致新茶出来，也悄悄笑说：“这不是我们常用的茶，原是<br />
伺候姑娘们的，姑娘且润一润罢。”<br />
<br />
==英语笔译 何丽娜 He Lina 202170081569==<br />
<br />
平儿忙欠身接了，因指众媳妇悄悄说道：“你<br />
们太闹的不像了。他是个姑娘家，不肯发威动怒，这是他尊重，你们就藐视欺负<br />
他。果然招他动了大气，不过说他一个粗糙就完了，你们就现吃不了的亏！他<br />
撒个娇，太太也得让他一二分，二奶奶也不敢怎样。你们就这么大胆子小看他，<br />
可是鸡蛋往石头上碰！”众人都忙道：“我们何尝敢大胆了，都是赵姨娘闹的！”<br />
平儿也悄悄的说：“罢了，好奶奶们，‘墙倒众人推’，<br />
<br />
Patience bent forward to take it and point at them, saying stealthily, " You are over the line. She is only a girl, and does not want to be violent or angry. But that's not the reason why you should despise her. If she got mad, she would be blamed at the worst but you would get into big trouble! If she threw a tantrum, Lady Wang would have to give way to her,and our Second Mistress would also dare not do anything else. How dare you think so little of her? It's like an egg throwing itself against a stone!" The crowed protested, "How dare we? It was all Concubine Walk's fault!" Patience then whispered, "It's all right.But if a wall is about to collapse, every gives it a push."<br />
<br />
==英语笔译 胡良明 Hu Liangming 202170081570==<br />
<br />
那赵姨奶奶原有些颠倒，<br />
‘着三不着两’，有了事都赖他。你们素日那眼里没人，心术利害，我这几年难<br />
道还不知道！二奶奶若是略差一点儿的，早被你们这些奶奶们治倒了。饶这么<br />
着，得一点空儿，还要难他一难！好几次没落了你们的口声。众人都道他利害，<br />
你们都怕他，惟我知道他心里也就不算不怕你们呢。前日我们还议论到这里：<br />
每不能依头顺尾，必有两场气生。那三姑娘虽是个姑娘，你们都横看了他。<br />
<br />
==英语笔译 黄琼 Huang Qiong 202170081571==<br />
<br />
二奶奶在这些大姑子小姑子里头，也就只单怕他五分。你们这会子倒不把他放在<br />
眼里了！”正说着，只见秋纹走来。众媳妇忙赶着问好，又说：“姑娘也且歇一歇，里头<br />
摆饭呢。等撒下桌子来，再回话去。”秋纹笑道：“我比不得你们，我那里等得！”<br />
说着，便直要上厅去。平儿忙叫：“快回来！”秋纹回头，见了平儿，笑道：“你又<br />
在这里充什么‘外围子的防护’？”一面回身便坐在平儿褥上。平儿悄问：“回什<br />
么？”<br />
<br />
==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
<br />
秋纹道：“问一问宝玉的月银，我们的月钱，多早晚才领？”平儿道：“这什么<br />
大事！你快回去告诉袭人，说我的话：凭有什么事，今日都别回。若回一件，管<br />
驳一件；回一百件，管驳一百件！”秋纹听了，忙问：“这是为什么？”平儿与众媳<br />
妇等都忙告诉他原故；又说：“正要找几处利害事与有体面的人来开例，作法子<br />
镇压，与众人作榜样呢。何苦你们先来碰在这钉子上？你这一去说了，他们若<br />
拿你们也作一二件榜样，又碍着老太太、太太；<br />
<br />
==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
<br />
若不拿着你们做一二件，人家又<br />
说：‘偏一个向一个，仗着老太太、太太威势的就怕，不敢惹，只拿着软的做鼻子<br />
头。’你听听罢，二奶奶的事，他还要驳两件，才压得众人口声呢！”<br />
秋纹听了，伸了伸舌头，笑道：“幸而平姐姐在这里，没得臊一鼻子灰，趁早<br />
知会他们去。”说着，便起身走了。接着宝钗的饭至，平儿忙进来伏侍。那时赵<br />
姨娘已去，三人在板床上吃饭，宝钗面南，探春面西，李纨面东。<br />
<br />
<br />
<br />
==英语笔译 李思敏 Li Simin 202170081574==<br />
<br />
众媳妇皆在廊下静候，里头只有他们紧跟常侍的丫鬟伺候，别人一概不敢擅入。这些媳妇们<br />
都悄悄的议论说：“大家省事罢！别安着没良心的主意。连吴大娘才都讨了没<br />
意思，咱们又是什么有脸的！”都一边悄议，等饭完回事。只觉里面鸦雀无闻，并<br />
不闻碗箸之响。一时，只见一个丫头将帘栊高揭，又有两个将桌抬出。茶房内有三个丫<br />
鬟，捧着三个沐盆儿。见饭桌已出，三人便进去了。<br />
<br />
All the Madams were waiting on the porch with their close maids, and no one else dared to enter. Madams all whispered, "Don't make trouble and scheme conscienceless ideas. Even Woman Wu suffered setbacks, let alone us!" They all talked quietly, waiting for the meal to finish. They only felt that there was as still, and heard nothing of the sound of tableware. A maid lifted the curtain high for a moment, and two more carried the table out. Three servant girls in the tea house hold three washbowls. As the tables out, the three went in.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 03:46, 14 May 2022 (UTC)<br />
<br />
==英语笔译 李思源 Li Siyuan 202170081575==<br />
<br />
一回又捧出沐盆并漱盂来，<br />
方有侍书、素云、莺儿三个，每人用茶盘捧了三盖碗茶进去。一时等他三人出<br />
来，侍书命小丫头子：“好生伺候着，我们吃饭来换你们，可又别偷坐着去。”众媳<br />
妇们方慢慢的安分回事，不敢如先前轻慢疏忽了。探春气方渐平，因向平儿道：<br />
“我有一件大事，早要和你奶奶商议，如今可巧想起来。你吃了饭快来。宝姑<br />
娘也在这里，咱们四个人商议了，再细细的问你奶奶可行可止。”平儿答应回去。<br />
<br />
<br />
==英语笔译 李婷 Li Ting 202170081576==<br />
<br />
凤姐因问：“为何去这半日？”平儿便笑着将方才的原故细细说与他听了。凤姐儿笑道：“好，好，好！好个三姑娘！我说不错。只可惜他命薄，没托生在太太肚里。”平儿笑道：“奶奶也说糊涂话了。他便不是太太养的，难道谁敢小看他，不与别的一样看待么？”凤姐叹道：“你那里知道？虽然庶出一样，女儿却比不得男人，将来攀亲时，如今有一种轻狂人，先要打听姑娘是正出是庶出，多有为庶出不要的。<br />
<br />
Sister Phoenix asked: "Why did you go so long?" Patience smiled and told her what had happened in detail. “Good, good, good! What a splendid Seeking-Spring!” Sister Phoenix laughed. “It's a pity she wasn't the mistress’ own daughter." "Grandma is confused too. She may not be the mistress’ own daughter. Will anyone dare to look down upon her? She has received the same respect as the other daughters of the house." said Patience. Sister Phoenix sighed, "How do you know? Although they are the same, a girl can’t compare with a boy. When the time comes to arrange her marriage, some foolish people will first ask whether she’s the daughter of the wife or of a concubine, and most likely refuse her in the second case.<br />
<br />
==英语笔译 李颖 Li Ying 202170081578==<br />
<br />
殊不知，别说庶出，便是我们的丫头，比人家<br />
的小姐还强呢！将来不知那个没造化的，为挑庶正误了事呢；也不知那个有造<br />
化的，不挑庶正的得了去。”说着，又向平儿笑到：“你知道我这几年生了多少省<br />
俭的法子，一家子大约也没个背地里不恨我的。我如今也是‘骑上老虎’了，虽<br />
然看破些，无奈一时也难宽放。二则家里出去的多，进来的少，凡百大小事儿，<br />
仍是照着老祖宗手里的规矩，却一年进的产业，又不及先时多；<br />
<br />
==英语笔译 李媛 Li Yuan 202170081579==<br />
<br />
省俭了，外人又<br />
笑话，老太太、太太也受委屈，家下也抱怨克薄。若不趁早儿料理省俭之计，再<br />
几年就都赔尽了。平儿道：“可不是这话！将来还有三四位姑娘，还有两三个小爷们，一位老<br />
太太，这几件大事未完呢。”凤姐儿笑道：“我也虑到这里，倒也够了。宝玉和林<br />
妹妹，他两个一娶一嫁，可以使不着官中钱，老太太自有体己拿出来。二姑娘是<br />
大老爷那边的，也不算。剩了三四个，满破着每人花上一万银子。<br />
<br />
"If we are economical, others will laugh at us. Later, Grandma and other madams will be upset, and the maids and other servants will complain about us being so mean," she said. "In this regard, the money will run out in a few years if we don't come up with some ways to save it in advance." "That's true!" Patience replied, "There are still three or four young ladies, two or three young gentlemen and Grandma who are going to spend much money in the future." "I've considered this, too. We can just afford it," Sister Phoenix laughed, "Precious Jade's and Sister Forest's marriage cost will be paid by Grandma, and the marriage expenses of Spring Pleasure will be covered by the big Master. There are just three or four left, each of whom will need ten thousand at most."<br />
<br />
==英语笔译 梁思婷 Liang Siting 202170081581==<br />
<br />
环哥娶亲有<br />
限，花上三千银子；若不够，那里省一抿子也就够了。老太太的事出来，一应都<br />
是全了的，不过零星杂项使费些，满破三五千两。如今再俭省些，陆续就够了。<br />
只怕如今平空再生出一两件事来，可就了不得了。咱们且别虑后事，你且吃了<br />
饭，快听他们商议什么。这正碰了我的机会，我正愁没个膀臂。虽有个宝玉，他<br />
又不是这里头的货，纵收伏了他，也不中用。大奶奶是个佛爷，也不中用。<br />
<br />
==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
<br />
二姑娘更不中用，亦且不是这屋里的人。四姑娘小呢，兰小子与环儿更是个燎毛的<br />
小冻猫子，只等有热灶火坑让他钻去罢，真真一个娘肚子里跑出这样天悬地隔<br />
的两个人来，我想到那里就不服！再者林丫头和宝姑娘他两个人倒好，偏又都<br />
是亲戚，又不好管咱们家务事。况且一个是美人灯儿，风吹吹就坏了；一个是拿<br />
定了主意，“不干己事不张口，一问摇头三不知’，也难十分去问他。<br />
<br />
Miss Yingchun is even less useful, and she doesn't belong to this house. Miss Xichun are small, and Lan and Huan'er are even more like a little frozen cat with burning hair, just looking for a warm stove or a Kang to lie on. How the same mother could produce two totally different children, which I can never understand. In addition, Miss Forest and Miss Precious are capable, but they are all relatives, and they are not expected to involve in our affairs. Moreover, one of them is like a beautiful lamp, and a puff of wind can blow it down; the other has made up her mind, "Do not open her mouth about things beyond her business, you can only get a shake or an 'I don't know when asking her". So it is also very difficult to ask her to do anything.<br />
<br />
==英语笔译 刘唱 Liu Chang 202170081583==<br />
<br />
倒只剩了三姑娘一个，心里嘴里都也来得，又是咱家的正人，太太又疼他，虽然脸上淡淡的，皆因是赵姨娘那老东西闹的，心里却是和宝玉一样呢。比不得环儿，实在令人难疼，要依我的性子，早撵出去了！如今他既有这主意，正该和他协同，大家做个膀臂，我也不孤不独了。按正礼天理良心上论，咱们有他这一个人帮着，咱们也省些心，与太太的事也有益。若按私心藏奸上论，我也太行毒了，也该抽回退步，回头看看；<br />
<br />
There is only Third Lady. She is a nice persion and is our people . The Grandma favors her very much. Though she don't show her mood on her face. It is all because of maternal aunt Zhao. But she is as sensitive as Precious Jade. She is not like the Ring, and i don't like her. In my opinion, I would ask her to get out! Now she want that, we should help her. We can accompany each other. And on the basis of conscience, we can be less worried and get along better with the Grandma with the help of her. On the basis of our own profit, we should slow down and step back of a little bit.<br />
<br />
==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
<br />
<br />
再要穷追苦克，人恨极了，他们笑里藏刀，咱们两个才四个眼睛<br />
两个心，一时不防，倒弄坏了。趁着紧溜之中，他出头一料理，众人就把往日咱<br />
们的恨暂可解了。还有一件，我虽知你极明白，恐怕你心里挽不过来，如今嘱咐<br />
你：他虽是姑娘家，心里却事事明白，不过是言语谨慎。他又比我知书识字，更<br />
利害一层了。如今俗语说：‘擒贼必先擒王。’他如今要作法开端，一定是先拿<br />
我开端，倘或他要驳我的事，你可别分辩，你只越恭敬越说驳的是才好。<br />
<br />
<br />
==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
<br />
千万别想着怕我没脸，和他一强，就不好了。”<br />
平儿不等说完，便笑道：“你太把人看糊涂了！我才已经行在先了，这会子<br />
才嘱咐我！”凤姐儿笑道：“我是恐怕你心里眼里只有了我、一概没有他人之故，<br />
不得不嘱咐；既已行在先，更比我明白了。这不是你又急了，满嘴里‘你’呀<br />
‘我’的起来了！”平儿道：“偏说‘你’！你不依，这不是嘴巴子，再打一顿。难道<br />
这脸上还没尝过的不成！”凤姐儿笑道：“你这小蹄子儿，要掂多少过儿才罢。<br />
<br />
Sister Phoenix said:" Don't be afraid that you would lose my face. You'd better not offend her." Before Sister Phoenix finished her words, Patience then laughed: "You are looking down on me! I have made reactions before you instruct me." Sister Phoenix then laughed: "I am afraid that you are only concerned about me with no consideration of others, so I talk to you like this. I believe that you know what I mean since you have already made responses. Now, you become anxious again, and "you" and "I"are coming out from your mouth" Patience replied: "You don't agree with me to say "you", or my mouth will be beatened. Have my face never experienced this punishment before?" Sister Phoenix said with a smile: "You little maid, how many times you'd like to be punished."--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 13:49, 13 May 2022 (UTC)<br />
<br />
==英语笔译 刘婷 Liu Ting 202170081586==<br />
<br />
你看我病的这个样儿，还来怄我呢！过来坐下，横竖没人来，咱们一处吃饭是正<br />
经。”说着，丰儿等三四个小丫头进来，放小炕桌。凤姐只吃燕窝粥，两碟子<br />
精致小菜，每日分例菜已暂减去。丰儿便将平儿的四样分例菜端至桌上，与平<br />
儿盛了饭来。平儿屈一膝于炕沿之上，半身犹立于炕下，陪着凤姐儿吃了饭，伏<br />
侍漱口毕，吩咐了丰儿些话，方往探春处来。只见院中寂静，人已散出。要知端<br />
的，且听下回分解。<br />
<br />
<br />
<br />
<br />
==英语笔译 刘瑶 Liu Yao 202170081587==<br />
<br />
◎第五十六回 敏探春兴利除宿弊 贤宝钗小惠全大体<br />
话说平儿陪着凤姐儿吃了饭，伏侍盥漱毕，方往探春处来，只见院中寂静，<br />
只有丫鬟婆子，诸内壸近人在窗外听候。平儿进入厅中，他姊妹姑嫂三人正议<br />
论些家务，说的便是年内赖大家请吃酒，他家花园中事故。见他来了，探春便命<br />
他脚踏上坐了，因说道：“我想的事，不为别的，只想着我们一月所用的头油脂粉<br />
又是二两的事。<br />
<br />
Chapter 56 Clever Seeking-Spring Devises a Scheme to Make a Profit and End Abuses<br />
Understanding Precious Hairpin Rounds It Out with a Small Act of Kindness<br />
After eating with Sister Phoenix and waiting on her while she washed and then rinsed her mouth, Patience went back to Seeking Spring. She found the Council Hall quiet,with a few maids and matrons waiting outside the windows. As she walked in, the three cousins were discussing family affairs and had just brought up the subject of Big Rely’s garden, where they had feasted shortly before New Year. Seeing her arrival, Seeking-Spring offered Patience a foot-stool. "Here's what I was thinking," she told her. Each of us gets an extra two taels a month for hair-oil, rouge and powder.<br />
<br />
==英语笔译 刘珍 Liu Zhen 202170081588==<br />
<br />
我想我们一月已有了二两月银，丫头们又另有月钱，可不是又<br />
同刚才学里的八两一样重重叠叠？这事虽小，钱有限，看起来也不妥当。你奶奶<br />
怎么就没想到这个呢？”平儿笑道：“这有个原故：姑娘们所用的这些东西，自然该有分例，每月每处买办买了，令女人们交送我们收管，不过预备姑娘们使用就罢了；没有个我们<br />
天天各人拿着钱，找人买这些去的。所以外头买办总领了去，按月使女人按房<br />
交给我们。<br />
<br />
==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
<br />
至于姑娘们每月的这二两，原不是为买这些的，为的是一时当家的<br />
奶奶太太，或不在家，或不得闲，姑娘们偶然要个钱使，省得找人去。这不过是<br />
恐怕姑娘们受委屈意思。如今我冷眼看着，各屋里我们的姐妹都是现拿钱买这<br />
些东西的，竟有了一半子。我就疑惑不是买办脱了空，就是买的不是正经货。”<br />
探春李纨都笑道：“你也留心看出来了。脱空是没有的，只是迟些日子；催急了，<br />
不知那里弄些来，不过是个名儿，其实使不得，依然还得现买。<br />
As for the two taels of the girls every month, it has been not for these, but for the grandma and ladies who was in charge at the moment, either not at home or not free, and the girls occasionally asked for money so as not to find someone else. It's just for fear that the girls will be wronged so that the two taels was given. Now I look coldly at the fact that all our sisters in the house are now using money to buy these things even reached half of them. I wondered whether the comprador was out of stock or that what he bought was not the real deal. " Seeking-Spring and Silk Plum said with a smile, "you can see it, too. There is no such thing as emptying, but later; if someone is in a hurry, just come to somewhere to get some, but it's just a name, but it doesn't work, and you still have to buy it now.<br />
<br />
<br />
As for the two taels for the girls every month, it was not for buying those things actually, but for the reason that sometimes the ladies who was in charge of the family was out or busy with handling other affairs, then with this money, the girls don’t need to find someone else if they happen to need money for some thing. It's just for fear that the girls will be wronged. Now given the fact that half of our sisters in the house are now using money to buy these things. I wondered whether the comprador was playing trick on us, and what he bought was not the real deal." Seeking-Spring and Silk Plum said with a smile, " You can see it, too. There is no such thing as emptying, it’s just a matter of time; if someone is in a hurry, just come to somewhere to get some, but it's just a name, and it doesn't work, so you still have to buy it now.--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 08:59, 14 May 2022 (UTC)<br />
<br />
==英语笔译 聂薇 Nie Wei 202170081592==<br />
<br />
<br />
就用二两银子，<br />
另叫别人的奶妈子的弟兄儿子买来，方才使得，若使官中的人去，依然是那一样<br />
的，不知他们是什么法子？”平儿便笑道：“买办买的是那样，别人买了好的来，买<br />
办的也不依他，又说他使坏心，要夺他的买办了。所以他们宁可得罪了里头，不<br />
肯得罪了外头办事的。若是姑娘们使了奶妈子们，他们也就不敢闲话了。”<br />
探春道“因此我心中不自在，饶费两起儿钱，东西又白丢一半，不如竟把买办的<br />
这一项每月蠲了为是。此是一件事。<br />
<br />
Just ask some relative of other’s nanny to spend two silver buying it for the girls. If we ask those officially working for the family, they just get us the same thing, then what’s the point of doing so?” Patience smiled and explained, “ It’s true that the compradors just get us the same thing, but they won’t allow others to do so even though the latter can purchase things of higher quality, and they will accuse them of taking away their job. That’s why the women would rather offend us than those compradors. But if it is the ladies that asked the nannies to handle those affairs, they won’t dare to complain about this.” Therefore Spring-seeker said, “ That’s why I feel uncomfortable about this. We wasted two gadgets for nothing and get half the amount of things we need. Why don’t we just abolish the spending on the comprador every month? That’s the first thing I would like to deal with.<br />
<br />
<br />
Just ask some relative of other’s nanny to spend two silver buying it for the girls. If we ask those officially working for the family, they just get us the same thing, then what’s the point of doing so?” Patience smiled and explained, “ It’s true that the compradors just get us the same thing, but they won’t allow others to do so even though the latter can purchase things of higher quality, and they will accuse them of taking away their job. That’s why the women would rather offend us than those compradors. But if it is the ladies that asked the nannies to handle those affairs, they won’t dare to complain about this.” Therefore Spring-seeker complained, “ That’s why I feel uncomfortable about this. We wasted two gadgets for nothing and just got half the amount of things we need. Why don’t we just abolish the spending on the comprador every month? That’s the first thing I would like to deal with.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 10:49, 14 May 2022 (UTC)<br />
<br />
==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
<br />
第二件，年里往赖大家去，你也去的，你<br />
看他那小园子，比咱们这个如何？”平儿笑道：“还没有咱们这一半大，树木花草<br />
也少多着呢。”探春道：“我因和他们家女孩儿说闲话儿，他说这园子除他们<br />
带的花儿，吃的笋菜鱼虾，一年还有人包了去，年终足有二百两银子剩。从那<br />
日，我才知道一个破荷叶，一根枯草根子，都是值钱的。”<br />
宝钗笑道：“真真膏粱纨裤之谈。<br />
<br />
"Then, every year we all, including you, visit her small garden, and what do you think of hers when compared with our garden?" Wearing a smile on face, Patience responded, "Not half as big as ours, moreover, speaking of the trees and flowers in our gardens respectively, hers is far less than ours." Then Seeking-Spring said, "When chit chatting with those girls in her family, I came to know that in addition to the flowers they planted, and the vegetables and fish they eat produced form this garden, this garden has been put put to contract for someone, thus there is enough money left over for two hundred taels silver at the end of the the year. From then on, I've realized that even a broken lotus leaf, and a withered grass root, are valuable. That's the second thing." Amused by what she said, Hairpin Precious said, "You are just talking like a priviledged person!"<br />
<br />
==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
<br />
你们虽是千金，原不知道这些事，但只你<br />
们也都念过书，识过字的，竟没看见过朱夫子有一篇“不自弃”的文么？”探春笑<br />
道：“虽也看过，不过是勉人自励，虚比浮词，那里都真有的？”宝钗道：“朱子都<br />
有了虚比浮词了？那句句都是有的。你才办了两天事，就利欲熏心，把朱子都<br />
看虚浮了。你再出去，见了那些利弊大事，越发连孔子也都看虚了呢！”探春笑<br />
道：“你这样一个通人，竟没看见姬子书？<br />
<br />
<br />
==英语笔译 童略雅 Tong Lueya 202170081595==<br />
<br />
当日姬子有云：‘登利禄之场，处运筹<br />
之界者，穷尧舜之词，背孔孟之道，……’”宝钗笑道：“底下一句呢？”探春笑道：<br />
“如今断章取意，念出底下一句，我自己骂我自己不成？”宝钗道：“天下没有不<br />
可用的东西，既可用，便值钱。难为你是个聪明人，这大节目正事竟没经历。”李<br />
纨笑道：“叫人家来了，又不说正事，你们且对讲学问！”宝钗道：“学问中便是正<br />
事。若不拿学问提着，便都流入市俗去了。”<br />
<br />
<br />
==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
<br />
三人取笑了一回，便仍谈正事。探春又接说道：“咱们这个园子，只算比他<br />
们的多一半，加一倍算起来，一年就有四百银子的利息。若此时也出脱生发银<br />
子，自然小器，不是咱们这样人家的事；若派出两个一定的人来，既有许多值钱<br />
之物，一味任人作践，也似乎暴殄天物。不如在园子里所有的老妈妈中，拣出几<br />
个本分老成，能知园圃的，派他们收拾料理。也不必要他们交租纳税，只问他们<br />
一年可以孝敬些什么。<br />
After this joking they got down to business. Let's say for the sake of argument that our garden is only twice as big as theirs. Doubling the income they get from theirs would mean a clear profit of four hundred taels per annum. Of course, it would be petty and unworthy of our family to concentrate solely now on making money. But if a couple of women are assigned to take charge, all the valuable things here won't be squandered it's a shame to let them go to waste. I think we ought to pick out a few experienced trustworthy old women from among the ones who work in the Garden - women who know something about gardening already - and put the upkeep of the Garden into their hands. We needn't ask them to pay us rent; all we need ask them for is an annual share of the produce.<br />
<br />
==英语笔译 王思琪 Wang Siqi 202170081597==<br />
<br />
一则园子有专定之人修理花木，自然一年好似一年的，<br />
也不用临时忙乱；二则也不致作践，白辜负了东西；三则老妈妈们也可借此小<br />
补，不枉年日家在园中辛苦；四则也可以省了这些花儿匠、山子匠并打扫人等的<br />
工费：将此有余，以补不足，未为不可。”宝钗正在地下看壁上的字画，听如此说，<br />
便点头笑道：“善哉，三年之内，无饥馑矣。”李纨道：“好主意。果然这么行，太<br />
太必喜欢。省钱事小，园子有人打扫，专司其职，又许他去卖钱。<br />
<br />
==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
<br />
使之以权，动之<br />
以利，再无不尽职的了。”平儿道：“这件事须得姑娘说出来。我们奶奶虽有此<br />
心，未必好出口。此刻姑娘们在园里住着，不能多弄些玩意儿陪衬，反叫人去监<br />
管修理，图省钱，这话断不好出口。”<br />
宝钗忙走过来，摸着他的脸笑道：“你张开嘴，我瞧瞧你的牙齿舌头是什么<br />
做的？从早起来，到这会子，你说了这些话，一套一个样子，也不奉承三姑娘，也<br />
没见你们奶奶才短想不到；<br />
<br />
She threatened with power and seduced with benefits. No one could be more dutiful." Patience said, "It must be said by the girl. Although our grandmother had such a desire, it might not be suitable for her to speak it out. At present, the girls are living in the garden, we can not get more gadgets to accompany, but call people to supervise the repair, trying to save money, it is not suitable." Precious Hairpin came over and touched her face and said with a smile, "Open your mouth and let me see what your teeth and tongue are made of. Ever since you got up early in the morning, you have said the same thing in different ways, without flattering the third girl, and without inconsiderable about your grandmother’s matter.<br />
<br />
==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
<br />
三姑娘说一套话出来，你就有一套话回奉，总是三姑<br />
娘想得到的，你们奶奶也想到了，只是必有个不可办的原故，这会子又是因姑娘<br />
们住的园子，不好因省钱令人去监管。你们想想这话，要果真交与人弄钱去的，<br />
那人自然是一枝花也不许掐，一个果子也不许动了，姑娘们分中，自然是不敢讲<br />
究，天天与小姑娘们就吵不清。他这远愁近虑，不亢不卑，他们奶奶便不是和咱<br />
们好，听他这一番话，也必要自愧的变好了。”<br />
<br />
<br />
==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
<br />
探春笑道：“我早起一肚子气，听他<br />
来了，忽然想起他主子来：素日当家，使出来的好撒野的人，我见了他便生气了。<br />
谁知他来了，避猫鼠儿是的，站了半日，怪可怜的。接着又说了那些话，不说他<br />
主子待我好，倒说‘不枉姑娘待我们奶奶素日的情意了’，这一句话，不但没了<br />
气，我倒愧了，又伤起心来。我细想：我一个女孩儿家，自己还闹得没人疼没人<br />
顾的，我那里还有好处去待人。”口内说到这里，不免又流下泪来。<br />
<br />
<br />
<br />
==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
<br />
李纨等见他说的恳切，又想他素日赵姨娘每生诽谤，在王夫人跟前，亦为赵姨娘所累，也都不免流下泪来，都忙劝他：“趁今日清净，大家商议两件兴利剔弊的事情，也不枉太太委托一场。又提这没要紧的事做什么！”平儿忙道：“我已明白了。姑娘竟说，谁好，竟一派人，就完了。”探春道：“虽如此说，也须得回你奶奶一声。我们这里搜剔小利，已经不当，皆因你奶奶是个明白人，我才这样行；<br />
<br />
Her distress reminded Silk Plum and the others of all the instances of Concubine Walk's outrageous behaviour, which had involved Seeking Spring, making her embarrassed to face Lady King. They could not help shedding tears of sympathy.“Don't talk like that,”they urged.“What does it matter? Now that we're free, let's work out a couple of ways to make a profit and get rid of past abuses, so as to prove ourselves worthy of the mistress'trust.”“I understand,”put in Patience hastily.“Just trust this business to some reliable people of your own choosing, miss, and that will be that.”“That's all very well, but we must consult your mistress first,”insisted Seeking Spring.“We've already overstepped our authority, scrimping and scraping, right and left, and I wouldn't suggest this if she weren't so understanding.<br />
<br />
==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
<br />
若是糊涂多歪多妒的，我也不肯，倒像抓他的乖一般了。岂可不商议了行<br />
的？”平儿笑道：“既这样，我去告诉一声儿。”说着去了；半日方回来，笑说：“我<br />
说是白走一趟。这样好事，奶奶岂有不依的！”探春听了，便和李纨命人将园中所有婆子的名单要来，大家参度，大概定<br />
了几个人。又将他们一齐传来，李纨大概告诉与他们。众人听了，无不愿意。<br />
也有说：“那片竹子单交给我，一年工夫，明年又是一片。除了家里吃的笋，一年<br />
还可交些钱粮。”<br />
<br />
==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
<br />
这一个说：“那一片稻地交给我，一年这些玩的大小雀鸟的粮<br />
食，不必动官中钱粮，我还可以交钱粮。”探春才要说话，人回：“大夫来了，进园<br />
瞧史姑娘去。”众婆子只得去接大夫。平儿忙说：“单你们，有一百也不成个体<br />
统。难道没有两个管事的头脑带进大夫来？”回事的那人说：“有吴大娘和单大<br />
娘，他两个在西南角上聚锦门等着呢。”平儿听说，方罢了。众婆子去后，探春问宝钗：“如何？”<br />
<br />
This one said: "That piece of rice land to me, a year of these play the size of the birds of food, do not have to move the official in money and grain, I can also pay money and grain." Tanchun was about to speak when someone returned, "The doctor is here, go into the garden to see Miss Shi." The maids had to go and fetch the doctor. Patience was busy saying, "Even if there were a hundred of you alone, you wouldn't be a unit. Don't you have two stewards who can bring in a doctor?" The one who answered said, "There are Wu Daniang and Shan Daniang, they are waiting at the southwest corner of the house." When Ping'er heard about this, she said, "I'll be right back. After the women had left, Tanchun asked Baochai, "How is it?"<br />
<br />
==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
<br />
<br />
宝钗笑答道：“幸于始者怠于终，善其辞<br />
者嗜其利。”探春听了，点头称赞，便向册上指出几人来与他三人看。平儿忙去<br />
取笔砚来。他三人说道：“这一个老祝妈，是个妥当的，况他老头子和他儿子，代<br />
代都是管打扫竹子，如今竟把这所有的竹子交与他。这一个老田妈，本是种庄<br />
稼的，稻香村一带，凡有菜蔬稻稗之类，虽是玩意儿，不必认真大治大耕，也须得<br />
他去再细细按时加些培植，岂不更好？”<br />
Precious Hairpin laughed and said: “Those who are excited by lucky profit at the beginning will eventually slack off; Those who talk big are just greedy for profit, without any real ability.” Having heard this, Seeking-Spring nodded in praise and pointed out certain persons to the book for the three of them to read. Then Patience hurried to fetch writing brushes and inkstone. Three of them said: “The old lady Zhu is a careful and reliable person. Moreover, her husband and son have been in charge of cleaning up the bamboos for generations and as a result, all of bamboos’ management should have been taken over by them now. Another one is old lady Tian, who is originally a farmer. In the Rice Fragrant Village, as soon as there are vegetables, fruits, rice and wheat and the like, though they have no need to work and manage in a meticulous manner, they would grow better if old lady Tian could cultivate them carefully on schedule.”<br />
<br />
<br />
Precious Hairpin, laughing, quoted: “Those who are jealous of the start may get lax before the finish. And fine speech may hide a hankering after a profit.” Seeking-Spring nodded with agreement. Then she selected some names from the list for the other three people’s consideration. Patience hurried to fetch a brush and inkstone. “The old lady Zhu is a careful and reliable person,” they said. “Moreover, her husband and son have been looking after the bamboos, so we may give all bamboos to them for management. Another one is old lady Tian, who is originally a farmer. Those vegetables and fruits planted in Paddy- Sweet Cottage are only for fun and do not need to be cultivated seriously. However, it would be better to have her there in charge during the different seasons.”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 11:05, 14 May 2022 (UTC)<br />
<br />
==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
<br />
探春又笑道：“可惜蘅芜苑和怡红院这<br />
两处大地方，竟没有出息之物！”李纨忙笑道：“蘅芜苑更利害！如今香料铺<br />
并大市大庙卖的各处香料香草儿，都不是这些东西？算起来，比别的利息更大！<br />
怡红院别说别的，单只说春夏二季的玫瑰花，共下多少花朵儿？还有一带篱笆上<br />
的蔷薇、月季、宝相、金银花、藤花，这几色草花，干了卖到茶叶铺药铺去，也值好<br />
些钱。”探春笑道：“原来如此，只是弄香草的没有在行的人。”<br />
<br />
Seeking-Spring said: “What a pity! There is nothing that can make a profit in Happy Red Court and Asarum Garden.” “You are wrong,” said Silk Plum. “Asarum Garden can make a greater profit. It is full of herbs and spices. We can sold them to perfumers as well as big markets and temple fairs. I think those will bring in greater profit. As for Happy Red Court, not to mention anything else, just think how many roses it has in spring and summer. Also, the fence is covered with lots of roses, monthly roses, honeysuckles and other kinds of flowers. We can dry them and then sell them to tea shops and pharmacies to make money.” “That’s it,” said Seeking-Spring with a smile. “But there is nobody who are proficient in such things.”<br />
<br />
==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
<br />
平儿忙笑道：“跟<br />
宝姑娘的莺儿他妈，就是会弄这个的。上回他还采了些晒干了，编成花篮葫芦<br />
给我玩呢，姑娘倒忘了不成？”宝钗笑道：“我才赞你，你倒来捉弄我了。”三人<br />
都咤异问道：“这是为何？”宝钗道：“断断使不得。你们这里多少得用的人，一<br />
个个闲着没事办，这会子我又弄个人来，叫那起人连我也看小了。我倒替你们<br />
想出一个人来：怡红院有个老叶妈，他就是焙茗的娘，那是个诚实老人家；他又<br />
合我们莺儿娘极好。<br />
<br />
==英语笔译 张瑞 Zhang Rui 202170081608==<br />
<br />
不如把这事交与叶妈，他有不知的，不必咱们说给他，就找<br />
莺儿的娘去商量了。那怕叶妈全不管，竟交与那一个，这是他们私情儿，有人说<br />
闲话，也就怨不到咱们身上。如此一行，你们办得又至公道，于事又甚妥。”李纨<br />
平儿都道：“是极。”探春笑道：“虽如此，只怕他们见利忘义呢。”平儿笑道：“不<br />
相干。前日莺儿还认了叶妈做干娘，请吃饭吃酒，两家和厚得很呢。”探春听了，<br />
方罢了。又共斟酌出几人来，俱是他四人素昔冷眼取中的，用笔圈出。<br />
<br />
==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
<br />
一时婆子们来回：“大夫已去。”将药方送上去，三人看了，一面遣人送出外<br />
边去取药，监派调服；一面探春与李纨明示诸人：某人管某处，“按四季，除家中<br />
定例用多少外，余者任凭你们采取了去取利，年终算账。”探春笑道：“我又想起<br />
一件事：若年终算账，归钱时，自然归到账房，仍是上头又添一层管主，还在他们<br />
手心里，又剥一层皮。这如今我们兴出这事来，派了你们，已是跨过他们的头去<br />
了，心里有气，只说不出来；<br />
<br />
==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
<br />
你们年终去归账，他还不捉弄你们等什么？再者，这<br />
一年间，管什么的，主子有一全分，他们就得半分，这是每常的旧规，人所共知<br />
的。如今这园子里是我的新创，竟别入他们的手，每年归账，竟归到里头来才好。”<br />
宝钗笑道：“依我说，里头也不用归账，这个多了，那个少了，倒多了事。不如问<br />
他们谁领这一分的，他就揽一宗事去。不过是园里的人动用。我替你们算出来<br />
了，有限的几宗事，不过是头油、胭脂、香、纸，每一位姑娘，几个丫头，都是有定<br />
例的；<br />
<br />
==英语笔译 钟青 Zhong Qing 202170081611==<br />
<br />
<br />
再者各处笤帚、簸箕、掸子，并大小禽鸟、鹿、兔吃的粮食。不过这几样。<br />
都是他们包了去，不用账房去领钱。你算算，就省下多少来？”平儿笑道：“这几<br />
宗虽小，一年通共算了，也省得下四百两银子。”<br />
宝钗笑道：“却又来！一年四百，二年八百两，打租的房子也能多买几间，<br />
薄沙地也可以添几亩了。虽然还有敷余，但他们既辛苦了一年，也要叫他们剩<br />
些，粘补自家。虽是兴利节用为纲，然亦不可太啬。总再省上二三百银子，失了<br />
大体统，也不像。<br />
<br />
==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
<br />
所以如此一行，外头账房里一年少出四五百银子，也不觉得很<br />
艰啬了，他们里头却也得些小补；这些没营生的妈妈们，也宽裕了；园子里花木，<br />
也可以每年滋长繁盛；如此你们也得了可使之物，这庶几不失大体。若一味要<br />
省时，那里不搜寻出几个钱来。凡有些余利的，一概入了官中，那时里外怨声载<br />
道，岂不失了你们这样人家的大体？如今这园里几十个老妈妈们，若只给了这<br />
个，那剩的也必抱怨不公；<br />
<br />
<br />
==英语笔译 周哲 Zhou Zhe 202170081613==<br />
<br />
我才说的他们只供给这个几样，也未免太宽裕了。一<br />
年竟除了这个之外，他每人不论有余无余，只叫他拿出若干吊钱来，大家凑齐，单<br />
散与这些园中的妈妈们。他们虽不料理这些，却日夜也自在园中照看；当差之<br />
人，关门闭户、起早睡晚、大雨大雪，姑娘们出入，抬轿子，撑船，拉冰床，一应粗<br />
重活计，都是他们的差使：一年在园里辛苦到头，这园内既有出息，也是分内该<br />
沾带些的。<br />
<br />
<br />
==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
还有一句至小的话，越发说破了，你们只顾了自己宽裕，不分与他们<br />
些，他们虽不敢明怨，心里却都不服，只用假公济私的，多摘你们几个果子，多掐<br />
几枝花儿，你们有冤还没处诉呢。他们也沾带了些利息，你们有照顾不到，他们<br />
就替你照顾了。”众婆子听了这个议论，又去了帐房受辖治，又不与凤姐儿去算账，一年不<br />
过多拿出若干吊钱来，各各欢喜异常，都齐声说：“愿意。强如出去被他揉搓<br />
着，还得拿出钱来呢！”<br />
<br />
==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
<br />
那不得管地的，听了每年终无故得钱，也都喜欢起来，口<br />
内说：“他们辛苦收拾，是该剩些钱粘补的；我们怎么好‘稳吃三注’的？”宝钗笑<br />
道：“妈妈们也别推辞了，这原是分内应当的。你们只要日夜辛苦些，别躲懒纵<br />
放人吃酒赌钱就是了；不然，我也不该管这事，你们也知道，我姨娘亲口嘱托我<br />
三五回，说：“大奶奶如今又不得闲儿，别的姑娘又小，托我照看照看。我若不依，<br />
分明是叫姨娘操心。<br />
<br />
==比较文学与跨文化研究 Mahzad 202021080004==<br />
<br />
我们奶奶又多病，家务也忙。我原是个闲人，便是街坊邻<br />
居，也要个帮忙的，何况是姨娘托我？讲不起众人嫌我。倘或我只顾沽名钓誉<br />
的，那时酒醉赌输了，再生出事来，我怎么见姨娘？你们那时后悔也迟了，就连<br />
你们素昔的老脸也都丢了。这些姑娘们，这么一所大花园，都是你们照看，皆因<br />
看得你们是三四代的老妈妈，最是循规遵矩，原该大家齐心顾些体统。你们反<br />
纵放别人，任意吃酒赌博。姨娘听见了，教训一场犹可，倘若被那几个管家娘子<br />
听见了，他们也不用回姨娘，竟教导你们一场，你们这年老的反受了小的教训，<br />
虽是他们是管家，管的着你们，何如自己存些体统，他们如何得来作践呢！<br />
<br />
<br />
==外国语言文学 Muhammad Numan 202121080002==<br />
<br />
所以我如今替你们想出这个额外的进益来，也为的是大家齐心，把这园里周全的谨<br />
谨慎慎的，使那些有权执事的看见这般严肃谨慎，且不用他们操心，他们心里岂<br />
不敬服？也不枉替他们筹画些进益了。你们去细细想想这话。”众人都欢喜<br />
说：“姑娘说得很是。从此姑娘奶奶只管放心。姑娘奶奶这样疼顾我们，我们<br />
再要不体上情，天地也不容了！”刚说着，只见林之孝家的进来，说：“江南甄府里家眷昨日到京，今日进宫<br />
朝贺。此刻先遣人来送礼请安。”说着便将礼单送上去。探春接了，看道是：“上<br />
用的妆缎蟒缎十二匹。<br />
<br />
<br />
<br />
==英语语言文学 TOURE MARIAM 202021080005==<br />
<br />
<br />
上用杂色缎十二匹。上用各色纱十二匹。上用宫绸十<br />
二匹。宫用各色缎纱绸绫二十四匹。”李纨探春看过，说：“用上等封儿赏他。”<br />
因又命人去回了贾母。贾母命人叫李纨、探春、宝钗等都过来，将礼物看了。李<br />
纨收过一边，吩咐内库上人说：“等太太回来看了再收。”贾母因说：“这甄家又<br />
不与别家相同，上等封儿赏男人，只怕展眼又打发女人来请安，预备下尺<br />
头。”一语未了，果然人回：“甄府四个女人来请安。”贾母听了，忙命人带进来。那四个人都是四十往上年纪，穿带之物皆比主<br />
子不大差别。请安问好毕，贾母便命拿了四个脚踏来。<br />
<br />
==外国语言文学 UDDIN NIZAM 202121080007==<br />
<br />
他四人谢了坐，宝钗等<br />
坐了，方都坐下。贾母便问：“多早晚进京的？”四人忙起身回说：“昨儿进的京。<br />
今儿太太带了姑娘进宫请安去了，所以叫女人们来请安，问候姑娘们。”贾母笑<br />
问道：“这些年没进京，也不想到就来。”四人也都笑回道：“正是。今年是奉旨<br />
唤进京的。”贾母问道：“家眷都来了？”四人回说：“老太太和哥儿、两位小姐，并<br />
别位太太，都没来；就只太太带了三姑娘来了。”贾母道：“有人家没有？”四人<br />
道：“还没有呢。”贾母笑道：“你们大姑娘和二姑娘，这两家，都和我们家甚好。”<br />
<br />
<br />
==翻译学 SAGARA SEYDOU 201911080004 ==<br />
<br />
<br />
四人笑道：“正是。每年姑娘们有信回来说，全亏府上照看。”贾母笑道：“什么<br />
‘照看’？原是世交，又是老亲，原应当的。你们二姑娘更好，不自尊大，所以我<br />
们才走的亲密。”四人笑道：“这是老太太过谦了。”贾母又问：“你这哥儿也跟着你们老太太？”四人回说：“也是跟着老太太呢。”<br />
贾母道：“几岁了？”又问：“上学不曾？”四人笑说：“今年十三岁。因长得齐整，<br />
老太太很疼。自幼淘气异常，天天逃学，老爷太太也不便十分管教。”贾母笑道：<br />
“也不成了我们家的了！你这哥儿叫什么名字？”</div>Li Yuanhttps://bou.de/u/index.php?title=20220512_culture&diff=14269120220512 culture2022-05-14T10:57:09Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
<hr />
<div>Quicklinks:[[Chinese Language and Culture 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Joint_translation_terms]]<br />
<br />
[[20220512_culture|culture of session 12 for session 13 May 12]]<br />
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'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is <br />
<br />
20 Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 56% 陈路瑶 Chen Luyao<br />
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23 Literature: Modern Literature 55% 兰绮 Lan Qi<br />
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29 Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 54% 刘婷 Liu Ting<br />
<br />
40 Literature: Contemporary Literature 50% 李婷Li Ting<br />
<br />
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'''Assignment 2''': '''Click here''' to answer the questions of the topics below <br />
<br />
20 Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 56% <br />
<br />
23 Literature: Modern Literature 55% <br />
<br />
29 Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 54% <br />
<br />
40 Literature: Contemporary Literature 50% <br />
<br />
<br />
Due before 4:30 pm May. 19<br />
<br />
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'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
<br />
Due before 6:00 pm May. 18<br />
<br />
<br />
IN PREPARATION<br />
<br />
=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
<br />
While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
<br />
When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
<br />
Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
<br />
==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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却说黛玉叫进宝钗家的女人来，问了好，呈上书子。黛玉叫他去喝茶，便将宝钗来书打开看时，只见上面写着：妹生辰不偶，家运多艰，姊妹伶仃，萱亲衰迈。兼之猇声狺语，旦暮无休；更遭惨祸飞灾，不啻惊风密雨。夜深辗侧，愁绪何堪！属在同心，能不为之愍恻乎？回忆海棠结社，序属清秋，对菊持螯，同盟欢洽。犹记“孤标傲世偕谁隐，一样花开为底迟”之句，未尝不叹冷节遗芳，如吾两人也。感怀触绪，聊赋四章。匪曰无故呻吟，亦长歌当哭之意耳。悲时序之递嬗兮，又属清秋。感遭家之不造兮，独处离愁。<br />
<br />
==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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北堂有萱兮，何以忘忧？无以解忧兮，我心咻咻。一解。云凭凭兮秋风酸，步中庭兮霜叶干。何去何从兮，失我故欢。静言思之兮恻肺肝！二解。惟鲔有潭兮，惟鹤有梁。鳞甲潜伏兮，羽毛何长！搔首问兮茫茫，高天厚地兮，谁知余之永伤。三解。银河耿耿兮寒气侵，月色横斜兮玉漏沉。忧心炳炳兮，发我哀吟。吟复吟兮，寄我知音。四解。黛玉看了，不胜伤感。又想：“宝姐姐不寄与别人，单寄与我，也是‘惺惺惜惺惺’的意思。”正在沉吟，只听见外面有人说道：“林姐姐在家里呢么？”黛玉一面把宝钗的书叠起，口内便答应道：“是谁？”<br />
<br />
==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
<br />
正问着，早见几个人进来，却是探春、湘云、李纹、李绮。彼此问了好，雪雁倒上茶来，大家喝了，说些闲话。因想起前年的“菊花诗”来，黛玉便道：“宝姐姐自从挪出去，来了两遭，如今索性有事也不来了，真真奇怪。我看他终久还来我们这里不来。”探春微笑道：“怎么不来？横竖要来的。如今是他们尊嫂有些脾气，姨妈上了年纪的人，又兼有薛大哥的事，自然得宝姐姐照料一切。那里还比得先前有工夫呢。”正说着，忽听得“唿喇喇”一片风声，吹了好些落叶打在窗纸上。停了一回儿，又透过一阵清香来。众人闻着，都说道：“这是何处来的香风？这像什么香？”<br />
<br />
When Mascara Jade asked who was there, Seeking-Spring, Fragrant-cloud, Li Wen and Li Qi went in. They exchanged greetings while Snowgoose brought them tea,and then they chatted. Remembering the poems they had written that year on chrysanthemums, Mascara Jade remarked:“sister Precious Hairpin came over twice after moving out, yet these days even when something happens she doesn’t come. Isn’t that odd? I wonder whether she’ll ever come back or not!”“Why shouldn’t she?” asked Seeking-Spring with a smile. “She’s bound to eventually Just now, of course, she has too much to see to, what with her sister-in-law’s cranky ways,Aunt Marshgrass getting on in years, and on top of everything this trouble of Cousin Marshgrass’s. She hasn’t the time to spare that she used to have.”Just then a gust of wind sprang up, dashing fallen leaves against the window paper. After a while they smelt a faint fragrance.“Where does this scent come from?” they wondered. “What can it be?”<br />
<br />
When Mascara Jade asked who was there, Seeking-Spring, Fragrant-cloud, Li Wen and Li Qi went in. They exchanged greetings while Snowgoose brought them tea,and then they chatted. Remembering the poems they had written that year on chrysanthemums, Mascara Jade remarked:“sister Precious Hairpin came over twice after moving out, yet these days even when something happens she doesn’t come. Isn’t that odd? I wonder whether she’ll ever come back or not!”“Why shouldn’t she?” asked Seeking-Spring with a smile. “She’s bound to eventually Just now, of course, she has too much to see to, what with her sister-in-law’s cranky ways,Aunt Marshgrass getting on in years, and on top of everything this trouble of Cousin Marshgrass’s. She hasn’t the time to spare that she used to have.”Just then a gust of wind sprang up, dashing fallen leaves against the window paper. After a while they smelt a faint fragrance.“Where does this scent come from?” they wondered. “What can it be?”--[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 09:05, 14 May 2022 (UTC)<br />
<br />
==英语笔译 崔晓凡 Cui Xiaofan 202170081566==<br />
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黛玉道：“好像木樨香。”探春笑道：“林姐姐终不脱南边人的话。这大九月里的，那里还有桂花呢？”黛玉笑道：“原是啊！不然，怎么不竟说‘是’桂花香，只说似乎‘像’呢？”湘云道：“三姐姐，你也别说。你可记得‘十里荷花，三秋桂子’？在南边正是晚桂开的时候了，你只没有见过罢了。等你明日到南边去的时候，你自然也就知道了。”探春笑道：“我有什么事到南边去？况且这个也是我早知道的，不用你们说嘴。”李纹李绮只抿着嘴儿笑。黛玉道：“妹妹，这可说不齐。俗语说，‘人是地行仙。’今日在这里，明日就不知在那里。譬如我原是南边人，怎么到了这里呢？”<br />
<br />
“It’s like fragrant osmanthus,” observed Mascara Jade. “Cousin Forest is talking like a southerner,” teased Seeking-Spring. “How could fragrant osmanthus bloom in the ninth month?” “Quite so.” Mascara Jade laughed. “That’s why I said it’s like fragrant osmanthus.” “You’d better pipe down, Seeking-Spring.” put in Fragrant-cloud. “Don’t you remember the lines:<br />
<br />
Ten li of lotus blooms.<br />
And in late autumn fragrant osmanthus seeds."<br />
<br />
This is the season for it to blossom down south, only you’ve never seen it. When you go south in future, you’ll find out.”<br />
“Why should I go south?” asked Seeking-Spring. “Besides, I knew that without your telling me."<br />
Li Wen and Li Qi said nothing, only smiled. “Don’t be so sure about that, cousin,” said Mascara Jade. “As the saying goes, ‘Man is a wanderer, here today but gone tomorrow’. For example, how did I get here, when I’m a southerner?”<br />
<br />
==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
<br />
湘云拍着手笑道：“今儿三姐姐可叫林姐姐问住了。不但林姐姐是南边人到这里，就是我们这几个人就不同：也有本来是北边的；也有根子是南边，生长在北边的；也有生长在南边，到这北边的，今儿大家都凑在一处。可见人总有一个定数。大凡地和人，总是各自有缘分的。”众人听了，都点头，探春也只是笑。又说了一会子闲话儿，大家散出。黛玉送到门口，大家都说：“你身上才好些，别出来了，看着了风。”于是黛玉一面说着话儿，一面站在门口，又与四人殷勤了几句，便看着他们出院去了。进来坐着，看看已是林鸟归山，夕阳西坠。<br />
<br />
==英语笔译 高智慧 Gao Zhihui 202170081568==<br />
<br />
因史湘云说起南边的话，便想着：“父母若在，南边的景致，春花秋月，水秀山明，二十四桥，六朝遗迹。不少下人伏侍，诸事可以任意，言语亦可不避。香车画舫，红杏青帘，惟我独尊。今日寄人篱下，纵有许多照应，自己无处不要留心。不知前生作了什么罪孽，今生这样孤凄。真是李后主说的‘此间日中只以眼泪洗面’矣！”一面思想，不知不觉神往那里去了。紫鹃走来，看见这样光景，想着必是因刚才说起南边北边的话来，一时触着黛玉的心事了，便问道：“姑娘们来说了半天话，想来姑娘又劳了神了。<br />
<br />
With Fragrant-cloud History's words about the South still ringing in her ears, Mascara Jade Forest drifted into a daydream. If her parents were still alive.. . If she still lived in the South, that gentle land of spring flowers and autumn moonlight, of limpid waters and luminous hills... How she would love to be there again, to visit the Twenty Four Bridges in Yangchow and all the famous historical sites of Nanking! In the South she would have plenty of servants of her own to wait on her. She could do and speak as she pleased, sail in painted pleasure-boats and ride in perfumed carriages, watch the fields of red apricot-blossom go by, spot the inn-signs through the trees... She would be a young lady in her own right, not an outsider, dependent on others for everything. However much the Merchants did for her, she always felt the need to be on her best behaviour. What wrong had she done in a previous incarnation to deserve this lonely existence? Those words written in captivity by the last emperor of Southern Tang -Here, all day long, I bathe my face in tears -how well they expressed her own feelings! Her soul seemed transported to some distant region. When Nightingale came in, a single glance sufficed to tell her the cause of Mascara Jade Forest’s ‘absence’. She had been in the room when Fragrant-cloud History was talking, and knew how easily Mascara Jade Forest was upset by the slightest reference to the South. "I thought you might feel tired again, Miss," she said,"after all your visitors and such a lot of talking,"<br />
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With Fragrant-cloud History's words about the South still ringing in her ears, Mascara Jade Forest drifted into a daydream. If her parents were still alive.. . If she still lived in the South, that gentle land of spring flowers and autumn moonlight, of limpid waters and luminous hills... How she would love to be there again, to visit the Twenty Four Bridges in the city of Dimension Poplar and all the famous historical sites of Nanjing! In the South she would have plenty of servants of her own to wait on her. She could do and speak as she pleased, sail in painted pleasure-boats and ride in perfumed carriages, watch the fields of red apricot-blossom go by, spot the inn-signs through the trees... She would be a young lady in her own right, not an outsider, dependent on others for everything. However much the Merchants did for her, she always felt the need to be on her best behaviour. What wrong had she done in a previous incarnation to deserve this lonely existence? Those words written in captivity by the last emperor of Southern Tang -Here, all day long, I bathe my face in tears -how well they expressed her own feelings! Her soul seemed transported to some distant region. When Nightingale came in, a single glance sufficed to tell her the cause of Mascara Jade Forest’s ‘absence’. She had been in the room when Fragrant-cloud History was talking, and knew how easily Mascara Jade Forest was upset by the slightest reference to the South. "I thought you might feel tired again, Miss," she said,"after all your visitors and such a lot of talking,"<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 09:10, 14 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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刚才我叫雪雁告诉厨房里，给姑娘作了一碗火肉白菜汤，加了一点儿虾米儿，配了点青笋紫菜，姑娘想着好么？”黛玉道：“也罢了。”紫鹃道：“还熬了一点江米粥。”黛玉点点头儿，又说道：“那粥该你们两个自己熬了，不用他们厨房里熬才是。”紫鹃道：“我也怕厨房里弄的不干净，我们各自熬呢。就是那汤，我也告诉雪雁合柳嫂儿说了，要弄干净着。柳嫂儿说了：他打点妥当，拿到他屋里，叫他们五儿瞅着燉呢。”黛玉道：“我倒不是嫌人家腌臜；只是病了好些日子，不周不备，都是人家，这会子又汤儿粥儿的调度，未免惹人厌烦。”说着，眼圈儿又红了。<br />
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"Just now, I asked Snowgoose to tell the kitchen to make a bowl of cabbage soup with ham and a little dried shrimp as well as green bamboo shoots and edible seaweed. What do you think of that?" Mascara Jade replied, "All right." Nightingale said, "I also asked them to prepare some congee." Mascara Jade nodded at first and changed her minds, "You two should cook the congee yourselves, not in their kitchen." Nightingale agreed, "I'm also afraid that the kitchen would not be clean enough, so I will cook it separately. As for the soup, I also told Snowgoose to tell Willow's wife that she must make the soup very clean. Willow's wife said she would prepare all the ingredients and asked her daughter Fifth to stew it carefully in their room ." "It is not that I think they are dirty," Said Mascara Jade," It's just that being ill for a long time, I have to depend on them to prepare soup and congee for me and they may be annoyed by these orders." As she said, her eyes were red-rimmed from tears again.<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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紫鹃道：“姑娘这话也是多想。姑娘是老太太的外孙女儿，又是老太太心坎儿上的。别人求其在姑娘跟前讨好儿还不能呢，那里有抱怨的？”黛玉点点头儿，因又问道：“你才说的五儿，不是那日合宝二爷那边的芳官在一处的那个女孩儿？”紫鹃道：“就是他。”黛玉道：“不听见说要进来么？”紫鹃道：“可不是，因为病了一场；后来好了，才要进来，正是晴雯他们闹出事来的时候，也就耽搁住了。”黛玉道：“我看那丫头倒也还头脸儿干净。”说着，外头婆子送了汤来。雪雁出来接时，那婆子说道：“柳嫂儿叫回姑娘：这是他们五儿作的，没敢在大厨房里作，怕姑娘嫌腌臜。”<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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雪雁答应着，接了进来。黛玉在屋里，已听见了，吩咐雪雁：“告诉那老婆子回去说，叫他费心。”雪雁出来说了，老婆子自去。这里雪雁将黛玉的碗箸安放在小几儿上，因问黛玉道：“还有咱们南来的五香大头菜，拌些麻油、醋，可好么？”黛玉道：“也使得，只不必累坠了。”一面盛上粥来。黛玉吃了半碗，用羹匙舀了两口汤喝，就搁下了。两个丫鬟撤了下来，拭净了小几，端下去，又换上一张常放的小几。黛玉漱了口，盥了手，便道：“紫鹃，添了香了没有？”紫鹃道：“就添去。”黛玉道：“你们就把那汤和粥吃了罢，味儿还好，且是干净。待我自己添香罢。”<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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两个人答应了，在外间自吃去了。这里黛玉添了香，自己坐着，才要拿本书看，只听得园内的风，自西边直透到东边，穿过树枝，都在那里“唏喇哗喇”不住的响。一会儿，檐下的铁马也只管“叮叮当当”的乱敲起来。一时，雪雁先吃完了，进来伺候。黛玉便问道：“天气冷了，我前日叫你们把那些小毛儿衣服晾晾，可曾晾过没有？”雪雁道：“都晾过了。”黛玉道：“你拿一件来我披披。”雪雁走去，将一包小毛衣服抱来，打开毡包，给黛玉自拣。只见内中夹着个绢包儿。黛玉伸手拿起，打开看时，却是宝玉病时送来的旧手帕，自己题的诗，上面泪痕犹在。<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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里头却包着那剪破了的香囊、扇袋并宝玉通灵玉上的穗子。原来晾衣服时，从箱中捡出，紫鹃恐怕遗失了，遂夹在这毡包里的。这黛玉不看则已，看了时，也不说穿那一件衣服，手里只拿着那两方手帕，呆呆的看那旧诗；看了一回，不觉得簌簌泪下。紫鹃刚从外间进来，只见雪雁正捧着一毡包衣裳，在傍边呆立。小几上却搁着剪破的香囊和两三截儿扇袋和那铰折了的穗子；黛玉手中自拿着两方旧帕，上边写着字迹，在那里对着滴泪。正是：失意人逢失意事，新啼痕间旧啼痕。<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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紫鹃见了这样，知是他触物伤情，感怀旧事，料道劝也无益，只得笑着道：“姑娘，还看那些东西作什么？那都是那几年宝二爷和姑娘小时，一时好了，一时恼了，闹出来的笑话儿。要象如今这样斯抬斯敬，那里能把这些东西白遭塌了呢？”紫鹃这话原给黛玉开心，不料这几句话更提起黛玉初来时和宝玉的旧事来，一发珠泪连绵起来。紫鹃又劝道：“雪雁这里等着呢，姑娘披上一件罢。”那黛玉才把手帕撂下，紫鹃连忙拾起，将香袋等物包起拿开。这黛玉方披了一件皮衣，自己闷闷的走到外间来坐下。<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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回头看见案上宝钗的诗启尚未收好，又拿出来瞧了两遍，叹道：“境遇不同，伤心则一。不免也赋四章，翻入琴谱，可弹可歌，明日写出来寄去，以当和作。”便叫雪雁将外边桌上笔砚拿来，濡墨挥毫，赋成四叠。又将琴谱翻出，借他《猗兰》《思贤》两操，合成音韵。与自己做的配齐了，然后写出，以备送与宝钗，又即叫雪雁向箱中将自己带来的短琴拿出，调上弦，又操演了指法。黛玉本是个绝顶聪明人，又在南边学过几时，虽是手生，到底一理就熟。抚了一番，夜已深了，便叫紫鹃收拾睡觉，不题。<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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却说宝玉这日起来，梳洗了，带着焙茗正往书房中来，只见墨雨笑嘻嘻的跑来，迎头说道：“二爷，今日便宜了！太爷不在书房里，都放了学了。”宝玉道：“当真的么？”墨雨道：“二爷不信，那不是三爷和兰哥儿来了？”宝玉看时，只见贾环贾兰跟着小厮们，两个笑嘻嘻的，嘴里咭咭呱呱，不知说些什么，迎头来了。见了宝玉都垂手站住。宝玉问道：“你们两个怎么就回来了？”贾环道：“今日太爷有事，说是放一天学，明儿再去呢。”宝玉听了，方回身到贾母贾政处去禀明了，然后回到怡红院中。袭人问道：“怎么又回来了？”<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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宝玉告诉了他，只坐了一坐儿，便往外走，袭人道：“往那里去，这样忙法？就放了学，依我说，也该养养神儿了。”宝玉站住脚，低了头，说道：“你的话也是，但是好容易放一天学，还不散散去？你也该可怜我些儿了。”袭人见说的可怜，笑道：“由爷去罢。”正说着，端了饭来。宝玉也没法儿，只得且吃饭。三口两口，忙忙的吃完，漱了口，一溜烟往黛玉房中去了。走到门口，只见雪雁在院中晾绢子呢。宝玉因问：“姑娘吃了饭了么？”雪雁道：“早起喝了半碗粥，懒待吃饭，这时候打盹儿呢。二爷且到别处走走，回来再来罢。”<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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宝玉只得回来。无处可去，忽然想起惜春有好几天没见，便信步走到蓼风轩来。刚到窗下，只见静悄悄一无人声；宝玉打谅他也睡午觉，不便进去。才要走时，只听屋里微微一响，不知何声；宝玉站住再听，半日，又“拍”的一响。宝玉还未听出，只见一个人道：“你在这里下了一个子儿，那里你不应么？”宝玉方知是下大棋。但只急切听不出这个人的语音是谁。底下方听见惜春道：“怕什么？你这么一吃我，我这么一应，你又这么吃，我又这么应：还缓着一着儿呢，终久连得上。”那一个又道：“我要这么一吃呢？”惜春道：“阿嗄！还有一着反扑在里头呢，我倒没防备。”<br />
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Precious Jade had no choice but to leave, having nowhere to go. It occurred to him that he had not seen Spring-cherish for a couple of days, so he strolled for the Smartweed Breeze Cot. When he arrived there and stopped under the window, there was a dead silence. He guessed that she might be taking a nap now as well, so it was not a good time for him to come in. He was about to leave when there was some sound in the room, not knowing what it was. He stood still and heard more carefully for a while, and another sound of "pa" came from the house. He was still unable to distinguish the sound. "You made a move here just now, but how about there?" he heard someone saying. At this moment, he knew that they were playing the game of Go, but he was anxious to know who was speaking just now. Then, he heard the voice of Spring-cherish. "It doesn't matter, does it? If you take me here, I'll make a move there. If you take me here again, I'll make a move there again. I can still stay one step ahead, and I will finally get it connected," she said. "What if I take this one?" the other person asked. "Ah! There is an attack behind that. I don't make preparations for it," Spring-cherish exclaimed.<br />
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==英语笔译 李梓婕 Li Zijie 202170081580==<br />
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宝玉听了听，那一个声音很熟，却不是他们姊妹。料着惜春屋里也没外人，轻轻的掀帘进去，看时，不是别人，却是那栊翠庵的“槛外人”妙玉。这宝玉见是妙玉，不敢惊动。妙玉和惜春正在凝思之际，也没理会。宝玉却站在旁边，看他两个的手段。只见妙玉低着头，问惜春道：“你这个畸角儿不要了么？”惜春道：“怎么不要？你那里头都是死子儿，我怕什么？”妙玉道：“且别说满话，试试看。”惜春道：“我便打了起来，看你怎么样。”妙玉却微微笑着，把边上子一接，却搭转一吃，把惜春的一个角儿都打起来了，笑着说道：“这叫做‘倒脱靴势’。”<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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惜春尚未答言，宝玉在旁，情不自禁，哈哈一笑。把两个人都唬了一大跳。惜春道：“你这是怎么说？进来也不言语。这么使促狭唬人。你多早晚进来的？”宝玉道：“我头里就进来了，看着你们两个争这个畸角儿。”说着，一面与妙玉施礼，一面又笑问道：“妙公轻易不出禅关，今日何缘下凡一走？”妙玉听了，忽然把脸一红，也不答言，低了头，自看那棋。宝玉自觉造次，连忙陪笑道：“倒是出家人比不得我们在家的俗人。头一件，心是静的。静则灵，灵则慧……”宝玉尚未说完，只见妙玉微微的把眼一抬，看了宝玉一眼，复又低下头去，那脸上的颜色渐渐的红晕起来。<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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宝玉见他不理，只得讪讪的旁边坐了。惜春还要下子，妙玉半日说道：“再下罢。”便起身理理衣裳，重新坐下，痴痴的问着宝玉道：“你从何处来？”宝玉巴不得这一声，好解释前头的话，忽又想道：“或是妙玉的机锋。”转红了脸，答应不出来。妙玉微微一笑，自合惜春说话。惜春也笑道：“二哥哥，这什么难答的？你没的听见人家常说的，‘从来处来’么？这也值得把脸红了，见了生人的是的。”妙玉听了这话，想起自家，心上一动，脸上一热，必然也是红的，倒觉不好意思起来。因站起来说道：“我来得久了，要回庵里去了。”惜春知妙玉为人，也不深留，送出门口。<br />
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Precious Jade saw that he ignored him and had to sit next to them. When Xichun was about to continue their game, Miao Yu said after a while, "Wait for me." And then he got up to straighten his clothes, sat down again, and asked Precious Jade foolishly, "Where are you from?" Precious Jade couldn't wait to explain the words he just had said, and suddenly thought, "Is it Miao Yu's trick." At the thought of that, he turned red and didn't know how to answer that question. Miao Yu smiled slightly and then chatted with Xichun. Xichun also laughed: "brother, what is so difficult to answer?" Don't you hear people often say, 'where are you from? How could the simple words make you blush, not to mention that Miao Yu is your friend and not a stranger. Hearing that, Miao Yu thought of herself. As her heart beat and her face was hot, so her face must also be red. Feeling embarrassed, she stood up and said, "I've been here for a long time, and I need to go back to the nunnery." "Xi Chun knows Miao Yu's character, so she walked her out of the door, instead of keeping her stay."<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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妙玉笑道：“久已不来，这里湾湾曲曲的，回去的路头都要迷住了。”宝玉道：“这到要我来指引指引，何如？”妙玉道：“不敢，二爷前请。”于是二人别了惜春，离了蓼风轩，弯弯曲曲，走近潇湘馆，忽听得叮咚之声。妙玉道：“那里的琴声？”宝玉道：“想必是林妹妹那里抚琴呢。”妙玉道：“原来他也会这个？怎么素日不听见提起？”宝玉悉把黛玉的事述了一遍，因说：“咱们去看他。”妙玉道：“从古只有听琴，再没有看琴的。”宝玉笑道：“我原说我是个俗人。”说着，二人走至潇湘馆外，在山子石坐着静听，甚觉音调清切。<br />
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Nice Jade smiled:" I haven't been here for a long time. There are so many winds which make me feel lost." Precious Jade said:" how about giving me a chance to guide you?" Nice Jade smiled:" That's my honor, please." Then they said goodbey to Spring-cherish and left for Xiaoxiangguan from Liaofengxuan by the zig-zaged road. Suddenly, they heard voice like ding-dong. Nice Jade asked:" who is playing the zither?" Precious Jade answered:" It must be Sister Forest." Nice Jade said:" So she konw how to play the zither, right? But she didn't mention it before." Then Precious Jade told all the things about Mascara Jade to Nice Jade, and then said:"let's go and take a look at her." Nice Jade said:" I only heard that people listen to the zither, but never konw somebody just takes a look at it." Preicous Jade smiled:" I've told you I'm a vulgar person." While talking to each other, they arrived at the outside of Xiaoxiangguan and listen to the zither on the rockery. It was so melodious.<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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只听得低吟道：风萧萧兮秋气深，美人千里兮独沉吟。望故乡兮何处？倚栏杆兮涕沾襟。歇了一回，听得又吟道：山迢迢兮水长，照轩窗兮明月光。耿耿不寐兮银河渺茫，罗衫怯怯兮风露凉。又歇了一歇，妙玉道：“刚才‘侵’字韵是第一叠，如今‘扬’字韵是第二叠了。咱们再听。”里边又吟道：子之遭兮不自由，予之遇兮多烦忧。之子与我兮心焉相投，思古人兮俾无尤。妙玉道：“这又是一拍。何忧思之深也！”宝玉道：“我虽不懂得，但听他音调，也觉得过悲了。”里头又调了一回弦。妙玉道：“君弦太高了，与无射律只怕不配呢。”<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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里边又吟道：人生斯世兮如轻尘，天上人间兮感夙因。感夙因兮不可惙，素心如何天上月。妙玉听了，呀然失色道：“如何忽作变徵之声？音韵可裂金石矣。只是太过。”宝玉道：“太过便怎么？”妙玉道：“恐不能持久。”正议论时，听得君弦“蹦”的一声断了。妙玉站起来，连忙就走。宝玉道：“怎么样？”妙玉道：“日后自知，你也不必多说。”竟自走了。弄得宝玉满肚疑团，没精打彩的，归至怡红院中，不表。单说妙玉归去，早有道婆接着，掩了庵门，坐了一回，把“禅门日诵”念了一遍。<br />
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Chantings continued to come out of the Bamboo Lodge, "Life is just as light as the dust, and one can sense the fate of one's previous life, both on heaven and on earth. Hard to stop or halt the same fate as the previous life in present life. How about comparing my pure heart to the moon hanging in the sky?" Adamantina listened to that and startled: "Why does she change the musical scale to zhi? Her sound can split stones, but it is too high." Then Precious Jade asked: "What does it mean?" Adamantina responded: "I'm afraid it won't last long." While talking, they were hearing a sudden sound caused by her broken string. Adamantina stood up and was ready to leave. Hence, Precious Jade inquired about her: "So what?" She answered: "You will understand what I mean later.", and walked away. Precious Jade was confused by her words and felt downhearted, uttering no words while arriving at the Happy Red Court. It 's said that the nuns were standing along the door in advance to receive Adamantina as he came back from the Bamboo Lodge, and the door was immediately closed. Then she recited the "daily scripture" once in this nunery."<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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吃了晚饭，点上香，拜了菩萨，命道婆自去歇着，自己的禅床靠背俱已整齐，屏息垂帘，跏趺坐下，断除妄想，趋向真如。坐到三更过后，听得屋上“嗗??”一片响声，妙玉恐有贼来，下了禅床，出到前轩，但见云影横空，月华如水。那时天气尚不狠凉，独自一个，凭栏站了一回，忽听房上两个猫儿一递一声厮叫。那妙玉忽想起日间宝玉之言，不觉一阵心跳耳热，自己连忙收慑心神，走进禅房，仍到禅床上坐了。怎奈神不守舍，一时如万马奔驰，觉得禅床便恍荡起来，身子已不在庵中。便有许多王孙公子，要求娶他；又有些媒婆，扯扯拽拽，扶他上车，自己不肯去。<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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一回儿，又有盗贼劫他，持刀执棍的逼勒，只得哭喊求救。早惊醒了庵中女尼道婆等众，都拿火来照看。只见妙玉两手撒开，口中流沫。急叫醒时，只见眼睛直竖，两颧鲜红，骂道：“我是有菩萨保佑，你们这些强徒敢要怎么样？”众人都唬的没了主意，都说道：“我们在这里呢，快醒转来罢。”妙玉道：“我要回家去！你们有什么好人，送我回去罢。”道婆道：“这里就是你住的房子。”说着，又叫别的女尼忙向观音前祷告。求了签，翻开签书看时，是触犯了西南角上的阴人。就有一个说：“是了，大观园中西南角上本来没有人住，阴气是有的。”<br />
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Then brigands kidnapped her and threatened her with swords and clubs, so that she screamed for help. This aroused the novices and deaconess, who came with torches to see what was the matter. Finding Wonderful Jade with outflung arms, frothing at the mouth, they hastily woke her up. Her eyes staring, crimson in the face, she shouted, “How dare you thugs attack one under Buddha’s protection!” Frightened out of their wits they assured her, “It’s us! Wake up!” “I want to go home,” she cried. “If there’s any kind soul among you, take me back!”“You’re here in your own cell,” said the deaconess, then told the novices to pray to Guanyin and ask for an oracle. They opened the book of oracles at a passage indicating that she had “offended a spirit in the southwest corner.” “That’s right!” one of them exclaimed. “No one lives in the southwest corner of Grand View Garden, so there are bound to be evil spirits there.”<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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一面弄汤弄水的在那里忙乱。那女尼原是自南边带来的，伏侍妙玉，自然比别人尽心，围着妙玉坐在禅床上。妙玉回头道：“你是谁？”女尼道：“是我。”妙玉仔细瞧了一瞧道：“原来是你。”便抱住那女尼，呜呜咽咽的哭起来，说道：“你是我的妈呀，你不救我，我不得活了。”那女尼一面唤醒他，一面给他揉着。道婆倒上茶来喝了，直到天明才睡了。女尼便打发人去请大夫来看脉。也有说是思虑伤脾的，也有说是热入血室的，也有说是邪祟触犯的，也有说是内外感冒的，终无定论。后请得一个大夫来看了，问：“曾打坐过没有？”道婆说道：“向来打坐的。”<br />
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==英语笔译 龙翰良 Long Hanliang 202170081589==<br />
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大夫道：“这病可是昨夜忽然来的么？”道婆道：“是。”大夫道：“这是走魔入火的原故。”众人问：“有碍没有？”大夫道：“幸亏打坐不久，魔还入得浅，可以有救。”写了降伏心火的药，吃了一剂，稍稍平复些。外面那些游头浪子听见了，便造作许多谣言，说：“这样年纪，那里忍得住？况且又是很风流的人品，狠乖觉的性灵。以后不知飞在谁手里，便宜谁去呢。”过了几日，妙玉病虽略好，神思未复，终有些恍惚。一日，惜春正坐着，彩屏忽然进来，回道：“姑娘知道妙玉师父的事吗？”惜春道：“他有什么事？”<br />
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The doctor asked, “Was this a sudden fit last night? ” “That's right. ” answered the deaconess. The doctor then said, “Then it came on because evil thoughts crossed her mind and kindled a hot humour. ” One of them asked, “Is it dangerous? ” “It can be cured, as luckily she did not meditate very long, so the evil did not penetrate too deep.” The doctor answered and prescribed some medicine to alleviate the hot humour in her heart, and after taking it Wonderful Jade felt some relief. When young dandies heard this story, they spread all manner of rumours and commented, “She's too young-romantic and intelligent too to stand such an austere life. Who knows what lucky man will get hold of her in future?” After a few days, although Wonderful Jade felt better, she was still not back to normal, her mind remaining confused. One day, Spring-cherish was sitting quietly when Colored Screen came in to ask, “Do you know, miss, what happened to Sister Wonderful Jade? ” “No. What? ”Spring-cherish answered.<br />
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==英语笔译 罗姚林 Luo Yaolin 202170081590==<br />
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彩屏道：“我昨日听见邢姑娘和大奶奶那里说呢：他自从那日合姑娘下棋回去，夜间忽然中了邪，嘴里乱嚷，说强盗来抢他来了。到如今还没好。姑娘，你说这不是奇事吗？”惜春听了，默默无语，因想：“妙玉虽然洁净，毕竟尘缘未断。可惜我生在这种人家，不便出家，我若出了家时，那有邪魔缠扰？一念不生，万缘俱寂。”想到这里，蓦与神会，若有所得，便口占一偈云：大造本无方，云何是应住？既从空中来，应向空中去。占毕，即命丫头焚香。自己静坐了一回，又翻开那棋谱来，把孔融、王积薪等所著看了几篇。内中“荷叶包蟹势”、“黄莺搏兔势”都不出奇；<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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“三十六局杀角势”一时也难会难记；独看到“八龙走马“，觉得甚有意思。正在那里作想，只听见外面一个人走进院来，连叫：“彩屏！”却说惜春正在那里揣摩棋谱，忽听院内有人叫彩屏，不是别人，却是鸳鸯的声儿。彩屏出去，同着鸳鸯进来。那鸳鸯却带着一个小丫头，提了一个小黄绢包儿。惜春笑问道：“什么事？”鸳鸯道：“老太太因明年八十一岁，是个‘暗九’，许下一场九昼夜的功德，发心要写三千六百五十零一部《金刚经》。这已发出外面人写了。但是俗说：《金刚经》就像那道家的符壳，《心经》才算是符胆，故此，《金刚经》内必要插着《心经》，更有功德。<br />
It is also challenging to have command of the "36th kata： Kill for the corner". But only when she saw the kata"eight dragons walking around the horse", Spring-cherish was obsessed and sunk in it to figure out the chess manual. Suddenly she heard someone walking into the yard and repeatedly shouting" Colored Screen". It was Mandarin Duck who was calling. Colored Screen went out to welcome and came back together with Mandarin Duck as well as her maid with a yellow silk bag. Spring-cherish mildly asked: "what’s the matter?" Mandarin Duck replied, "Grandma Merchant promised a nine-day and nine-night merits to write 3651 Diamond Sutra because she will be 81 years old which is regarded as "implied nine" (There is a common saying that the multiple of nine is implied nine or that nine is a difficult time and we must pray for the elimination of misfortune）and now has arranged someone to do these. However, as the ancient saying goes, "The Diamond sutra is just like the shell of Taoism, and the heart sutra is the core. "Therefore, it is necessary to insert the Heart Sutra in the diamond sutra, which is more meritorious.<br />
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It is also challenging to have command of the "36th kata Kill for the corner". But only when she saw the kata "eight dragons walking around the horse", Spring-cherish was obsessed and sunk in it to figure out the chess manual. Suddenly she heard someone walking into the yard and repeatedly shouting the name of Colored Screen. It was Mandarin Duck’s voice. Colored Screen went out and then came back together with Mandarin Duck who was leading a maid with a yellow silk bag. Spring-cherish mildly asked: " What’s the matter?" Mandarin Duck replied, " Grandma Merchant promised a nine-day and nine-night merits to write 3651 Diamond Sutra because she is going to be 81 years old the next year which is regarded as "implied nine" (There is a common saying that the multiple of nine is implied nine or that nine is a difficult time and we must pray for the elimination of misfortune）and now she has arranged someone to do these. However, as the ancient saying goes,‘The Diamond sutra is just like the shell of Taoism, and the heart sutra is the core.’Therefore, it is necessary to insert the Heart Sutra in the Diamond Sutra. And it can show more merits.--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 08:50, 14 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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老太太因《心经》是更要紧的，观自在又是女菩萨，所以要几个亲丁奶奶姑娘们写上三百六十五部。如此，又虔诚，又洁净。咱们家中，除了二奶奶：头一宗，他当家没有空儿；二宗，他也写不上来。其余会写字的，不论写得多少，连东府珍大奶奶姨娘们都分了去。本家里头自不用说。”惜春听了，点头道：“别的我做不来，若要写经，我最信心的。你搁下，喝茶罢。”鸳鸯才将那小包儿搁在桌上，同惜春坐下。彩屏倒了一钟茶来。惜春笑问道：“你写不写？”鸳鸯道：“姑娘又说笑话了。那几年还好；这三四年来，姑娘见我还拿了拿笔儿么。”<br />
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Given that the Heart Sutra is more important than other scriptures, and the Goddess of Mercy is a female Bodhisattva, Grandma Merchant decided to ask some ladies to transcribe 365 copies of the Heart Sutra. In doing so, we can show our piety and make sure it is clean. In our whole family, anyone who can write, no matter how many books they are able to transcribe, has to play a part in this task, except for Lady Phoenix, for she is occupied with the household affairs, and more importantly, she is illiterate. Even the wife and concubines of Treasure Merchant have to contribute to this, so there is no need to ask whether the ladies in our own house need to do so.” Hearing this, Spring-cherish Merchant nodded and said, “ It’s difficult for me fulfill other tasks, but when it comes to transcribing scriptures, no one can be more confident than me. Just leave it here and enjoy a cup of tea.” Then Mandarin put the little bag on the table and sat beside Spring-cherish. Colored Screen poured a cup of tea for them, and her lady asked with a smile, “ Then what about you? Will you write some scriptures?” Mandarin replied, “ My lady, you are teasing me again. I used to write for the past few years, but have you even seen me holding a brush these four years?”<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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惜春道：“这却是有功德的。”鸳鸯道：“我也有一件事：向来伏侍老太太安歇后，自己念上米佛，已经念了三年多了。我把这个米收好，等老太太做功德的时候，我将他衬在里头，供佛施食；也是我一点诚心。”惜春道：“这样说来，老太太做了观音，你就是龙女了。”鸳鸯道：“那里跟得上这个分儿？却是除了老太太，别的也服侍不来，不晓得前世什么缘分儿。”说着要走，叫小丫头把小绢包打开，拿出来道：“这素纸一扎，是写《心经》的。”又拿起一子儿藏香，道：“这是叫写经时点着写的。”惜春都应了。<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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鸳鸯遂辞了出来，同小丫头来至贾母房中，回了一遍，看见贾母与李纨打双陆，鸳鸯旁边瞧着。李纨的骰子好，掷下去，把老太太的锤打下了好几个去，鸳鸯抿着嘴儿笑。忽见宝玉进来，手中提了两个细蔑丝的小笼子，笼内有几个蝈蝈儿，说道：“我听说老太太夜里睡不着，我给老太太留下解解闷。”贾母笑道：“你别瞅着你老子不在家，你只管淘气。”宝玉笑道：“我没有淘气。”贾母道：“你没淘气，不在学房里念书，为什么又弄这个东西呢。”宝玉道：“不是我自己弄的。今儿因师父叫环儿和兰儿对对子，环儿对不来，我悄悄的告诉了他。<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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他说了，师父喜欢，夸了他两句。他感激我的情，买了来孝敬我的。我才拿了来孝敬老太太的。”贾母道：“他没有天天念书么？为什么对不上来？对不上来，就叫你儒大爷爷打他的嘴巴子，看他臊不臊！你也彀受了，不记得你老子在家时，一叫做诗做词，唬的倒像个小鬼儿是的？这会子又说嘴了。那环儿小子更没出息：求人替做了，就变着方法儿打点人。这么点子孩子，就闹鬼闹神的，也不害臊。赶大了，还不知是个什么东西呢！”说的满屋子人都笑了。贾母又问道：“兰小子呢，做上来了没有？这该环儿替他了，他又比他小了，是不是？”<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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宝玉笑道：“他倒没有，却是自己对的。”贾母道：“我不信；不然，就也是你闹了鬼了。如今你还了得，‘羊群里跑出骆驼来了’，就只你大，你又会做文章了！”宝玉笑道：“实在是他作的，师父还夸他明儿一定有大出息呢。老太太不信，就打发人叫了他来亲自试试，老太太就知道了。”贾母道：“果然这么着，我才喜欢。我不过怕你撒谎。既是他做的，这孩子明儿大概还有一点儿出息。”因看着李纨，又想起贾珠来，“这也不枉你大哥哥死了你大嫂子拉扯他一场，日后也替你大哥哥顶门壮户。”说到这里，不禁流下泪来。<br />
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No,” said Precious Jade with a smile. “Lan did them himself.” “I don't believe you. You must have been up to more monkey business. You're getting above yourself nowadays — a camel in a flock of sheep — being the eldest and the one who can write!” “He really wrote them himself,” insisted Precious Jade, smiling. “And our teacher praised him, saying he'll go far in future. If you don't believe me, madam, you can send for him and test him yourself; then you'll know.” “Well, if that's truly the case I'm very glad. I was just afraid you were fibbing. If he's up to writing couplets, the boy should get somewhere in future.” Her eye fell on Li Wan, reminding her of Bead Merchant. “That means your sister-in-law hasn't brought him up in vain since your brother Bead died. He'll become the mainstay of the house some day in place of his father.” At this point her emotion got the better of her and she shed some tears.<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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李纨听了这话，却也动心，只是贾母已经伤心，自己连忙忍住泪，笑劝道：“这是老祖宗的余德，我们托着老祖宗的福罢咧。只要他应得了老祖宗的话，就是我们的造化了。老祖宗看着也喜欢，怎么倒伤起心来呢？”因又回头向宝玉道：“宝叔叔明儿别这么夸他，他多大孩子，知道什么？你不过是爱惜他的意思，他那里懂得，一来二去，眼大心肥，那里还能彀有长进呢。”贾母道：“你嫂子这也说的是。就只他还太小呢，也别逼紧了他；小孩子胆儿小，一时逼急了，弄出点子毛病来，书倒念不成，把你的工夫都白糟塌了。”贾母说到这里，李纨却忍不住，扑簌簌掉下泪来，连忙擦了。<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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只见贾环贾兰也都进来给贾母请了安。贾兰又见过他母亲，然后过来，在贾母傍边侍立。贾母道：“我刚才听见你叔叔说你对的好对子，师父夸你来着。”贾兰也不言语，只管抿着嘴儿笑。鸳鸯过来说道：“请示老太太，晚饭伺候下了。”贾母道：“请你姨太太去罢。”琥珀接着便叫人去王夫人那边请薛姨妈。这里宝玉贾环退出，素云和小丫头们过来把双陆收起，李纨尚等着伺候贾母的晚饭，贾兰便跟着他母亲站着。贾母道：“你们娘儿两个跟着我吃罢。”李纨答应了。一时，摆上饭来，丫鬟回来禀道：“太太叫回老太太：姨太太这几天浮来暂去，不能过来回老太太，今日饭后家去了。”<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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于是贾母叫贾兰在身傍边坐下，大家吃饭，不必细述。却说贾母刚吃完了饭，盥漱了，歪在床上，说闲话儿。只见小丫头子告诉琥珀，琥珀过来回贾母道：“东府大爷请晚安来了。”贾母道：“你们告诉他，如今他办理家务乏乏的，叫他歇着去罢。我知道了。”小丫头告诉老婆子们，老婆子才告诉贾珍，贾珍然后退出。到了次日，贾珍过来料理诸事。门上小厮陆续回了几件事。又一个小厮回道：“庄头送果子来了。”贾珍道：“单子呢？”那小厮连忙呈上。贾珍看时，上面写着不过是时鲜果品，还夹带菜蔬野味若干在内。贾珍看完，问：“向来经管的是谁？”<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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门上的回道：“是周瑞。”便叫周瑞：“照帐点清，送往里头交代。等我把来帐抄下一个底子，留着好对。”又叫“告诉厨房，把下菜中添几宗，给送果子的来人，照常赏饭给钱。”周瑞答应了，一面叫人搬至凤姐儿院子里去，又把庄上的帐和果子交代明白，出去了。一回儿，又进来回贾珍道：“才刚来的果子，大爷曾点过数目没有？”贾珍道：“我那里有工夫点这个呢？给了你帐，你照帐点就是了。”周瑞道：“小的曾点过，也没有少，也不能多出来。大爷既留下底子，再叫送果子来的人问问他，这帐是真的假的。”<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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贾珍道：“这是怎么说？不过是几个果子罢咧，有什么要紧？我又没有疑你。”说着，只见鲍二走来磕了一个头，说道：“求大爷原旧放小的在外头伺候罢。”贾珍道：“你们这又是怎么着？”鲍二道：“奴才在这里又说不上话来。”贾珍道：“谁叫你说话？”鲍二道：“何苦来，在这里作眼睛珠儿。”周瑞接口道：“奴才在这里经管地租庄子银钱出入，每年也有三五十万来往，老爷太太奶奶们从没有说过话的，何况这些零星东西。若照鲍二说起来，爷们家里的田地房产都被奴才们弄完了。”贾珍想道：“必是鲍二在这里拌嘴，不如叫他出去。”<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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因向鲍二说道：“快滚罢！”又告诉周瑞说：“你也不用说了，你干你的事罢。”二人各自散了。贾珍正在厢房里歇着，听见门上闹的翻江搅海。叫人去查问，回来说道：“鲍二和周瑞的干儿子打架。”贾珍道：“周瑞的干儿子是谁？”门上的回道：“他叫何三，本来是个没味儿的，天天在家里喝酒闹事，常来门上坐着。听见鲍二和周瑞拌嘴，他就插在里头。”贾珍道：“这却可恶！把鲍二和那个什么何几给我一块儿捆起来！周瑞呢？”门上的回道：“打架时！他先走了。”贾珍道：“给我拿了来！这还了得了！”众人答应了。<br />
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==英语笔译 颜媛 Yan Yuan 202170081603==<br />
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正嚷着，贾琏也回来了，贾珍便告诉了一遍。贾琏道：“这还了得！”又添了人去拿周瑞。周瑞知道躲不过，也找到了。贾珍便叫：“都捆上！”贾琏便向周瑞道：“你们前头的话也不要紧，大爷说开了狠是了。为什么外头又打架？你们打架已经使不得，又弄个野杂种什么何三来闹。你不压伏压伏他们，倒竟走了。”就把周瑞踢了几脚。贾珍道：“单打周瑞不中用。”喝命人把鲍二和何三各人打了五十鞭子，撵了出去，方和贾琏两个商量正事。下人背地里便生出许多议论来：也有说贾珍护短的；也有说不会调停的；<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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也有说他本不是好人，前儿尤家姐妹弄出许多丑事来，那鲍二不是他调停着二爷叫了来的吗？这会子又嫌鲍二不济事，必是鲍二的女人伏侍不到了。人多嘴杂，纷纷不一。却说贾政自从在工部掌印，家人中尽有发财的。那贾芸听见了，也要插手弄一点事儿，便在外头说了几个工头，讲了成数，便买了些时新绣货，要走凤姐儿门子。凤姐正在房中，听见丫头们说：“大爷二爷都生了气，在外头打人呢。”凤姐听了，不知何故。正要叫人去问问，只见贾琏已进来了，把外面的事告诉了一遍。凤姐道：“事情虽不要紧，但这风俗儿断不可长。<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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此刻还算咱们家里正旺的时候儿，他们就敢打架，以后小辈儿们当了家，他们越发难制伏了。前年我在东府里亲眼见过焦大吃的烂醉，躺在台阶子底下骂人，不管上上下下，一混汤子的混骂。他虽是有过功的人，到底主子奴才的名分，也要存点儿体统才好。珍大奶奶，不是我说，是个老实头，个个人都叫他养得无法无天的。如今又弄出一个什么鲍二。我还听见是你和珍大爷得用的人，为什么今儿又打他呢？”贾琏听了这话刺心，便觉赸赸的，拿话来支开，借有事，说着就走了。小红进来回道：“芸二爷在外头要见奶奶。”凤姐一想，”他又来做什么？”<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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便道：“叫他进来罢。”小红出来，瞅着贾芸微微一笑。贾芸赶忙凑近一步，问道：“姑娘替我回了没有？”小红红了脸，说道：“我就是见二爷的事多！”贾芸道：“何曾有多少事能到里头来劳动姑娘呢？就是那一年姑娘在宝二叔房里，我才和姑娘……”小红怕人撞见，不等说完，赶忙问道：“那年我换给二爷的一块绢子，二爷见了没有？”那贾芸听了这句话，喜的心花俱开，才要说话，只见一个小丫头从里面出来，贾芸连忙同着小红往里走。两个人一左一右，相离不远。贾芸悄悄的道：“回来我出来，还是你送出我来。我告诉你，还有笑话儿呢。”<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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小红听了，把脸飞红，瞅了贾芸一眼，也不答言。同他到了凤姐门口，自己先进去回了，然后出来，掀起帘子，点手儿，口中却故意说道：“奶奶请芸二爷进来呢。”贾芸笑了一笑，跟着他走进房来，见了凤姐儿，请了安，并说：“母亲叫问好。”凤姐也问了他母亲好。凤姐道：“你来有什么事？”贾芸道：“侄儿从前承婶娘疼爱，心上时刻想着，总过意不去。欲要孝敬婶娘，又怕婶娘多想。如今重阳时候，略备了一点儿东西。婶娘这里那一件没有？不过是侄儿一点孝心。只怕婶娘不肯赏脸。”凤姐儿笑道：“有话坐下说。”贾芸才侧身坐了，连忙将东西捧着搁在傍边桌上。<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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凤姐又道：“你不是什么有余的人，何苦又去花钱？我又不等着使。你今日来意，是怎么个想头儿，你倒是实说。”贾芸道：“并没有别的想头儿，不过感念婶娘的恩惠，过意不去罢咧。”说着，微微的笑了。凤姐道：“不是这么说。你手里窄，我狠知道，我何苦白白儿使你的？你要我收下这个东西须先和我说明白了。要是这么‘含着骨头露着肉’的，我倒不收。”贾芸没法儿，只得站起来，陪着笑儿说道：“并不是有什么妄想：前几日听见老爷总办陵工，侄儿有几个朋友办过好些工程，极妥当的，要求婶娘在老爷跟前提一提。<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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办得一两种，侄儿再忘不了婶娘的恩典！若是家里用得着侄儿，也能给婶娘出力。”凤姐道：“若是别的，我却可以作主。至于衙门里的事，上头呢，都是堂官司员定的；底下呢，都是那些书办衙役们办的，别人只怕插不上手，连自己的家人也不过跟着老爷伏侍伏侍。就是你二叔去，亦只是为的是各自家里的事，他也并不能搀越公事。论家事，这里是踩一头儿橇一头儿的，连珍大爷还弹压不住。你的年纪儿又轻，辈数儿又小，那里缠的清这些人呢？况且衙门里头的事差不多儿也要完了，不过吃饭瞎跑。你在家里什么事作不得，难道没了这碗饭吃不成？<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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我这是实在话，你自己回去想想就知道了。你的情意，我已经领了，把东西快拿回去，是那里弄来的，仍旧给人家送了去罢。”正说着，只见奶妈子一大起带了巧姐儿进来。那巧姐儿身上穿得锦团花簇，手里拿着好些顽意儿，笑嘻嘻走到凤姐身边学舌。贾芸一见，便站起来，笑盈盈的赶着说道：“这就是大妹妹么？你要什么好东西不要？”那巧姐儿便“哑”的一声哭了。贾芸连忙退下。凤姐道：“乖乖不怕。”连忙将巧姐揽在怀里，道：“这是你芸大哥哥，怎么认起生来了？”贾芸道：“妹妹生得好相貌，将来又是个有大造化的。”那巧姐儿回头把贾芸一瞧，又哭起来，叠连几次。<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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贾芸看这光景坐不住，便起身告辞要走。凤姐道：“你把东西带了去罢。”贾芸道：“这一点子，婶娘还不赏脸？”凤姐道：“你不带去，我便叫人送到你家去。芸哥儿，你不要这么样。你又不是外人。我这里有机会，少不得打发人去叫你；没有事也没法儿，不在乎这些东东西西上的。”贾芸看见凤姐执意不受，只得红着脸道：“既这么着，我再找得用的东西来孝敬婶娘罢。”凤姐儿便叫小红拿了东西，跟着贾芸送出来。贾芸走着，一面心中想道：“人说二奶奶利害，果然利害。一点儿都不漏缝，真正斩钉截铁！怪不得没有后世。<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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这巧姐儿更怪，见了我好像前世的冤家是的，真正晦气。白闹了这么一天。”小红见贾芸没得彩头，也不高兴，拿着东西跟出来。贾芸接过来，打开包儿，拣了两件，悄悄的递给小红。小红不接，嘴里说道：“二爷别这么着。看奶奶知道了，大家倒不好看。”贾芸道：“你好生收着罢。怕什么，那里就知道了呢？你若不要，就是瞧不起我了。”小红微微一笑，才接过来，说道：“谁要你这些东西！算什么呢？”说了这句话，把脸又飞红了。贾芸也笑道：“我也不是为东西。况且那东西也算不了什么。”说着话儿，两个已走到二门口。贾芸把下剩的仍旧揣在怀内。<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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小红催着贾芸道：“你先去罢。有什么事情，只管来找我。我今日在这院里了，又不隔手。”贾芸点点头儿，说道：“二奶奶太利害，我可惜不能长来！刚才我说的话，你横竖心里明白，得了空儿，再告诉你罢。”小红满脸羞红，说道：“你去罢。明儿也长来走走。谁叫你和他生疏呢。”贾芸道：“知道了。”贾芸说着，出了院门。这里小红站在门口，怔怔的看他去远了，才回来了。却说凤姐在房中吩咐预备晚饭，因又问道：“你们熬了粥了没有？”丫鬟们连忙去问，回来回道：“预备了。”凤姐道：“你们把那南边来的糟东西弄一两碟来罢。”秋桐答应了，叫丫头们伺候。<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
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平儿走来笑道：“我倒忘了：今儿晌午，奶奶在上头老太太那边的时候，水月庵的师父打发人来，要向奶奶讨两瓶南小菜，还要支用几个月的月银，说是身上不受用。我问那道婆来着：‘师父怎么不受用？’他说：‘四五天了。前儿夜里，因那些小沙弥小道士里头有几个女孩子，睡觉没有吹灯，他说了几次不听。那一夜，看见他们三更以后灯还点着呢，他便叫他们吹灯，个个都睡着了，没有人答应，只得自己亲自起来给他们吹灭了。回到炕上，只见有两个人，一男一女，坐在炕上。他赶着问是谁，那里把一根绳子往他脖子上一套，他便叫起人来。<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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众人听见，点上灯火，一齐赶来，已经躺在地下，满口吐白沫子。幸亏救醒了。此时还不能吃东西，所以叫来寻些小菜儿的。’我因奶奶不在房中，不便给他。我说：‘奶奶此时没有空儿，在上头呢，回来告诉。’便打发他回去了。才刚听见说起南菜，方想起来了；不然，就忘了。”凤姐听了，呆了一呆，说道：“南菜不是还有呢，叫人送些去就是了。那银子，过一天叫芹哥来领就是了。”又见小红进来回道：“才刚二爷差人来，说是今晚城外有事，不能回来，先通知一声。”凤姐道：“是了。”说着，只听见小丫头从后面喘吁吁的嚷着，直跑到院子里来。<br />
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==英语口译 方楚晗 Fang Chuhan 202170081616==<br />
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外面平儿接着，还有几个丫头们，咕咕唧唧的说话。凤姐道：“你们说什么呢？”平儿道：“小丫头子有些胆怯，说鬼话。”凤姐说：“那一个？”小丫头进来。问道：“什么鬼话？”那丫头道：“我才刚到后边去叫打杂儿的添煤，只听得三间空屋子里‘哗喇哗喇’的响，我还道是猫儿耗子，又听得‘嗳’的一声，像个人出气儿的是的。我害怕，就跑回来了。”凤姐骂道：“胡说！我这里断不兴说神说鬼。我从来不信这些个话，快滚出去罢！”那小丫头出去了。凤姐便叫彩明将一天零碎日用帐对过一遍。时已将近二更。大家又歇了一回，略说些闲话，遂叫各人安歇去罢。<br />
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==英语口译 胡雯雯 Hu Wenwen 202170081617==<br />
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凤姐也睡下了。将近三更，凤姐似睡不睡，觉得身上寒毛一乍，自己惊醒了，越躺着越发起渗来，因叫平儿秋桐过来作伴。二人也不解何意。那秋桐本来不顺凤姐，后来贾琏因尤二姐之事，不大爱惜他了，凤姐又笼络他，如今倒也安静，只是心里比平儿差多了，外面情儿。今见凤姐不受用，只得端上茶来。凤姐喝了一口道：“难为你，睡去罢，只留平儿在这里就彀了。”秋桐却要献勤儿，因说道：“奶奶睡不着，倒是我们两个轮流坐坐也使得。”凤姐一面说，一面睡着了。平儿秋桐看见凤姐已睡，只听得远远的鸡声叫了，二人方都穿着衣服略躺了一躺，就天亮了，连忙起来伏侍凤姐梳洗。<br />
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==英语口译 黄天琪 Huang Tianqi 202170081618==<br />
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凤姐因夜中之事，心神恍惚不宁，只是一味要强，仍然扎挣起来。正坐着纳闷，忽听个小丫头子在院里问道：“平姑娘在屋里么？”平儿答应了一声。那小丫头掀起帘子进来，却是王夫人打发过来来找贾琏，说：“外头有人回要紧的官事。老爷才出了门，太太叫快请二爷过去呢。”凤姐听见，唬了一跳。却说凤姐正自起来纳闷，忽听见小丫头这话，又唬了一跳，连忙问道：“什么官事？”小丫头道：“也不知道。刚才二门上小厮回进来，回老爷有要紧的官事，所以太太叫我请二爷来了。” <br />
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==英语口译 李丹 Li Dan 202170081620==<br />
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凤姐听是工部里的事，才把心略略的放下，因说道：“你回去回太太，就说二爷昨日晚上出城有事，没有回来,打发人先回珍大爷去罢。”那丫头答应着去了。一时，贾珍过来。见了部里的人，问明了，进来见了王夫人，回道：“部中来报：昨日总河奏到，河南一带决了河口，湮没了几府州县。又要开销国帑，修理城工。工部司官又有一番照料。所以部里特来报知老爷的。”说完退出。及贾政回家来，回明。从此，直到冬间，贾政天天有事，常在衙门里。宝玉的工课也渐渐松了，只是怕贾政觉察出来，不敢不常在学房里去念书，连黛玉处也不敢常去。<br />
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==英语口译 李立飞 Li Lifei 202170081621==<br />
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那时已到十月中旬，宝玉起来，要往学房中去。这日天气陡寒，只见袭人早已打点出一包衣服，向宝玉道：“今日天气狠冷，早晚宁使暖些。”说着，把衣裳拿出来，给宝玉挑了一件穿。又包了一件，叫小丫头拿出，交给焙茗，嘱咐道：“天气凉，二爷要换时，好生预备着。”焙茗答应了，抱着毡包，跟着宝玉自去。宝玉到了学房中，做了自己的工课，忽听得纸窗“呼喇喇”一派风声。代儒道：“天气又发冷。”把风门推开一看，只见西北上一层层的黑云，渐渐往东南扑上来。焙茗走进来回宝玉道：“二爷，天气冷了，再添些衣服罢。”宝玉点点头儿。<br />
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==英语口译 莫雨婷 Mo Yuting 202170081622==<br />
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只见焙茗拿进一件衣服来，宝玉不看则已，看了时，神已痴了。那些小学生都巴着眼瞧。却原是晴雯所补的那件雀金裘。宝玉道：“怎么拿这一件来？是谁给你的？”焙茗道：“是里头姑娘们包出来的。”宝玉道：“我身上不大冷，且不穿呢，包上罢。”代儒只当宝玉可惜这件衣服，却也心里喜他知道俭省。焙茗道：“二爷穿上罢。着了凉，又是奴才的不是了。二爷只当疼奴才罢！”宝玉无奈，只得穿上，呆呆的对着书坐着。代儒也只当他看书，不甚理会。晚间放学时，宝玉便往代儒托病告假一天。代儒本来上年纪的人，也不过伴着几个孩子解闷儿，时常也八病九痛的，乐得去一个少操一日心。<br />
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==英语口译 彭慧璇 Peng Huixuan 202170081623==<br />
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况且明知贾政事忙，贾母溺爱，便点点头儿。宝玉一径回来，见过贾母王夫人，也是这样说，自然没有不信的。略坐一坐，便回园中去了。见了袭人等，也不似往日有说有笑的，便和衣躺在炕上。袭人道：“晚饭预备下了，这会儿吃，还是等一等儿？”宝玉道：“我不吃了，心里不舒服。你们吃去罢。”袭人道：“那么着，你也该把这件衣服换下来了。那个东西那里禁得住揉搓？”宝玉道：“不用换。”袭人道：“倒也不但是娇嫩物儿，你睄睄那上头的针线，也不该这么糟塌他呀。”宝玉听了这话，正碰在他心坎儿上，叹了一口气道：“那么着，你就收起来，给我包好了。我也总不穿他了！”<br />
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==英语口译 时友洁 Shi Youjie 202170081624==<br />
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说着，站起来脱下。袭人才过来接时，宝玉已经自己叠起。袭人道：“二爷怎么今日这样勤谨起来了？”宝玉也不答言，叠好了，便问：“包这个的包袱呢？”麝月连忙递过来，让他自己包好，回头却和袭人挤着眼儿笑。宝玉也不理会，自己坐着，无精打彩。猛听架上钟响，自己低头看了看表针已指到酉初二刻了。一时小丫头点上灯来。袭人道：“你不吃饭，喝一口粥儿罢，别净饿着。看仔细饿上虚火来，那又是我们的累赘了。”宝玉摇摇头儿，说：“这不大饿，强吃了倒不受用。”袭人道：“既这么着，就索性早些歇着罢。”于是袭人麝月铺设好了，宝玉也就歇下。<br />
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==英语口译 伍佳惠 Wu Jiahui 202170081625==<br />
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翻来复去，只睡不着，将及黎明，反朦胧睡去，不一顿饭时，早又醒了。此时袭人麝月也都起来。袭人道：“昨夜听着你翻腾到五更多，我也不敢问你。后来我就睡着了，不知到底你睡着了没有？”宝玉道：“也睡了一睡，不知怎么就醒了。”袭人道：“你没有什么不受用？”宝玉道：“没有，只是心上发烦。”袭人道：“今日学房里去不去？”宝玉道：“我昨儿已经告了一天假了，今儿我要想园里逛一天，散散心，只是怕冷。你叫他们收拾一间房子，备下一炉香，搁下纸墨笔砚，你们只管干你们的，我自己静坐半天才好，别叫他们来搅我。”<br />
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Revision: He tossed and turned but could not sleep, only dozing off when it was nearly dawn. But after no more than the time it takes for a meal, he was awake again. By now Aroma and Musk Deer Month were up. Aroma said, “I heard you tossing about last night till the fifth watch, but I didn’t like to disturb you. And then I dropped off myself. Did you get any sleep or not?” Precious Jade said,“A little, but then somehow I woke up again.” She continued, “Aren’t you feeling well?” And he answered, “I’m all right, just rather edgy.” Then she said, “Are you going to school today?” He replied, “No, yesterday I asked for a day’s leave. I’d like to amuse myself in the Garden today, but just now I feel cold. Get them to clean up a room for me, and put ready some incense, paper, ink and a brush; then you can get on with your work while I sit there quietly for a bit. I don’t want to be disturbed.”--[[User:Xia Jing|Xia Jing]] ([[User talk:Xia Jing|talk]]) 09:40, 14 May 2022 (UTC)<br />
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==英语口译 夏晶 Xia Jing 202170081626==<br />
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麝月接着道：“二爷要静静儿的用工夫，谁敢来搅！”袭人道：“这么着狠好，也省得着了凉，自己坐坐，心神也不散。”因又问：“你既懒待吃饭，今日吃什么？早说，好传给厨房里去。”宝玉道：“还是随便罢，不必闹的大惊小怪的。倒是要几个果子搁在那屋里，借点果子香。”袭人道：“那个屋里好？别的都不大干净，只有晴雯起先住的那一间，因一向无人，还干净。就是清冷些。”宝玉道：“不妨，把火盆挪过去就是了。”袭人答应了。正说着，只见一个小丫头端了一个茶盘儿，一个碗，一双牙箸，递给麝月，道：“这是刚才花姑娘要的，厨房里老婆子送了来了。”<br />
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“If you want to study quietly,” Musk Deer Month said, “who'd dream of disturbing you?”“That's a good idea,”agreed Aroma. “You won't catch cold, and sitting quietly by yourself you won't be distracted either. But what will you eat today, if you've lost your appetite? Let us know in good time so that we can tell the kitchen.” Precious Jade said,“Anything will do; don’t fuss. But I'd like some fruit put in that room to scent it.”“Which room would be best?” Aroma wondered. “The only clean one, really, is Sunny Cloud Formation's old room. As no one goes there nowadays, it's quite tidy. Only it may be chilly.”“That's all right,”he said. “Just put a brazier in there.”She readily agreed to this. While they were talking a young maid had brought in a saucer, bowl and pair of chopsticks, which she handed to Musk Deer Month saying:“Just now Miss Aroma asked for these, and the old woman from the kitchen has brought them.”<br />
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==英语口译 向师琦 Xiang Shiqi 202170081627==<br />
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麝月接了一看，却是一碗燕窝汤，便问袭人道：“这是姐姐要的么？”袭人笑道：“昨夜二爷没吃饭，又翻腾了一夜，想来今日早起心里必是发空的，所以我告诉小丫头们，叫厨房里作了这个来的。”袭人一面叫小丫头放桌儿。麝月打发宝玉喝了，漱了口，只见秋纹走来说道：“那屋里已经收拾妥了，但等着一时炭劲过了，二爷再进去罢。”宝玉点头，只是一腔心事，懒意说话。一时，小丫头来请，说：“笔砚都安放妥当了。”宝玉道：“知道了。”又一个小丫头回道：“早饭得了，二爷在那里吃？”宝玉道：“就拿了来罢，不必累赘了。”小丫头答应了自去。一时端上饭来。<br />
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Musk Deer Month saw that it was a bowl of bird’s-nest soup. “Did you order this?” she asked Aroma. “He had no supper yesterday evening and passed a sleepless night,” Aroma explained. “I thought he must be feeling hollow inside this morning; so I got the girls to ask the kitchen for this.” She told the younger maids to bring a table, and Musk Deer Month waited on Precious Jade Merchant while he finished the soup and rinsed his mouth. Then Autumn Vein came in. “The room’s been tidied,” she said. “But Master Bao had better wait till the charcoal is red before going there.” Precious Jade Merchant nodded, too preoccupied by his own thoughts to talk. Soon a young maid came to announce, “The writing things have been put ready.” “Good,” he said. Yet another girl announced, “Breakfast is ready. Where will you have it, sir?” “Just bring it here; that’s simplest.” She assented and went out to fetch the food.<br />
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==英语口译 向望 Xiang Wang 202170081628==<br />
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宝玉笑了一笑，向麝月袭人道：“我心里闷得狠，自己吃只怕又吃不下去，不如你们两个同我一块儿吃，或者吃的香甜，我也多吃些。”麝月笑道：“这是二爷的高兴，我们可不敢。”袭人道：“其实也使得，我们一处喝酒，也不止今日。只是偶然替你解闷儿，还使得；若认真这样，还有什么规矩体统呢。”说着，三人坐下，宝玉在上首，袭人麝月两个打横陪着。吃了饭，小丫头端上漱口茶来，两个看着撤了下去。宝玉因端着茶，默默如有所思，又坐了一坐，便问道：“那屋里收拾妥了么？”麝月道：“头里就回过了，这回子又问。”宝玉略坐了一坐，便过这间屋子来。<br />
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==英语口译 徐舞 Xu Wu 202170081629==<br />
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亲自点了一炷香，摆上些果品，便叫人出去，关上了门。外面袭人等都静悄无声。宝玉拿了一幅泥金角花的粉红笺出来，口中祝了几句，便提起笔来写道：怡红主人焚付晴姐知之：酌茗清香，庶几来飨。其词云：随身伴，独自意绸缪。谁料风波平地起，顿教躯命即时休。孰与话轻柔？东逝水，无复向西流。想像更无怀梦草，添衣还见翠云裘。脉脉使人愁！写毕，就在香上点个火，焚化了。静静儿等着，直待一炷香点尽了，才开门出来。袭人道：“怎么出来了？想来又闷的慌了。”宝玉笑了一笑，假说道：“我原是心里烦，才找个地方儿静坐坐儿。这会子好了，还要外头走走去呢。”<br />
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==英语口译 张静芝 Zhang Jingzhi 202170081630==<br />
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说着，一径出来。到了潇湘馆中，在院里问道：“林妹妹在家里呢么？”紫鹃接应道：“是谁？”掀帘看时，笑道：“原来是宝二爷。姑娘在屋里呢，请二爷到屋里坐着。”宝玉同着紫鹃走进来。黛玉却在里间呢，说道：“紫鹃，请二爷屋里坐罢。”宝玉走到里间门口，看见新写的一副紫墨色泥金云龙笺的小对，上写着：“绿窗明月在，青史古人空。”宝玉看了，笑了一笑，走入门去，笑问道：“妹妹做什么呢？”黛玉站起来，迎了两步，笑着让道：“请坐。我在这里写经，只剩得两行了。等写完了再说话儿。”因叫雪雁倒茶。<br />
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==日语笔译 曹梦然 Cao Mengran 202170081632==<br />
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宝玉道：“你别动，只管写。”说着，一面看见中间挂着一幅单条，上面画着一个嫦娥，带着一个侍者；又一个女仙，也有一个侍者，捧着一个长长儿的衣囊似的：二人身边略有些云护，别无点缀，全仿李龙眠白描笔意，上有“斗寒图”三字，用八分书写着。宝玉道：“妹妹这幅斗寒图可是新挂上的？”黛玉道：“可不是。昨日他们收拾屋子，我想起来，拿出来叫他们挂上的。”宝玉道：“是什么出处？”黛玉笑道：“眼前熟的狠的，还要问人。”宝玉笑道：“我一时想不起，妹妹告诉我罢。”黛玉道：“岂不闻‘青女素娥俱耐冷，月中霜里斗婵娟’？”<br />
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==日语笔译 胡梦琪 Hu Mengqi 202170081633==<br />
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宝玉道：“是啊，这个实在新奇雅致，却好此时拿出来挂。”说着，又东瞧瞧，西走走。雪雁沏了茶来，宝玉吃着。又等了一会子，黛玉经才写完，站起来道：“简慢了。”宝玉笑道：“妹妹还是这么客气。”但见黛玉身上穿着月白绣花小毛皮袄，加上银鼠坎肩；头上挽着随常云髻，簪上一枝赤金匾簪，别无花朵；腰下系着杨妃色绣花绵裙。真比如：亭亭玉树临风立，冉冉香莲带露开。宝玉因问道：“妹妹这两日弹琴来着没有？”黛玉道：“两日没弹了。因为写字已经觉得手冷，那里还去弹琴？”宝玉道：“不弹也罢了。<br />
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==日语笔译 张白鹭 Zhang Bailu 202170081634==<br />
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我想琴虽是清高之品，却不是好东西，从没有弹琴里弹出富贵寿考来的，只有弹出忧思怨乱来的。再者，弹琴也得心里记谱，未免费心。依我说，妹妹身子又单弱，不操这心也罢了。”黛玉抿着嘴儿笑。宝玉指着壁上道：“这张琴可就是么？怎么这么短？”黛玉笑道：“这张琴不是短，因我小时学抚的时候，别的琴都彀不着，因此特地做起来的。虽不是焦尾枯桐，这鹤山凤尾，还配得齐整；龙池雁足，高下还相宜。你看这断纹，不是牛旄是的么？所以音韵也还清越。”宝玉道：“妹妹这几天来做诗没有？”黛玉道：“自结社以后，没大作。”<br />
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==朝鲜语笔译 刘安莉 Liu Anli 202170081635==<br />
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宝玉笑道：“你别瞒我。我听见你吟的，什么‘不可惙，素心如何天上月’，你搁在琴里，觉得音响分外的响亮。有的没有？”黛玉道：“你怎么听见了？”宝玉道：“我那一天从蓼风轩来听见的，又恐怕打断你的清韵，所以静听了一会，就走了。我正要问你：前路是平韵，到末了儿忽转了仄韵，是个什么意思？”黛玉道：“这是人心自然之音，做到那里就到那里，原没有一定的。”宝玉道：“原来如此。可惜我不知音，枉听了一会子。”黛玉道：“古来知音人能有几个？”宝玉听了。又觉得出言冒失了，又怕寒了黛玉的心。<br />
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==朝鲜语笔译 王思佳 Wang Sijia 202170081636==<br />
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坐了一坐，心里像有许多话，却再无可讲的。黛玉因方才的话也是冲口而出，此时回想，觉得太冷淡些，也就无话。宝玉一发打量黛玉设疑，遂讪讪的站起来说道：“妹妹坐着罢，我还要到三妹妹那里瞧瞧去呢。”黛玉道：“你若见了三妹妹，替我问候一声罢。”宝玉答应着，便出来了。黛玉送至屋门口，自己回来，闷闷的坐着，心里想道：“宝玉近来说话，半吐半吞，忽冷忽热，也不知他是什么意思。”正想着，紫鹃走来道：“姑娘，经不写了？我把笔砚都收好了。”黛玉道：“不写了，收起去罢。”说着，自己走到里间屋里床上歪着，慢慢的细想。<br />
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==朝鲜语笔译 徐盖 Xu Gai 202170081638==<br />
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紫鹃进来问道：“姑娘喝碗茶罢？”黛玉道：“不喝呢。我略歪歪儿，你们自己去罢。”紫鹃答应着出来，只见雪雁一个人在那里发呆。紫鹃走到他跟前，问道：“你这会子也有了什么心事了么？”雪雁只顾发呆，倒被他吓了一跳；因说道：“你别嚷，今日我听见了一句话，我告诉你听，奇不奇。你可别言语！”说着，往屋里努嘴儿。因自己先行，点着头儿叫紫鹃同他出来，到门外平台底下，悄悄儿的道：“姐姐，你听见了么？宝玉定了亲了。”紫鹃听见，吓了一跳，说道：“这是那里来的话？只怕不真罢？”雪雁道：“怎么不真！别人大概都知道，就只咱们没听见。”<br />
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==朝鲜语笔译 徐文慧 Xu Wenhui 202170081639==<br />
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紫鹃道：“你是那里听来的？”雪雁道：“我听见侍书说的，是个什么知府家，家资也好，人才也好。”紫鹃正听时，只听得黛玉咳嗽了一声，似乎起来的光景。紫鹃恐怕他出来听见，便拉了雪雁，摇摇手儿，往里望望，不见动静，才又悄悄儿的问道：“他到底怎么说来？”雪雁道：“前儿不是叫我到三姑娘那里去道谢吗，三姑娘不在屋里，只有侍书在那里。大家坐着，无意中说起宝二爷的淘气来。他说：‘宝二爷怎么好！只会顽儿，全不像大人的样子，已经说亲了，还是这么呆头呆脑。’我问他：‘定了没有？’他说是：‘定了，是个什么王大爷做媒的。<br />
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==比较文学与跨文化研究 Mahzad Heydarian 202021080004==<br />
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那王大爷是东府里的亲戚，所以也不用打听，一说就成了。’”紫鹃侧着头想了一想，“这句话奇！”又问道：“怎么家里没有人说起？”雪雁道：“侍书也说的，是老太太的意思。若一说起，恐怕宝玉野了心，所以都不提起。侍书告诉了我，又叮嘱千万不可露风说出来，只道是我多嘴。”把手往里一指，“所以他面前也不提。今日是你问起，我不犯瞒你。”正说到这里，只听鹦鹉叫唤，学着说：“姑娘回来了，快倒茶来！”倒把紫鹃雪雁吓了一跳。回头并不见有人，便骂了鹦鹉一声。走进屋内。只见黛玉喘吁吁的刚坐在椅子上。紫鹃搭赸着问茶问水。<br />
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==外国语言文学 Akira 202121080009==<br />
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黛玉问道：“你们两个那里去了？再叫不出一个人来。”说着，便走到炕边，将身子一歪，仍旧倒在炕上，往里躺下，叫把帐子撩下。紫鹃雪雁答应出去，他两个心里疑惑方才的话只怕被他听了去了，只好大家不提。谁知黛玉一腔心事，又窃听了紫鹃雪雁的话，虽不狠明白，已听得了七八分，如同将身撂在大海里一般。思前想后，竟应了前日梦中之谶，千愁万恨，堆上心来。左右打算，不如早些死了，免得眼见了意外的事情，那时反倒无趣。又想到自己没了爹娘的苦，自今以后，把身子一天一天的遭塌起来，一年半载，少不得身登清净。<br />
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==英语语言文学 Mariam Tourse 2020GBJ002301==<br />
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打定了主意，被也不盖，衣也不添，竟是合眼装睡。紫鹃和雪雁来伺候几次，不见动静，又不好叫唤。晚饭都不吃。点灯已后，紫鹃掀开帐子，见已睡著了，被窝都蹬在脚后。怕他着了凉，轻轻儿拿来盖上。黛玉也不动，单待他出去，仍然褪下。那紫鹃只管问雪雁：“今儿的话到底是真的是假的？”雪雁道：“怎么不真！”紫鹃道：“侍书怎么知道的？”雪雁道：“是小红那里听来的。”紫鹃道：“头里咱们说话，只怕姑娘听见了。你看刚才的神情，大有原故。今日以后，咱们倒别提这件事了。”说着，两个人也收拾要睡。</div>Li Yuanhttps://bou.de/u/index.php?title=20220505_homework&diff=14240220220505 homework2022-05-11T03:06:30Z<p>Li Yuan: /* 英语笔译 李颖 Li Ying 202170081578 */</p>
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<div>Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]<br />
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Assignment 1: '''Click here''' [[Chinese Classics Translation 2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is '''Chinese Classics on Overseas Bookfairs 朱丽娟 段小蝶 钟青 周哲'''<br />
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Assignment 2: '''Click here''' (coming soon) to do the quizzes on the textbook <br />
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Assignment 3: Please do the translation below here<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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这李乡绅膝下无儿，只有一位千金小姐。这小姐芳名叫做雏鸾，琴棋书画，无所不通。”贾母忙道：“怪道叫做《凤求鸾》。不用说了，我已经猜着了：自然是王熙凤要求这雏鸾小姐为妻了。”女先儿笑道：“老祖宗原来听过这回书。”众人都道：“老太太什么没听见过！就是没听见，也猜着了。”贾母笑道：“这些书就是一套子，左不过是些佳人才子，最没趣儿。把人家女儿说的这么坏，还说是‘佳人’，编的连影儿也没有了。<br />
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Gentry Li has no son but a daughter named ‘Young Phoenix’, a versatile lady who is excellent at lyre-playing, chess, calligraphy, and painting.” “No wonder it is called ‘Male Phoenix Marries Female Phoenix.’ No more telling. I have known its following plots——it is natural that Splendid Phoenix King will marry this young lady of Family Li, ” Grandma Merchant said frankly. This female storyteller was amused, “It turns out that you have ever listened to this story.” The rest just laughed, “There is nothing that our old lady has never known. If there is, she could guess what it is about.” “These stories tell nothing but always some pairs of ideal lovers, a perfect match between talent and beauty. Cannot be boring too much! Especially those stories, whose makers often depict such a bad young lady but claim to be ‘a good beauty’, are really groundless of such makings, ”Grandma Merchant felt flattered.<br />
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Gentry Plum has no son but a daughter named ‘Young Phoenix’, a versatile lady who is excellent at lyre-playing, chess, calligraphy, and painting.” “No wonder it is called ‘''Male Phoenix Courts Female Phoenix''’. No more telling. I have known its following plots -- it is natural that Splendid Phoenix King will marry this young lady of Family Li to her son, ” Grandma Merchant said frankly. This female storyteller was amused, “It turns out that you have ever listened to this story.” The rest just laughed, “There is nothing that our old lady has never known. If there is, she could guess what it is about.” “These stories tell nothing but always some pairs of ideal lovers, a perfect match between talent and beauty. Cannot be boring too much! Especially those stories, whose makers often depict such a bad young lady but claim to be ‘a good beauty’, are really groundless of such makings, ”Grandma Merchant felt flattered.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 14:08, 8 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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开口都是乡绅门第，父亲不是尚书，就是宰相。一个小姐，必是爱如珍宝。这小姐必是通文知礼，无所不晓，竟是‘绝代佳人’，只见了一个清俊男人，不管是亲是友，想起他的‘终身大事’来，父母也忘了，书也忘了，鬼不成鬼，贼不成贼，那一点儿像个佳人？就是满腹文章，做出这样事来，也算不得是佳人了。比如一个男人家，满腹的文章，去做贼，难道那王法就看他是个才子，就不入贼情一案了不成？可知那编书的是自己堵自己的嘴。<br />
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All the genius and beauty novels are about families of squire. Normally, the father of the beauty is either a minister or a prime minister of the country, holding his only daughter in high esteem. And it is typical of this beautiful girl to be well educated, steeped in propriety, omniscient, and worthy of the name "knockout". After one sight of a handsome man, a relative or a friend of her, she falls in love with him incurably, putting her parents, etiquette and social rites behind her. How can such a girl, leading a crazy and covert life, be called beauty? Literate as she is, she is unqualified for the name of beauty after making such an insane decision. Take this for example: if a man of literature did stealthy work, would the justice official judge him not guilty just owing to his talents? Now you can see the author couldn't justify himself.<br />
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All the genius and beauty novels are about cultured family. Normally, the father of the beauty is either a minister or a prime minister of the country, holding his only daughter in high esteem. And it is typical of this beautiful girl to be well educated, brought up in propriety, omniscient, and worthy of the name "knockout". After one sight of a handsome man, a relative or a friend of her, she falls in love with him incurably, putting her parents, etiquette and social rites behind her. How can such a girl, leading a crazy and covert life, be called beauty? Literate as she is, she is unqualified for the name of beauty after making such an insane decision. Take this for example: if a man of literature did stealthy work, would the justice official judge him not guilty just owing to his talents? Now you can see the author couldn't justify himself.<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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再者：既说是世宦书香大家小姐，都知礼读书，连夫人都知书识礼，便是告老还家，自然大家人口奶奶丫鬟伏侍小姐的人也不少，怎么这些书上，凡有这样的事，就只小姐和紧跟的一个丫头？你们自想想，那些人都是管做什么的，可是前言不答后语不是？”众人听了，都笑说：“老太太这一说，是谎都批出来了。”贾母笑道：“有个原故：编这样书的人，有一等妒人家富贵的，或者有求不遂心，所以编出来遭塌人家。<br />
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‘Besides, not only would the daughter of a good scholar-official family be well-educated,so would her mother. And even if her father had retired, a big family like that would have plenty of nurses and maids to look after the girl. How is it that in all these stories, when such things happen, no one has any inkling of it except the girl herself and one trusted maid? What are all the others doing. Isn’t that contradictory?’Everyone laughed.‘The old lady has shown up their lies!’‘There’s a reason for this,’ she continued. ‘Either the people who spin these tales envy the rank and riches of other families, or ask for help which isn’t granted, and so they make up these stories to discredit them.'<br />
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‘Besides, not only would the daughter of a good scholar-official family be well-educated,so would her mother. And even if her father had retired, a big family like that would have plenty of nurses and maids to look after the girl. How is it that in all these stories, when such things happen, no one has any inkling of it except the girl herself and one trusted maid? What are all the others doing. Isn’t that contradictory?’Everyone laughed.‘The old lady has shown up their lies!’‘There’s a reason for this,’ she continued. ‘Either the people who spin these tales envy the rank and riches of other families, or ask for help which isn’t granted, and so they make up these stories to discredit them.'--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 13:16, 8 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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再有一等人，他自己看了这些书，看邪了，想着得一个佳人才好，所以编出来取乐儿。何尝他知道那世宦读书家的道理！别说那书上那些世宦书礼大家，如今眼下拿着咱们这中等人家说起，也没那样的事。别叫他诌掉了下巴了罢！所以我们从不许说这些书，连丫头们也不懂这些话。这几年我老了，他们姊妹们住的远，我偶然闷了，说几句听听，他们一来，就忙着止住了。”李薛二人都笑说：“这正是大家子的规矩。连我们家也没有这些杂话叫孩子们听见。”<br />
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There was another person who read these books, and he got a bad idea. He thought it would be nice to have a good person, so he made them up for fun. How could he know the truth of the emperor reading home? Don't say that book those world eunuch ceremony everybody, now take us this medium family to speak of, also have no such thing. Don't make him talk his jaw off! That's why we're never allowed to talk about these books, and even the girls don't understand them. In the past few years, as I was getting older and my sisters lived far away from me, I occasionally got bored. Both Silk Plum and Precious Hairpin Marshgrass laughed and said, "This is just the rule. Not even in our house for the children to hear."<br />
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There was another kind of people who read these books, and he got a bad idea. He thought it would be nice to have a beautiful girl, so he made them up for fun. How could he know the truth of scholar-official families? Don't say those great families in that book, we medium family also have no such thing. What he said is just nonsense! That's why we're never allowed to talk about these books, and even the girls don't understand them. In the past few years, as I was getting older and my sisters lived far away from me, I occasionally got bored and want talk about some. But once girls come, I just end up the talk." Both Aunt Plum and Aunt Marshgrass laughed and said, "This is just the rule. Even in our house we won't allow the children to hear such things."<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 15:06, 9 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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凤姐儿走上来斟酒，笑道：“罢，罢！酒冷了，老祖宗喝一口润润嗓子再辨谎。这一回就叫做‘辨谎记’，就出在本朝、本地、本年、本月、本日、本时。老祖宗‘一张口难说两家话’，‘花开两朵，各表一枝’，‘是真是谎且不表，再整观灯看戏的人’。老祖宗且让这二位亲戚吃杯酒、看两出戏着，再从逐朝话言掰起，如何？”一面说，一面斟酒，一面笑。未说完，众人俱已笑倒了。<br />
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Sister Phoenix came up to pour wine, laughing, "Stop, stop! The wine was cold, but Grandma, you'd better drink a mouthful to moisten your throat and then distinguish it is a lie or not. This story is called the Lie or Not, and it's written in this hour,this day, this month, this year, this place. It's hard for our grandma to say two words with one mouth. Putting aside one matter,let's talk about the other. Instead of discussing whether it is true or not, how about continuing to watch the lanterns and plays. How about a glass of wine and a couple of plays? Just let the two relatives drink some wine and watch the play for a while, and after that, then you can start to analyze it. " At the same time she poured the wine and laughed. Before she finished, everyone has already burst into laughter.<br />
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Sister Phoenix came up to pour wine, laughing, "Stop, stop! The wine was cold, but Grandma, you'd better drink a mouthful to moisten your throat and then distinguish it is a lie or not. This story is called the Lie or Not, and it's written in this hour,this day, this month, this year, this place and this dynasty. It's hard for our grandma to say two words with one mouth. Putting aside one matter,let's talk about the other. Instead of discussing whether it is true or not, how about continuing to watch the lanterns and plays. How about a glass of wine and a couple of plays? Just let the two relatives drink some wine and watch the play for a while, and after that, then you can start to analyze it. " At the same time she poured the wine and laughed. Before she finished, everyone has already burst into laughter.--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 02:42, 10 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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两个女先儿也笑个不住，都说：“奶奶好刚口！奶奶要一说书，真连我们吃饭的地方也没了。”<br />
薛姨妈笑道：“你少兴头些！外头有人，比不得往常。”凤姐儿笑道：“外头只有一位珍大哥哥，我们还是论哥哥妹妹，从小儿一处淘气淘了这么大。这几年因做了亲，我如今立了多少规矩了。便不是从小儿兄妹，只论大伯子小婶儿，那《二十四孝》上‘斑衣戏彩’，他们不能来戏彩引老祖宗笑一笑，我这里好容易引得老祖宗笑了一笑，多吃了一点东西，大家喜欢，都该谢我才是，难道反笑我不成？”<br />
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The two women could not stop laughing and said, "Your Lady is so eloquent! If lady went to storytelling, and there was no place for us to make a living." Aunt Marshgrass laughed. "Take it easy on you! There are people outside, more than usual." Sister Phoenix smiled: "There is only brother Treasure outside, so we are still brother and sister. We have been so naughty since we were kids. And I've made a lot of rules over the years since I get married. Even though we are in now uncle-aunt relationship rather than siblings, according to 24 stories of filial piety, they are not able to make Grandma Merchant laugh and I tried so hard to make old lady laugh and eat more. How can you not appreciate me rather than laugh at me.”<br />
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The two women could not stop laughing and said, "You are so eloquent! If aunt were a storyteller, and there was no place for us to make a living." Aunt Marshgrass laughed. "Don't make fun of me! There are people outside,not as usual." Sister Phoenix smiled: "There is only brother Treasure outside, so we are still brother and sister. We have been so naughty since we were kids. And I've made a lot of rules over the years since I get married. Even though we are in now an uncle-aunt relationship rather than siblings, according to ''24 stories of filial piety'', they are not able to make Grandma Merchant laugh and I tried so hard to make the old lady laugh and eat more. How can you not appreciate me rather than laugh at me.”--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 05:30, 10 May 2022 (UTC)<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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贾母笑道：“可是这两日我竟没有痛痛的笑一场，倒是亏他才一路说，笑的我这里痛快了些，我再吃钟酒。”吃着酒，又命宝玉：“来敬你姐姐一杯。”凤姐儿笑道：“不用他敬，我讨老祖宗的寿罢。”说着便将贾母的杯拿起来，将半杯剩酒吃了，将杯递与丫鬟，另将温水浸的杯换一个上来。于是各席上的都撤去，另将温水浸着的代换，斟了新酒上来，然后归坐。女先儿回说：“老祖宗不听这书，或者弹一套曲子听听罢。”<br />
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Grandma Merchant smiled, “I had no good laugh for a few days and luckily she raised my spirit and made me happy. So I’ll drink a cup of wine.” After drinking, she ordered Precious Jade to offer Splendid Phoenix King a toast. “Give Splendid Phoenix King a toast.” “I don’t need that. I just wanted to celebrate your birthday and bring some fortune.” Splendid Phoenix King picked up Grandma Merchant’s cup and drank the left wine. Then she handed the cup to the servant and took another cup from a basin of warm water. All the cups on the tables were changed then for fresh ones from the basin and when more wine had been poured they resumed their seats.“If our Grandma doesn’t want to hear this story, or we play a tune?” asked one of the performers.<br />
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Grandma Merchant smiled, “I haven’t had a good laugh for a few days and luckily she raised my spirit. I really do feel better for it. I think I’ll have another of wine.” After drinking, she ordered Precious Jade to offer Splendid Phoenix a toast. “No need,” declared Splendid Phoenix laughingly. “Let me share your good health.” She took Grandma Merchant’s cup and drank the left wine. Then she handed the cup to a maid and took another from a basin of warm water. All the cups on the tables were changed then for fresh ones from the basin, and when more wine had been poured they resumed their seats.“If our Grandma doesn’t want to hear this story, how about we play a tune?” asked one of the performers.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 04:52, 8 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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贾母道：“你们两个对一套‘将军令’罢。”二人听说，忙合弦按调拨弄起来。贾母因问：“天有几更了？”众婆子忙回：“三更了。”贾母道：“怪道寒浸浸起来。”早有众人丫鬟拿了添换的衣裳送来。王夫人起身陪笑说道：“老太太不如挪进暖阁里地炕上，倒也罢了。这二位亲戚也不是外人，我们陪着就是了。”贾母听说，笑道：“既这样说，不如大家都挪进去，岂不暖和？”王夫人道：“恐里头坐下不。”<br />
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"Give us The General's Command," said Grandma Merchant. The two women at once began tuning their instruments and playing until Grandma Merchant inquired what the time was. "Midnight," said the senior servants. "No wonder it's getting so cold." said Grandma Merchant. Some young maids had already brought with warmer clothes. Now Lady King rose, smiling, to ask, "Why not move to the room with the heated floor, madam? Our two relatives are not outsiders. We' ll keep them company for you." "In that case why don't we all move inside?" said Grandma Merchant. "That would be much cosier." "I doubt there’s no room for us all," said Lady King.<br />
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"Show us The General's Command," said Grandma Merchant. The two women at once began tuning their instruments and playing until Grandma Merchant inquired what the time was. "Midnight," said the senior servants. "No wonder it's getting so cold," said Grandma Merchant. Some young maids had already brought with them warmer clothes. Now Lady King rose, smiling, to ask, "Why not move to the room with the heated floor, madam? Our two relatives are not outsiders. We'll keep them company for you." "In that case why don't we all move inside?" said Grandma Merchant. "That would be much cozier." "I doubt there’s no enough room for us all," said Lady King.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 00:55, 8 May 2022 (UTC)<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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贾母道：“我有道理：如今也不用这些桌子，只用两三张并起来，大家坐在一处，挤着，又亲热，又暖和。”众人都道：“这才有趣儿。”说着，便起了席。众媳妇忙撤去残席，里面直顺并了三张大桌，又添换了果馔摆好。贾母便说：“都别拘礼，听我分派你们就坐才好。”说着，便让薛李正面上坐，自己西向坐了，叫宝琴、黛玉、湘云三人皆紧依左右坐下，向宝玉说：“你挨着你太太。”于是邢夫人王夫人之中夹着宝玉。<br />
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Grandma Merchant said: "I have my own idea: we can only put two or three of these tables together, so we can huddle, warm and close. The others agreed and stood up:" That's fun." Maids were rushed to clean the table and pieced three big tables together with fruits and pastries. After all these, Grandma Merchant said: "Be causal and listen to my arrangement." while saying this, she let Mrs. Margrass and Silk Plum seated to the north and she seated to the west. Moreover, she asked Precious Strings, Mascara Jade, and Fragrant-cloud to seat along with her closely and talked to Precious Jade: " You seat close to your mother." Thus, there was Precious Jade seating between Lady City and Lady King.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 00:52, 8 May 2022 (UTC)<br />
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Grandma Merchant said: "I have my own idea: we can only put two or three of these tables together, so we can huddle together, warm and close. The others agreed and stood up:" That's fun." Maids rushed to clean the tables and pieced three big tables together with fruits and pastries on them. After all of these, Grandma Merchant said: "Be causal and listen to my seat arrangement." while saying this, she let Mrs. Margrass and Silk Plum seated to the north and she seated to the west of the table. Then, she asked Precious Strings, Mascara Jade, and Fragrant-cloud to seat along with her closely and talked to Precious Jade: " You sit close to your mother." Thus, Precious Jade seated between Lady City and Lady King.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 07:42, 8 May 2022 (UTC)<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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宝钗等姐妹在西边；挨次下去，便是娄氏带着贾蓝；尤氏李纨夹着贾兰；下面横头便是贾蓉之妻。贾母便说：“珍阿哥带着你兄弟们去罢，我也就睡了。”贾珍等忙答应，又都进来听吩咐。贾母道：“快去罢！不用进来。才坐好了，又都起来。你快歇着罢，明儿还有大事呢。”贾珍忙答应了，又笑说：“留下蓉儿斟酒才是。”贾母笑道：“正是，忘了他。”贾珍应了一个“是”，便转身带领贾琏等出来。<br />
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Precious Hairpin Marshgrass and other girls sat on the west side of the dining-table; then the next were Lady Lou coupled with Blue Merchant, and Madam Outstanding and Silk Plum with Orchid Merchant sat between them; then the one sat on the shorter side of the table was Prosperity Merchant's wife. Then Grandma Merchant said:" Treasure, brought your bothers back, and I'm going to sleep then." Treasure Merchant and other boys replied and hasten into the room waiting for the Old Lady's orders. " Just go ! You don't have to come in. You just sat down then got up again. Get some rest, there's something important need to do tomorrow." the Old Lady said. Treasure Merchant responeded and said with a smile:" Leave Prosperity to pour alcohol for you." the Old Lady smiled:"Exaltly, I forgot that." Treasure Merchant replied with "Yes" and led Romance Merchant and others out Old Lady's room.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 07:34, 8 May 2022 (UTC)<br />
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Precious Hairpin Marshgrass and other girls sat on the west side of the dining-table; then the next were Lady Lou coupled with Blue Merchant, and Madam Outstanding and Silk Plum with Orchid Merchant sat between them; then the one sat on the shorter side of the table was Prosperity Merchant's wife. Then Grandma Merchant said:" Treasure, bring your brothers back, and I'm going to sleep." Treasure Merchant and other boys replied and hastened into the room waiting for the Old Lady's orders. " Just go ! You don't have to come in. You just sit down then get up again. Get some rest, there's something important need to do tomorrow." the Old Lady said. Treasure Merchant responded and said with a smile:" Leave Prosperity to pour alcohol for you." the Old Lady smiled:"Exactly, I forgot that." Treasure Merchant replied with "Yes" and led Romance Merchant and others out Old Lady's room.--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 13:08, 9 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
二人自是欢喜，便命人将贾琮贾璜各自送回家去，便约了贾琏去追欢买笑，不在话下。这里贾母笑道：“我正想着，虽然这些人取乐，必得重孙一对双全的在席上才好。蓉儿这可全了。蓉儿！和你媳妇坐在一处，倒也团圆了。”因有家人媳妇呈上戏单，贾母笑道：“我们娘儿们正说得兴头，又要吵起来。况且那孩子们熬夜，怪冷的。也罢，且叫他们歇歇，把咱们的女孩子们叫他来，就在这台上唱两出罢，也给他们瞧瞧。”<br />
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Happy to hear this, they ordered Merchant Vessel and Merchant Jade to be sent home. Then they invited Romance Merchant to have fun. "They had a lot of fun, but they have to bring their grandchildren," Grandma Merchant said with a smile. It's best if Prosperity comes. Sit with your daughter-in-law, and you'll be reunited." Then a family member presented the program list to her. Grandma Merchant said with a smile, "We are having fun, but it will be noisy around. It will be cold for those children to stay up late. Tell them to rest, and let their daughter call him, and sing a little on this stage. Show them some the ropes."<br />
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Happy to hear this, they ordered Merchant Jade and Merchant Pendant to be sent home. Then they invited Romance Merchant to have fun. "I was just thinking that to make our pleasure complete we ought to have a married couple here." Grandma Merchant said with a smile. “It's best if Prosperity comes. Sit with your wife, and you'll be reunited." Then some women presented the program list to her. Grandma Merchant laughed, "We are having fun, but it will be noisy around. It will be cold for those children to stay up late. Tell them to rest, and call our girl-actresses here to put on a couple of items on this stage. Let's take a look."--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 15:34, 9 May 2022 (UTC)<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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媳妇子们听了，答应出来，忙的一面着人往大观园去传人，一面二门口去传小厮们伺候。小厮们忙至戏房，将班中所有大人一概带出，只留下小孩子们。一时，梨香院的教习带了文官等十二人从游廊角门出来，婆子们抱着几个软包，因不及抬箱，料着贾母爱听的三五出戏的彩衣包了来。婆子们带了文官等进去见过，只垂手站着。贾母笑道：“大正月里，你师父也不放你们出来逛逛？你们如今唱什么？<br />
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The women promised and hurriedly sent a servant to the Grand View Garden to call people, with instructing pages at the inner gate. The boys hurried to the changing room, taking all the adults out of the class, leaving only the children. Then the instructor of Pear Fragrance Court brought Elegante and the eleven other girl actresses out through the side gate of the corridor, accompanied by some women carrying bundles. Since there was no time to bring all their stage properties, they had chosen only the costumes for a few operas which they guessed the old lady might like. The women took these girl actresses to pay their respects, then they humbly stood there. Grandma Merchant laughed, "In the first lunar month, why didn't your master let you wander around? What have you been rehearsing recently?<br />
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The women promised and hurriedly sent a servant to the Grand View Garden to call people, with instructing pages at the inner gate. The boys hurried to the performinging room, taking all the adults out of the room, leaving only the children. Then the instructor of Pear Fragrance Court brought Elegante and the eleven other girl actresses out through the side gate of the corridor, accompanied by some women carrying bundles. Since there was no time to bring all their stage properties, they had chosen only the costumes for a few operas which they guessed the old lady might like. The women took these girl actresses to pay their respects, then they humbly stood there. Grandma Merchant laughed, "In the first lunar month, why didn't your master let you wander around? What have you been rehearsing recently?--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 12:42, 8 May 2022 (UTC)Li Ying<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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才刚八出《八义》，闹的我头疼，咱们清淡些好。你瞧瞧，薛姨太太，这李亲家太太，都是有戏的人家，不知听过多少好戏的；这些姑娘们都比咱们家的姑娘见过好戏，听过好曲子。如今这小戏子又是那有名玩戏的人家的班子，虽是小孩子，却比大班子还强。咱们好歹别落了褒贬！少不得弄个新样儿的：叫芳官唱一出《寻梦》，只用箫和笙笛，余者一概不用。”文官笑道：“老祖宗说的是。我们的戏，自然不能入姨太太和亲家太太姑娘们的眼；<br />
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The Grandma Merchant said,”The eight scenes from The Eight Gallants were so noisy that they made me headache. we would like something quite.Look, Aunt Xue and Aunt Li both have opera groups at their home, and I don't know how many good operas they've heard. Now this little performer outside belongs to famous families of opera ,though he is a child ,better than many large opera groups.So we are not able to disgrace ourselves, we should have to be on our best.So we must prepare another performance, let Fragrance Official sing the “The Dream Recalled”, only two-string fiddle and a flute allowed to use. Quite Official said,“ My majesty, you are right. Our performance is just not well enough to attract every aunts and girls that on the scene.<br />
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"The eight scenes from The Eight Gallants were so noisy that they made me headache. We would like something quite. Look, Aunt Marshgrass and Aunt Plum both have opera groups at their home, and I don't know how many good operas they've heard before. Those girls have seen better operas than the girls in our house. The little performer outside belongs to a famous family fond of operas. Although she is a child, she makes better performances than many actors from large opera groups," Grandma Merchant said. "So, we cannot disgrace ourselves, and we should have to be on our best with some creative performance. Let Fragrance Official sing the 'The Dream Recalled', only two-string fiddle and a flute allowed to accompany." "You are right, Grandma. Our performance is just not well enough to attract every aunt and girl that on the scene," Literal Official said.--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 03:06, 11 May 2022 (UTC)<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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不过听我们一个发脱口齿，再听个喉咙罢了。”贾母笑道：“正是这话了。”李婶娘薛姨妈喜的笑道：“好个灵透孩子！你也跟着老太太打趣我们！”贾母笑道：“我们这原是随便的玩意儿，又不出去做买卖，所以竟不大合时。”说着，又叫葵官：“唱一出《惠明下书》，也不用抹脸。只用这两出，叫他们二位太太听个助意儿罢了。若省了一点儿力，我可不依。”文官等听了出来，忙去扮演上台，先是“寻梦”，次是“下书”。<br />
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"They just want to hear our dictation and voice," she said. "That's it," Grandma Merchant laughed. "What a clever girl! You also make fun of us with Grandma!" Aunt Marshgrass and Aunt Plum said with smile. "We are doing this with a casual attitude without the intent to perform for money, so the performance is not accordance with the trend," Grandma laughed. "Just sing the Huiming Taking the Letter without the paint on face. It's enough for them to have an idea of your competence after heading these two scenes. Don't muddle through your work, or I'll not let it go," she said to Sunflower. Literary and others was hurry to change the clothes and then make the performance on the stage, Chasing the Dream first and Taking the Letter second.<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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众人鸦雀无闻。薛姨妈笑道：“实在戏也看过几百班，从没见过只用箫管的。”贾母道：“先有，只是像方才《西楼·楚江情》一支，多有小生吹萧合的。这合大套的实在少。这也在人讲究罢了，这算什么出奇？”指湘云道：“我像他这么大的时候儿，他爷爷有一班小戏，偏有一个弹琴的，凑了《西厢记》的《听琴》，《玉簪记》的《琴挑》，《续琵琶》的《胡茄十八拍》，成了真的了。比这个更如何？”<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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众人都道：“那更难得了。”贾母于是叫过媳妇们来，吩咐文官等叫他们吹弹一套“灯月圆”。媳妇们领命而去。当下贾蓉夫妻二人捧酒一巡。凤姐儿因贾母十分高兴，便笑道：“趁着女先儿们在这里，不如咱们传梅，行一套‘春喜上眉梢’的令，如何？”贾母笑道：“这是个好令，正对时景。”忙命人取了黑漆铜钉花腔令鼓来，与女先儿们击着。席上取了一枝红梅，贾母笑道：“到了谁手里住了鼓，吃一杯，也要说些什么才好。”<br />
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They all answered: "That will be more unusual." Madam Merchant called over the women and asked them including Wen Guan to perform a song called "Round lamp and Moon". Receiving the order, they went to prepare for it. At this moment, Prosperity Merchant and his wife went around to fill wine in cups. Seeing Madam Merchant was exalted, Splendid Phoenix said with a smile:" today the music players are here. Why not we have them playing "Spring pleasure up on brows" and we have a game: passing a branch of plum blossoms while beating drums?" Madam Merchant smiled:" That is a good idea. Suitable for the time." She asked servants to fetch black lacquered drums which were studded with patterns of bronze nails and give them to music players to play. Then she picked one branch of plum from the flower vase on the table, and said smilingly:" when the drum was stopped, whoever gets the flower need to drink a cup of wine and say something."<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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凤姐儿笑道：“依我说，谁像老祖宗要什么有什么呢。我们这不会的，岂不没意思。依我说，也要雅俗共赏。不如谁住了，谁说个笑话儿罢。”众人听了，都知道他素日善说笑话，最是肚内有无限新鲜趣令；今儿如此说，不但在席的诸人喜欢，连地下伏侍的老小人等无不欢喜。那小丫头子们都忙去找姐姐唤妹妹的，告诉他们：“快来听，二奶奶又说笑话儿了。”众丫头子们便挤了一屋子。<br />
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Splendid Phoenix King smiled:"In my opinion, is there anyone having everything just like the Grandma? It would be boring if we can't do it. So from my perspective, we should make it available for everyone. So how about a joke from the one who stop." Hearing this, people knew that she liked to talk jokes so that she had many interesting things to say; so everyone there agreed her suggestion, including the servants. Those servant girls just hurriedly looked for their sisters and told them:"Hurry up. the lady is talking jokes now." then the girls just crowded in the room.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 03:24, 8 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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于是戏完乐罢，贾母将些汤细点果与文官等吃去，便命响鼓。那女先儿们都是惯熟的，或紧或慢，或如残漏之滴，或如迸豆之急，或如惊马之驰，或如疾电之光，忽然暗其鼓声，那梅方递至贾母手中，鼓声恰住，大家哈哈大笑。贾蓉忙上来斟了一杯，众人都笑道：“自然老太太先喜了，我们才托赖些喜。”贾母笑道：“这酒也罢了，只是这笑话儿倒有些难说。”众人都说：“老太太的比凤姑娘说的还好，赏一个，我们也笑一笑。”<br />
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Then the drama and the joy of appreciating ended. After telling some servants to bring soup, fruits, deserts and dishes to Literal Official and and others to eat, Grandma Merchant ordered the drummers to begin playing. Those blind women were all skilled in this game, whose play were slow sometimes and sometimes quick; sometimes as dribs of water and sometimes as beans jumping all around; sometimes as horses running wild and sometimes as lightning flashing and then darkening. The speed in which the branch was passed was kept in the same pace with the drum beats. Just as it was passed onto Grandma Merchant’s hands, the beats stopped. Everybody laughed a little, and Prosperity Merchant immediately came close to pour her a cup of wine. “Of course your old ladyship is the most lucky, we just want to share a little of your luck.” They all said. “It’s fine by me to drink, yet the joke fails me.” Grandma Merchant smiled. They all said, ”Your joke is even better than Sister Phoenix’s. Just tell one and it will give us a good laugh.”--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:58, 8 May 2022 (UTC)<br />
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Then the drama and the music came to an end. After telling some servants to bring soup, fruits, deserts and dishes to Literal Official and and others to eat, Grandma Merchant ordered the drummers to begin playing. Those blind women were all skilled in this game, whose play were slow sometimes and sometimes quick; sometimes as dribs of water and sometimes as beans jumping all around; sometimes as horses running wild and sometimes as lightning flashing and then darkening. The speed in which the branch was passed was kept in the same pace with the drum beats. Just as it was passed onto Grandma Merchant’s hands, the beats stopped. Everybody chortled with delight, and Prosperity Merchant immediately came to pour her a cup of wine. “Of course your old ladyship is the most lucky one, we just want to share a little of your luck.” They all said. “It’s fine for me to drink, yet the joke fails me.” Grandma Merchant smiled. They all said, ”Your joke is even better than Sister Phoenix’s. Just tell one and it will give us a good laugh.”--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 06:14, 9 May 2022 (UTC)<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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贾母笑道：“并没有新鲜招笑儿的，不少得老脸皮厚的说一个罢。”因说道：“一家子养了十个儿子，聚了十房媳妇儿。惟有第十房媳妇儿聪明伶俐、心巧嘴乖，公婆最疼，成日家说那九个不孝顺，这九个媳妇儿委屈，便商议说‘咱们九个心里孝顺，只是不像那小蹄子儿嘴巧，所以公公婆婆只说他好。这委屈向谁诉去？’有主意的说道：‘咱们明儿到阎王庙去烧香，和阎王爷说去，问他一问：叫我们托生为人，怎么单单给那小蹄子一张乖嘴，我们都入了夯嘴里头。’<br />
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Grandma Merchant laughed: "I do have no novel jokes, but nerve myself to tell one." She continued: "There are ten sons in a big family, and ten daughters-in-law. However, the parents-in-law love the tenth daughter-in-law most, who is clever, bright-minded and honey-lipped. The parents-in-law always complain that the nine duaghters-in-law left are not filial. Thus, the latter feel aggrieved and have a thought in mind that 'We are filial in mind, not like that flattery woman so our parents-in-law praise her. But where can we pour out our grievance?' Some suggested: 'We can go to the Temple of Hell and ask Hell why he merely gives a plausible mouth to that bitch, who hurts us by her implacable mouth.'<br />
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“I don't know any good new ones,” said Grandma Merchant. “I'll just have to put a bold face on it and do the best I can.” She continued: "There are ten sons in a big family, and ten daughters-in-law. However, the parents-in-law love the tenth daughter-in-law most, who is clever, bright-minded and honey-lipped. The parents-in-law always complain that the nine duaghters-in-law left are not filial. Thus, the latter feel aggrieved and have a thought in mind that 'We are filial in mind, not like that flattery woman so our parents-in-law praise her. But where can we pour out our grievance?' Some suggested: 'We can go to the Temple of Hell and ask Hell why he merely gives a plausible mouth to that bitch, who hurts us by her implacable mouth.'--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 01:07, 9 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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那八个听了，都喜欢说：‘这个主意不错。’第二日，便都往阎王庙里来烧香。九个都在供桌底下睡着了。九个魂专等阎王驾到。左等不来，右等也不到。正着急，只见孙行者驾着觔斗云来了，看见九个魂，便要拿金箍棒打来，吓得九个魂忙跪下央求。孙行者问起原故来，九个人忙细细的告诉了他。孙行者听了，把脚一跺，叹了一口气道：‘这原故幸亏遇见我，等着阎王来了，他也不得知道。’<br />
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The others were delighted with this suggestion. They all went the nest day to the temple and offered incense, then slept there at the foot of the altar while their spirits waited for the King of Hell to appear. They waited for a long time but nothing happened. Presently, just as they were growing desperate, Monkey came bowling along on his cloud-trapeze, and seeing the nine souls there, lifted up his metal-clasped cudgel to strike them with. The souls knelt down in terror and begged him to spare them. Monkey asked them what they were doing there, so they told him their story. When they had finished, Monkey stamped his foot and sighed sympathetically. “‘What a good job you met me here and not old Yama,” he said. “He wouldn't have been able to help you at all.”<br />
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The others were delighted with this suggestion and showed their agreement. They all went the nest day to the temple and offered incense, then slept there at the foot of the altar while their spirits waited for the King of Hell to appear. They waited for a long time but nothing happened. Presently, just as they were growing desperate, Monkey came bowling along on his cloud-trapeze, and seeing the nine souls there, lifted up his metal-clasped cudgel to strike them with. The souls knelt down in terror and begged him to spare them. Monkey asked them what they were doing there, so they told him their story in detail. When they had finished, Monkey stamped his foot and sighed sympathetically. “‘What a good job you met me here but not old Yama,” he said. “He wouldn't have been able to help you at all.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 02:42, 10 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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九个人听了，就求说：‘大圣发个慈悲，我们就好了。’孙行者笑道：’却也不难，那日你们妯娌十个托生时，可巧我到阎王那里去的，因为撒了一泡尿在地下，你那个小婶儿便吃了。你们如今要伶俐嘴乖，有的是尿，再撒泡你们吃就是了。”说毕，大家都笑起来。凤姐儿笑道：“好的呀！幸而我们都是夯嘴夯腮的，不然，也就吃了猴儿尿了。”尤氏娄氏都笑向李纨道：“咱们这里头谁是吃过猴儿尿的，别装没事人儿。”<br />
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“The nine spirits pleaded, ‘Have pity and tell us, Great Sage. That’s all we ask. “‘That’s easy,’ answered Monkey with a smile. ‘The day you ten girls were born, I’d gone to visit the King of Hell and happened to piss on the ground. Your youngest sister-in-law lapped it up. If you want the gift of the gab, I’ve plenty more piss you can drink if you like.’ “The whole company burst out laughing. “Fine!” cried Sister Phoenix. “It’s lucky we’re all so dumb here. Otherwise people might say we’d drunk monkey’s piss.” Madam Outstanding and Madam Lou joked to Silk Plum, “The one who’s drunk monkey’s piss is playing innocent!”<br />
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“The nine spirits pleaded, ‘Have pity and tell us, Great Sage. That’s all we ask. “‘That’s easy,’ answered Monkey with a smile. ‘The day you ten girls were born, I’d gone to visit the King of Hell and happened to piss on the ground. Your youngest sister-in-law lapped it up. If you want the gift of the gab, I’ve plenty more piss you can drink if you like.’ “The whole company burst out laughing. “Fine!” cried Sister Phoenix. “It’s lucky we’re all so dumb here. Otherwise people might say we’d drunk monkey’s piss.” Madam Outstanding and Madam Lou joked to Silk Plum, “The one who’s drunk monkey’s piss is playing innocent!”--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 09:44, 8 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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薛姨妈笑道：“笑话儿在对景就发笑。”说着，又击起鼓来。小丫头子们只要听凤姐儿的笑话，便悄悄的和女先儿说明，以咳嗽为记。须臾传至两遍，刚到了凤姐儿手里，小丫头子们故意咳嗽，女先儿便住了。众人齐笑道：“这可拿住他了。快吃了酒，说一个好的罢。别太逗人笑得肠子疼。”凤姐儿想了一想，笑道：“一家子也是过正月节，合家赏灯吃酒，真真的热闹非常。<br />
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"A joke is always the better for being apt," Aunt Marshgrass observed.The drums started up again then. The maids, who wanted only to hear Splendid Phoenix tell a joke, had come to a secret understanding with the blind women that if one of them coughed it would be a signal to stop, and when the branch had been round twice and had just reached Splendid Phoenix for the second time, the maids all coughed and the drumming stopped.Now we've caught her!”the others exulted.“Drink up quickly and let us have a good one.Just don't make us split our sides laughing.”Splendid Phoenix thought for a few moments and then started:‘A family was celebrating the First Moon festival, just as we are doing, admiring the lanterns and drinking wine together. It was a very lively party and everyone in the family was there:<br />
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"A joke is always the better for being apt," Aunt Marshgrass observed. The drums started up again then. The maids, who wanted only to hear Splendid Phoenix tell a joke, had come to a secret understanding with the blind women that if one of them coughed it would be a signal to stop, and just after being passed twice in a moment， it had just reached Splendid Phoenix for the second time, the maids all coughed and the drumming stopped. Everyone giggled together， “Now we've caught her!” the others exulted.“Drink up quickly and let us have a good one. Just don't make us split our sides laughing.”Splendid Phoenix thought for a few moments and then started:‘A family was celebrating the Lantern Festival, just as we are doing, admiring the lanterns and drinking wine together. It was a very lively party and everyone in the family was there:<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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祖婆婆、太婆婆、媳妇、孙子媳妇、重孙子媳妇、亲孙子媳妇、侄孙子、重孙子、灰孙子、滴里搭拉的孙子、孙女儿、外孙女儿、姨表孙女儿、姑表孙女儿，……嗳哟哟，真好热闹！”众人听他说着，已经笑了，都说：“听这数贫嘴的，又不知要编派那一个呢！”尤氏笑道：“你要招我，我可撕你的嘴。”凤姐儿起身拍手笑道：“人家这里费力，你们紧着混，我就不说了。”贾母笑道：“你说你说，底下怎么样？”<br />
Grandmas, wives, grandson wives, grandsons, granddaughters...Oh, how hilarious! " Hearing that, everyone has already laughed and said, "What a loquacious guy. We don't know who she's gonna play!" Madam Outstanding said with a smile: "if you’d like to provoke me, I could tear your mouth." Sister Phoenix got up and clapped her hands and said with a smile, "I here try to finish it, you one after another gag, I will not say anymore！" Grandma Merchant smiled and said, "Don't mind， just go on. What about the situation of these people?"<br />
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Grandmas, wives, daughters, grandson’s wives, grandsons, granddaughters... All of his relatives were there. Oh, how boisterous! " Everyone was laughing when hearing about this, and they said, "What a loquacious guy. Who knows whom she's gonna make fun of!" Madam Outstanding laughed: " If you dare to provoke me, I could tear your mouth." Sister Phoenix got up and clapped her hands and said with a smile, " It’s difficult for me to continue this. I am tired now. You guys just frolic here, and I’m not gonna join you." Grandma Merchant smiled and said, " Don't mind, just go on. What happened then?"--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 08:02, 8 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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凤姐儿想了一想，笑道：“底下就团团的坐了一屋子，吃了一夜酒，就散了。”众人见他正言厉色的说了，也都再无有别话，怔怔的还等往下话，只觉他冰冷无味的就住了。史湘云看了他半日。凤姐儿笑道：“再说一个过正月节的：几个人拿着房子大的炮仗往城外放去，引了上万的人跟着瞧去。有一个性急的人等不得，便偷着拿香点着。只听‘噗哧’的一声，众人哄然一笑，都散了。这抬炮仗的人抱怨卖炮仗的捍的不结实，没等放就散了。”<br />
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Sister Phoenix thought it over and then smiled, “ They just sit around the table to drink for the whole night and then scattered to their own place.” Seeing that she was talking about this quiet seriously, all the people there were in a daze, waiting for her to continue about this story, but she just stopped suddenly, making the atmosphere as cold as ice. Then Fragrant Cloud stared at her for quiet a long time, but her sister just laughed and said, “ Now let me tell you another story about Lantern Festival. There were some guys who carried a huge firecracker to set it off at somewhere outside of the town, which attracted tens of thousands of people following them to appreciate this. However, someone hot-tempered was so impatient to wait for this that he set it off with an incense stick furtively halfway. Then with the sound of the firework cracking, all the people there howled with laughter and then dispersed. Not knowing what had happened, those who were carrying the firecracker just complained about its low quality and weakness which made it spoiled before being set off.<br />
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Sister Phoenix thought it over and then smiled, “ They just sit around the table, drinking for the whole night and then heading for their own place.” Seeing that she was talking about this with stern countenance, all the people there were in a daze, waiting for her to continue about this story, but she just stopped suddenly, making the atmosphere as cold as ice. Then Fragrant Cloud stared at her for quiet a long time, but her sister just laughed and said, “ Now let me tell you another story about Lantern Festival. There were some guys who carried a huge firecracker to set them off at somewhere outside of the town, which attracted tens of thousands of people following them to appreciate this. However, someone hot-tempered was so impatient to wait for this that he set it off with an incense stick furtively halfway. Then with the sound of the firework cracking, all the people there howled with laughter and then dispersed. Not knowing what had happened, those who were carrying the firecrackers just complained about its low quality and weakness which made it spoiled before being set off.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 05:19, 9 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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湘云道：“难道本人没听见？”凤姐儿道：“本人原是个聋子。”众人听说，想了一回，不觉失声都大笑起来。又想着先前那一个没完的，问他道：“先那一个到底怎么样？也该说完了。”凤姐儿将桌子一拍，道：“好罗唆！到了第二日是十六日，年也完了，节也完了，我看人忙着收东西还闹不清，那里还知道底下事了？”众人听说，复又笑起来。凤姐儿笑道：“外头已经四更多了，依我说：老祖宗也乏了，咱们也该‘聋子放炮仗——散了’罢。”<br />
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Then Fragrant-cloud asked, "Didn't that peroson hear those words?" "No, for the one who put firecrackers was a deaf", Sister Phoenix replied. Hearing the reply, the crowd burst into laughter after pondering for a while. Meanwhile, when thinking over the previous unfinished joke Sister Phoenix made, the crowd asked, "What's the ending of the first one you've just made on earth? It's time to finish that." Patting on the table, Sister Phoenix then said, " How long-winded you are! The next day is the 16th day of the lunar calendar, when the Spring Festival is over. And I am just occupied to take charge of the trivial things, then how can I know what's happening afterwards?" The crowd then let out screams of laughter again the minute they heard what Phoenix said. Then she herself said with a smile, "Now it's 2:24 clock or so in the morning now. From my perspective, Grandma is tired now, and we just break up."<br />
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Then Fragrant-cloud asked, "Didn't that person hear those words?" "No, because the one who put firecrackers was a deaf", Sister Phoenix replied. Hearing the reply, the crowd burst into laughter after pondering for a while. Meanwhile, when thinking over the previous unfinished joke Sister Phoenix made, the crowd asked, "What's the ending of the first one you've just made on earth? It's time to finish that." Patting on the table, Sister Phoenix then said, " How long-winded you are! The next day is the sixteenth day of the first lunar month, representing that the Spring Festival is over. And I am just occupied taking charge of the trivial things, then how can I know what happened afterwards?" The crowd then let out screams of laughter again the minute they heard what Phoenix said. Then she herself said with a smile, "Now it's more than three o'clock in the morning. From my perspective, Grandma is tired, and let's break up now."--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 08:01, 7 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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尤氏等用手帕握着嘴，笑的前仰后合，指他说道：“这个东西真会数贫嘴。”贾母笑道：“真真这凤丫头，越发贫嘴了。”一面说，一面吩咐道：“他提起炮仗来，咱们也把烟火放了，解解酒。”贾蓉听了，忙出去，带着小厮们，就在院子内安下屏架，将烟火设吊齐备。这烟火俱系各处进贡之物，虽不甚大，却极精致，各色故事俱全，夹着各色花炮。黛玉禀气虚弱，不禁‘劈拍’之声，贾母便搂他在怀内。薛姨妈搂着湘云。<br />
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Hearing the words, Madam Outstanding and others present fell about laughing, covering their mouths with handkerchiefs. Then Madam Outstanding pointed Sister Phoenix and said, " She is really adept in joking." "That's true, Sister Phoenix is getting much better at making jokes." Grandma Merchant said with a smile. When saying that, she instructed, "Since Sister Phoenix mentioned firecrackers, now let's set off fireworks to alleviate the effect of alcohol." Hearing that, Prosperity Merchant hurried to go out of the room with his footmen, and then they placed the screen in the yard and had all the fireworks set up. The fireworks are the tribute from all over the country, which are small but rather delicate in appearance and complete in variety, blended with sparklers of various colors. Mascara Jade, being of a nervous disposition, was terrified of pops and bangs. Knowing this, Grandma Merchant hugged her to her bosom to comfort her. At the same time, Aunt Marshgrass hugged Fragrant-cloud History as well.<br />
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Hearing the words, Madam Outstanding and others present fell about laughing, covering their mouths with handkerchiefs. Then Madam Outstanding wagged a finger at Sister Phoenix and said, " How this creature does rattle on." "That's true, Sister Phoenix is getting much better at making jokes." Grandma Merchant said with a smile. When saying that, she instructed, "Since Sister Phoenix mentioned firecrackers, now let's set off fireworks to sober ourselves up." Hearing that, Prosperity Merchant promptly went out to get pages to set up screens and stands in the courtyard on which to place or hang the fireworks. The fireworks are the tribute from all over the country, which are small but rather delicate in appearance and complete in variety, blended with sparklers of various colors. Mascara Jade, being of a nervous disposition, was terrified of pops and bangs. Knowing this, Grandma Merchant hugged her to her bosom to comfort her. At the same time, Aunt Marshgrass hugged Fragrant-cloud History as well.--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 11:58, 9 May 2022 (UTC)<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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湘云笑道：“我不怕。”宝钗笑道：“他专爱自己放大炮仗，还怕这个呢。”王夫人便将宝玉搂入怀内。凤姐笑道：“我们是没人疼的。”尤氏笑道：“有我呢，我搂着你。你这会子又撒娇儿了，听见放炮仗，就像‘吃了蜜蜂儿屎’的，今儿又轻狂了。”凤姐儿笑道：“等散了，咱们园子里放去。我比小厮们还放得好呢。”说话之间，外面一色色的放了又放。又有许多“满天星”“九龙入云”“平地一声雷”“飞天十响”之类的零星小炮仗。<br />
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She declared with a smile that she was not afraid. “She likes nothing better than letting off big fire-crackers herself,” explained Precious Hairpin. “Why should she be scared of these?” Lady King had taken Precious Jade on her lap. “No one cares for poor little me!” Sister Phoenix complained. “I do,” chuckled Madam Outstanding. “Come and sit on my knee and don’t be afraid. You’re behaving like a spoilt brat again. The sound of fireworks has sent you off your head, just as if you’d eaten bees’ wax.” “When this party’s over let’s go and let off fireworks in the Garden,” proposed Sister Phoenix gaily. “I’m better at that than those page boys.” Meanwhile a pyrotechnical display was going on outside, including sparklers like “A Skyful of Stars,” “Nine Dragons Soar to the Clouds,” “A Bolt from the Blue,” and ‘Ten Peals in the Air.”<br />
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She laughed and said that she didn't mind the fireworks. There's nothing she likes better than letting them off herself, ‘She's not afraid of fireworks!” explained Precious Hairpin. “Why should she be scared of these?” Lady King had taken Precious Jade on her lap. “No one cares for poor little me!” Sister Phoenix complained. “I do,” chuckled Madam Outstanding. “Come and sit on my knee and don’t be afraid. You’re behaving like a spoilt brat again. The sound of fireworks has sent you off your head, just as if you’d eaten bees’ wax.” “When this party’s over let’s go and let off fireworks in the Garden,” proposed Sister Phoenix gaily. “I’m better at that than those page boys.” Meanwhile, a pyrotechnical display was going on outside, including sparklers like “A Skyful of Stars,” “Nine Dragons Soar to the Clouds,” “A Bolt from the Blue,” and ‘Ten Peals in the Air.”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 09:16, 10 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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放罢，然后又命小戏子打了一回“莲花落”，撒得满台的钱，那些孩子们满台的抢钱取乐。上汤时，贾母说：“夜长，不觉得有些饿了。”凤姐儿忙回说：“有预备的鸭子肉粥。”贾母道：“我吃些清淡的罢。”凤姐儿忙道：“也有枣儿熬的粳米粥，预备太太们吃斋的。”贾母道：“倒是这个还罢了。”说着，已经撤去残席，内外另设各种精致小菜。大家随意吃了些，用过漱口茶，方散。<br />
When the display was over, the boy actors were asked to go up on the stage again and play the Beggar's Song, and everyone amused themselves by throwing money onto the stage and watching them scramble for it. As hot soup was once more being served, Grandma Merchant remarked that after being up for so many hours she was beginning to feel rather empty. “We've prepared some duck congee,” Splendid Phoenix told her. “I'd prefer something less greasy,” was the reply. ‘We've got a rice and date frumenty that was made for the ladies who don't eat meat,' said Splendid Phoenix. ‘That will do,' said Grandma Merchant. The used things were removed now from the table and another set of dishes containing all sorts of tempting entremets laid out in their place. When everyone had sampled what they fancied, they rinsed their mouths out with tea supplied for that purpose and the party finally broke up.<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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十七日一早，又过宁府行礼，伺候掩了祠门，收过影像，方回来。此日便是薛姨妈家请吃年酒。贾母连日觉得身上乏了，坐了半日，回来了。自十八日以后，亲友来请，或来赴席的，贾母一概不会，有邢夫人、王夫人、凤姐三人料理。连宝玉只除王子腾家去了，余者亦皆不去，只说是贾母留下解闷。闲言不提。当下元宵已过，凤姐突然小产了，合家惊慌。要知端的，且听下回分解。<br />
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On the seventeenth, they also repaired, at an early hour, to the Ning mansion to present their compliments; and remaining in attendance, while the doors of the ancestral hall were closed and the images put away, they, at length, returned to their quarters.Invitations had been issued on this occasion to drink the new year wine at Mrs. Hsueeh's residence. But dowager lady Chia had been out on several consecutive days, and so tired out did she feel that she withdrew to her rooms, after only a short stay.After the eighteenth, relatives and friends arrived and made their formal invitations; or else they came as guests to the banquets given. But so little was old lady Chia in a fit state to turn her mind to anything that the two ladies, Madame Hsing and lady Feng, had to attend between them to everything that cropped up. But Pao-yue as well did not go anywhere else than to Wang Tzu-t'eng's, and the excuse he gave out was that his grandmother kept him at home to dispel her ennui.We need not, however, dilate on irrelevant details. In due course, the festival of the fifteenth of the first moon passed. But, reader, if you have any curiosity to learn any subsequent events, listen to those given in the chapter below.<br />
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On the seventeenth, they also repaired, at an early hour, to the Peace mansion to present their compliments; and remaining in attendance, while the doors of the ancestral hall were closed and the images put away, they, at length, returned to their quarters.Invitations had been issued on this occasion to drink the new year wine at Aunt Marshgrass residence. But dowager lady Merchant had been out on several consecutive days, and so tired out did she feel that she withdrew to her rooms, after only a short stay.After the eighteenth, relatives and friends arrived and made their formal invitations; or else they came as guests to the banquets given. But so little was old lady Merchant in a fit state to turn her mind to anything that the two ladies, Madame City and lady Phonix, had to attend between them to everything that cropped up. But Precious Jade as well did not go anywhere else than to Song Rising's, and the excuse he gave out was that his grandmother kept him at home to dispel her ennui.We need not, however, dilate on irrelevant details. In due course, the festival of the fifteenth of the first moon passed，and the family panic as Phonix suddenly miscarried . But, reader, if you have any curiosity to learn any subsequent events, listen to those given in the chapter below.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 05:27, 10 May 2022 (UTC)<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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且说荣府中刚将年事忙过，凤姐儿因年内年外操劳太过，一时不及检点，便小月了，不能理事，天天两三个太医用药。凤姐儿自恃强壮，虽不出门，然筹画计算，想起什么事来，便命平儿去回王夫人。任人谏劝，他只不听。王夫人便觉失了膀臂，一人能有多少精神？凡有了大事，自己主张；将家中琐碎之事，一应都暂令李纨协理。李纨本是个尚德不尚才的，未免逞纵了下人。王夫人便命探春合同李纨裁处，只说过了一月，凤姐将息好了，仍交与他。<br />
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And that the Honor House will just be busy with the New Year, Phoenix had a miscarriage because she was too overworked and didn't pay attention. Therefore, She can no longer manage the affairs of the house, and several eunuchs prescribe her medicine every day. But she felt well enough to remain at home and plan. Remembering what happened, she would order Patience to go back to Mrs. King. She only did not listen to other’s advice. Mrs. King then felt the loss of arms, and how much energy can a person have? She decided major events while asking Silk Plum to dealing with trivial matters. Silk Plum advocated virtue than talent, and were too persuasive for the subordinates. Mrs. King ordered Seeking -Spring to help Silk Plum. After one month, Phoenix was handed over after being better.<br />
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The Lantern Festival passed. No sooner was the bustle of New Year over than Splendid Phoenix had a miscarriage. She had to stop running the household for a month, and two or three doctors attended her every day; but overestimating her own strength, although staying indoors she continued mapping out plans for the household, which Patience was sent to report to Lady King. All advice to rest she ignored. Lady King felt as if she had lost her right arm, and simply had not the energy to cope. She decided important matters herself, entrusting lesser domestic affairs to Silk Plum for the time being. But Silk Plum, being one of those people who have more virtue than ability, inevitably let the servants have their own way; so Lady King told Seeking Spring to help her out for a month, until Phoenix was well enough to take over again.--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 14:36, 10 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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谁知凤姐禀赋气血不足，兼年幼不知保养，平生争强斗智，心力更亏，故虽系小月，竟着实亏虚下来。一月之后，又添了下红之症。他虽不肯说出来，众人看他面目黄瘦，便知失于调养。王夫人只令他好生服药调养，不令他操心。他自己也怕成了大症，遗笑于人，便想偷空调养，恨不得一时复旧如常。谁知服药调养，直到三月间，才渐渐的起复过来，下红也渐渐止了，此是后话。<br />
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Splendid Phoenix had a delicate constitution and was never health-conscious as a girl. In her passion to shine she had overtaxed her strength, with the result that her miscarriage left her very weak. A month after it she was still losing blood. Although she kept this a secret, everyone could see from her pallor and loss of weight that she was not taking proper care of herself. Lady King urged her not to worry about family affairs, but just to take medicine and recuperate. And as she herself was afraid that if she fell really ill other people would gloat, she concentrated on getting better as soon as possible. However, she did not start to mend for some time: not until the autumn did she begin to recover and gradually stop losing blood. But this is anticipating.<br />
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Splendid Phoenix had a delicate constitution, however, and as a girl had never looked after her health. In her passion to shine she had overtaxed her strength, with the result that her miscarriage left her very weak. A month after it she was still losing blood.Although she kept this a secret, everyone could see from her pallor and loss of weight that she was not taking proper care of herself. Lady King urged her not to worry about family affairs, but just to take medicine and recuperate. And as she herself was afraid that if she fell really ill other people would gloat, she concentrated on getting better as soon as possible. However, she did not start to mend for some time: not until the autumn did she begin to recover and gradually stop losing blood. But this is anticipating.--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 10:20, 8 May 2022 (UTC)<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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如今且说王夫人见他如此，探春与李纨暂难谢事，园中人多，又恐失于照管，特请了宝钗来，托他各处小心。因嘱咐他：“老婆子们不中用，得空儿吃酒斗牌，白日里睡觉，夜里斗牌，我都知道的。凤丫头在外头，他们还有个怕惧，如今他们又该取便了。好孩子，你还是个妥当人。你兄弟妹妹们又小，我又没工夫，你替我辛苦两天，照看照看。凡有想不到的事，你来告诉我，别等老太太问出来，我没话回。<br />
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Meanwhile, seeing that for the time being Seeking-Spring and Silk Plum could hardly be relieved of their responsibilities, and that there were many people in the Garden who needed to be kept in order, Lady King enlisted Precious Hairpin Marshgrass's help as well. “The old serving-women are no use,” she told her.“They drink and gamble whenever they have the chance, sleeping during the day so as to play cards at nigh. I know all they're up to. When Splendid Phoenix was up and about, there was someone they were afraid of; but now that she is out of the way, I expect they do just as they please. You're a good steady girl, my dear. Your cousins are young and I'm busy, do you mind putting yourself out, for a couple of days, to keep an eye on things for me?<br />
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Meanwhile, seeing that for the time being Seeking-Spring and Silk Plum could hardly be relieved of their responsibilities, and that there were many people in the Garden who needed to be kept in order, Lady King enlisted Precious Hairpin Marshgrass's help as well. “The old serving-women are no use,” she told her.“They drink and gamble whenever they have the chance, sleeping during the day so as to play cards at nigh. I know all they're up to. When Splendid Phoenix was up and about, there was someone to scare them; but now they'll be taking advantage. You're a good steady girl, my dear. Your cousins are young and I'm busy, do you mind putting yourself out, for a couple of days, to keep an eye on things for me? If there’s anything I overlook, come and let me know before the old lady asks and I’m stumped for an answer.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 02:36, 10 May 2022 (UTC)<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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那些人不好了，你只管说；他们不听，你来回我。别弄出大事来才好。”宝钗听说，只得答应了。时届季春，黛玉又犯了咳嗽；湘云又因时气所感，亦病卧于蘅芜苑，一天医药不断。探春同李纨相住间隔，二人近日同事，不比往年，来往回话人等亦甚不便，故二人议定，每日早晨，皆到园门口南边的三间小花厅上去会齐办事；吃过早饭，于午错方回。这三间厅，原系预备省亲之时众执事太监起坐之处，故省亲之后，也用不着了，每日只有婆子们上夜。<br />
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If the servants misbehave, just tell them off. If they won't listen, let me know. We don't want to have any trouble." Precious Hairpin had to agree to this. It was now early spring and Mascara Jade was coughing again while Fragrant Cloud too was under the weather, confined to her bed in Alpinia Park, taking medicine day after day. As Seeking Spring and Silk Plum lived some distance from each other, now that they were working together it proved so inconvenient sending messages to and from that they arranged to settle their business every morning in the small three-roomed hall south of the Garden gate. They took to having breakfast there and returning to their own quarters about noon. This hail had served as the headquarters for the eunuchs in charge at the time of the Imperial Consort's visit, since when it had only been used by some old maid-servants who kept watch there at night.<br />
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If the servants misbehave, just tell them off. If they won't listen to you, just let me know. We don't want to have any trouble." Precious Hairpin had to agree to this. It was now early spring and Mascara Jade was coughing again while Fragrant Cloud too was under the weather, confined to her bed in Alpinia Park, taking medicine day after day. As Seeking Spring and Silk Plum lived some distance from each other, now that they were working together it proved so inconvenient sending messages to and from that they arranged to settle their business every morning in the small three-roomed hall south of the Garden gate. They took to having breakfast there and returning to their own quarters about noon. This hail had served as the headquarters for the eunuchs in charge at the time of the Imperial Consort's visit, since when it had only been used by some old maid-servants who kept watch there at night.--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 02:28, 9 May 2022 (UTC)<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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如今天已和暖，不用十分修饰，只不过略略的陈设了，便可他二人起坐。这厅上也有一处匾，题着“补仁谕德”四字；家下俗呼皆只叫“议事厅儿”。如今他二人每日卯正至此，午正方散，凡一应执事的媳妇等来往回话者，络绎不绝。众人先听见李纨独办，各各心中暗喜，以为李纨素日是个厚道多恩无罚的，自然比凤姐儿好搪塞；便添了一个探春，都想着不过是个未出闺阁的年轻小姐，且素日也最平和恬淡，因此都不在意，比凤姐儿前更懈怠了许多。<br />
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As the weather was warm now no major repairs were needed: a little fixing up made the place fit for the two of them to live. The tablet over this hall bore the inscription “Assisting Benevolence and Discussing Virtue,” but members of the household all called it the Council Hall.Now the two young mistresses came here at six every morning and did not leave until noon, after an endless stream of women-servants had reported on the matters entrusted to them. These women had all exulted secretly at the news that Silk Plum was to be in sole charge, thinking her too kind-hearted to punish anyone, and obviously much easier to impose on than Splendid Phoenix. It did not worry them either when Seeking-Spring later joined her, for they discounted her as a young unmarried girl who had always been most pleasant and easy-going. So they became much slacker than before.<br />
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The weather was warm , no major repairs were needed: a little fixing up made the place fit for the two of them to live. The tablet over this hall bore the inscription “Assisting Benevolence and Discussing Virtue,” but members of the household all called it the Council Hall.Now the two young mistresses came here at six every morning and did not leave until noon, after an endless stream of women-servants had reported on the matters entrusted to them. These women had all exulted secretly at the news that Silk Plum was to be in sole charge, thinking her too kind-hearted to punish anyone, and obviously much easier to impose on than Splendid Phoenix. It did not worry them either when Seeking-Spring later joined her, for they discounted her as a young unmarried girl who had always been most pleasant and easy-going. So they became much slacker than before.--[[User:Yang Xinyi|Yang Xinyi]] ([[User talk:Yang Xinyi|talk]]) 12:23, 9 May 2022 (UTC)<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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只三四日后，几件事过手，渐觉探春精细处不让凤姐，只不过是言语安静、性情和顺而已。可巧连日有王公侯伯世袭官员十几处，皆系荣宁非亲即友即世交之家，或有升迁，或有黜降，或有婚丧红白等事，王夫人贺吊迎送，应酬不暇，前边更无人照管。他二人便一日皆在厅上起坐，宝钗便一日在上房监察，至王夫人回方散。每于夜间针线暇时，临寝之先，坐了轿，带领园中上夜人等，各处巡察一次：他三人如此一理，更觉比凤姐儿当权时倒更谨慎了些。<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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因而里外下人，都暗中抱怨说：“刚刚的倒了一个‘巡海夜叉’，又添了三个‘镇山太岁’，越发连夜里偷着吃酒玩的工夫都没了。”这日王夫人正是往锦乡侯府去赴席，李纨与探春，早已梳洗，伺候出门去后，回至厅上坐了，刚吃茶时，只见吴新登的媳妇进来回说：“赵姨娘的兄弟赵国基昨日出了事，已回过老太太、太太，说知道了，叫回姑娘来。”说毕，便垂手旁侍，再不言语。彼时来回话者不少，都打听他二人办事如何：<br />
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Therefore all servants complained in secret: “One wave have just been leveled while another wave has arisen, and more and more there was no time to secretly drink and play at night.” On that day, Lady King was going to Duke Jinxiang's mansion to attend the banquet. Silk Plum and Seeking-Spring Merchant had already washed and dressed. After waiting for them to go out, they returned to the hall and sat down. When they were just having tea, Ascend Proper Wu's daughter-in-law came in and replied: "Concubine Zhao's brother Nation Base Zhao had an accident yesterday, and it had been told to Grandma Merchant and Lady King, and they called you back.” After she finished speaking, she lowered her hands and waited by the side silently. At that time, there were many people who answering back and they all asked about how was it going with the two of them.<br />
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Therefore all servants complained in secret: “We are just rid of one demon and then here come three guardian mountain spirits. Now wen don not even have a chance to drink and play cards at night.” One day, Lady King was invited to a feast at Duke Jinxiang’s mansion. Silk Plum and Seeking-Spring Merchant had already got up early to attend her until she left. Then they went back to the hall. When they were just sipping tea there, Ascend Proper Wu’ wife came in to inform them that Concubine Zhao’s brother, Nation Base Zhao, had died the previous day. “I have reported this to old lady Merchant and lady King,” she said. “She told me to let you ladies know.” She did not make further comment after this and just lowered her hands and stood by at respectful attention. At that time, all servants who had come to report on business were eager to see how these two would handle this matter.--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 04:55, 7 May 2022 (UTC)<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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若办得妥当，大家则安个畏惧之心；若少有嫌隙不当之处，不但不畏服，一出二门，还说出许多笑话来取笑。吴新登的媳妇心中已有主意：若是凤姐前，他便早已献勤，说出许多主意、又查出许多旧例来，任凤姐拣择施行；如今他藐视李纨老实，探春是年轻的姑娘，所以只说出这一句话来，试他二人有何主见。探春便问李纨。李纨想了一想，便道：“前日袭人的妈死了，听见说赏银四十两，这也赏他四十两罢了。”<br />
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If they handled these things correctly, they would respect them; if they made the least mistake, they would despite them and would start gossip and make fun of them when they go out of the inner gate. Ascend Proper Wu’s wife knew what should be done. If she reported things to Splendid Phoenix, she would have made various suggestions for her to decide between. But now as she looked down on Silk Plum as a simpleton and Seeking-Spring as only a young girl, she said no more, waiting to see what they would do. Seeking-Spring consulted Silk Plum, who thought for a while. “I remember that the other day when Aroma’s mother died, I knew she was given forty taels,” Silk Plum said. “We can also give him forty taels.”<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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吴新登的媳妇听了，忙答应了个“是”，接了对牌就走。探春道：“你且回来。”吴新登家的只得回来。探春道：“你且别支银子。我且问你：那几年老太太屋里的几位老姨奶奶，也有家里的，也有外头的，这两个分别。家里的若死了人是赏多少？外头的死了人是赏多少？你且说两个我们听听。”一问，吴新登家的便都忘了，忙陪笑回说道：“这也不是什么大事，赏多赏少，谁还敢争不成？”<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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探春笑道：“这话胡闹。依我说，赏一百倒好。若不按例，别说你们笑话，明儿也难见你二奶奶。”吴新登家的笑道：“既这么说，我查旧帐去；此时却记不得。”探春笑道：“你办事办老了的，还记不得，倒来难我们。你素日回你二奶奶，也现查去？若有这道理，凤姐姐还不算利害，也就算是宽厚了。还不快找了来我瞧。再迟一日，不说你们粗心，倒像我们没主意了。”吴新登家的满面通红，忙转身出来。众媳妇们都伸舌头。<br />
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Seeking-Spring laughed and said:"Such nonsense. As I see it, it is better to reward a hundred. If you don't follow the routine, it is not only you who would laugh at. It would also be hard to explain it to Lady Splendid Phoenix." Wu Xindeng's family laughed: "If so, I will check the old accounts;I can't remember for now." Seeking-Spring smiled and said, "You have long used to these matters, yet you still can't remember and come to trouble us. Did you reply to Lady Splendid Phoenix after you checked it out in past days? If that's the case, Sister Phoenix is far from demanding but lenient. Hurry to check it and reply!. One day later, not to mention your carelessness, it's just like we couldn't make any decisions." Wu Xindeng Family's face turned red, hurried to come out. All the daughters-in-law stuck out their tongues in surprise.<br />
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Seeking-Spring laughed and said: "Such nonsense. As I see it, it is better to reward a hundred. If you don't follow the routine, it is not only you who would laugh at. It would also be hard to explain it to Lady Splendid Phoenix." Ascend Proper Wu's Wife laughed: "If so, I will check the old accounts; I can't remember now." Seeking-Spring smiled and said, "You have been long used to these matters, yet you still can't remember and come to trouble us. Did you reply to Lady Splendid Phoenix after you checked it out in past days? If that's the case, Sister Phoenix is far from demanding but lenient. Hurry to check it and reply!. One day later, not to mention your carelessness, it's just like we couldn't make any decisions." Ascend Proper Wu's Wife's face turned red and hurried to come out. All the daughters-in-law stuck out their tongues in surprise.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 11:49, 10 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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这里又回别的事。一时吴家的取了旧帐来，探春看时，两个家里的赏过皆二十四两，两个外头的皆赏过四十两。外还有两个外头的：一个赏过一百两，一个赏过六十两。这两笔底下皆有原故：一个是隔省迁父母之柩，外赏六十两；一个是现买葬地，外赏二十两。探春便递与李纨看了，探春便说：“给他二十两银子，把这账留下我们细看。”吴新登家的去了。忽见赵姨娘进来，李纨探春忙让坐。<br />
Seeking Spring was dealing with another matters when Ascend Proper Wu's Wife brought the old account back. Seeking Spring saw that both of the internal servants had been rewarded 24 tael and two external ones 40 tael. In addition, another two external servants had been rewarded 100 tael and 60 tael respectively. There're reasons for the two accounts: one was an additional 60 tael for transferring his parents' coffins from another province; the other was an additional 20 tael for buying the cemetery. Seeking Spring handed the account to Silk Plum and then said, "Give him 20 tael. We will keep the account to check carefully." Ascend Proper Wu's Wife then left. Suddenly Aunt Walk came in. Silk Plum and Seeking Spring hurriedly stood up to set aside precedency seat for her.<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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赵姨娘开口便说道：“这屋里的人，都踩下我的头去还罢了，姑娘，你也想一想，该替我出气才是。”一面说，一面便眼泪鼻涕哭起来。探春忙道：“姨娘这话说谁，我竟不懂。谁踹姨娘的头？说出来，我替姨娘出气。”赵姨娘道：“姑娘现踹我，我告诉谁去！”探春听说，忙站起来说道：“我并不敢。”李纨也忙站起来劝。赵姨娘道：“你们请坐下，听我说。我这屋里熬油似的熬了这么大年纪，又有你兄弟，这会子连袭人都不如了，我还<br />
有什么脸？<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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连你也没脸面，别说是我呀！”探春笑道：“原来为这个。我说我并不敢犯法违礼。”一面便坐了，拿账翻与赵姨娘瞧，又念与他听；又说道：“这是祖宗手里旧规矩，人人都依着，偏我改了不成？这也不但袭人，将来环儿收了外头的，自然也是同袭人一样。这原不是什么争大争小的事，讲不到有脸没脸的话上。他是太太的奴才，我是按着旧规矩办。说办的好，领祖宗的恩典，太太的恩典；若说办的不匀，那是他糊涂不知福，也只好凭他抱怨去。<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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太太连房子赏了人，我有什么有脸之处；一文不赏，我也没什么没脸之处。依我说，太太不在家，姨娘安静些，养神罢了，何苦只要操心。太太满心疼我，因姨娘每每生事，几次寒心。我但凡是个男人，可以出得去，我必早走了，立一番事业，那时自有我一番道理；偏我是女孩儿家，一句多话也没我乱说的。太太满心里都知道。如今因看我重，才叫我照管家务。还没有做一件好事，姨娘倒先来作践我。倘或太太知道了，怕我为难，不叫我管，那才正经没脸呢，连姨娘真也没脸了！”<br />
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Madame had given the house away, how I am so shameless? Madame give no dime, how I am so proud? I say, Aunt could rest in quietness when Madame is not home. Why bother all that. Madame cares about me and is disappointed when Aunt makes trouble. If I am a man and able to go out, I would have gone and make a success so that my words count. But I am a girl and I could not say any words inappropriate. Madame knows the best. I am valued so I am caring the house works. I haven't done a thing, and the aunt insults me. If Madame knows and she would tell me to leave it alone so that I won't be in a dilemma. That is shameless. Aunt is so shameless!"<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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一面说，一面不禁滚下泪来。赵姨娘没了别话答对，便说道：“太太疼你，你越发拉扯拉扯我们。你只顾讨太太的疼，就把我们忘了。”探春道：“我怎么忘了？叫我怎么拉扯？这也问他们各人，那一个主子不疼出力得用的人？那一个好人用人拉扯的？”李纨在旁只管劝说：“姨娘别生气，也怨不得姑娘，他满心里要拉扯，口里怎么说的出来？”探春忙道：“这大嫂子也糊涂了。我拉扯谁？谁家姑娘们拉扯奴才了？<br />
Seeking-Spring spoke as she was sobbing bitterly. Having no other answer to this, the concubine retorted,"If the mistress is partial to you, that's all the more reason to lend us a helping hand. But you've quite forgotten us in your eagerness to curry favor with her." "Who says I've forgotten you? How am I to lend a helping hand? You have to ask yourselves: Don't all mistresses like inferiors who make themselves useful? Good people don't need the kind offices of others."Silk Plum put in soothingly, "Don't be angry, madam. It's not her fault. She's only too eager to help you,but how can she say so?" "Don't be ridiculous, sister-in-law!" cried Seeking-Spring." Who do you mean I'm to help? Does the daughter of any house help servants?<br />
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Seeking-Spring spoke as she was sobbing bitterly. Having no other answer to this, the concubine retorted,"If the mistress is partial to you, that's all the more reason to lend us a helping hand. But you've quite forgotten us in your eagerness to curry favor with her." "Who says I've forgotten you? How am I to lend a helping hand? You have to ask yourselves: Don't all mistresses like inferiors who make themselves useful? Good people don't need the kind offices of others."Silk Plum put in soothingly, "Don't be angry, madam. It's not her fault. She's only too eager to help you,but how can she say so?" "Don't be ridiculous, sister-in-law!" cried Seeking-Spring." Who do you mean I'm to help? Does the daughter of any house help servants?--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 12:09, 10 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
他们的好歹，你们该知道，与我什么相干。”赵姨娘气得问道：“谁叫你拉扯别人去了？你不当家，我也不来问你。你如今现在说一是一，说二是二。如今你舅舅死了，你多给了二三十两银子，难道太太就不依你？分明太太是好太太，都是你们尖酸克薄，可惜太太有恩无处使。姑娘放心，这也使不着你的银子！明日等出了阁，我还想你额外照看赵家呢。如今没有长翎毛儿就忘了根本，只‘拣高枝儿飞’去了。”<br />
You should know what they are -- their affairs are none of my business." "Who asked you to help others?" fumed the concubine. "If you weren't in charge I wouldn't have come to you. Now if you say one it's one, if you say two it's two. If you gave an extra twenty or thirty taels for your uncle's funeral, why should the mistress object? Everyone knows how good she is — it's you people who are so singy. It's too bad she has no chance to show her kindness. But don't worry, miss, it's not your own silver you're saving. I'd always hoped, after you married, you'd show more consideration to the Zhao family; but now before your feath-ers have grown you've forgotten your roots, you're so keen to fly to the very top of tree."<br />
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You should know what they are -- their affairs are none of my business."fumed the concubine. "Who asked you to help others?" "If you weren't in charge I wouldn't have come to you. Now if you say one,it's one, if you say two,it's two. If you gave an extra twenty or thirty taels for your uncle's funeral, why should the mistress object? Everyone knows how good she is — it's you people who are so singy. It's too bad she has no chance to show her kindness. But don't worry, miss, it's not your own silver you're saving. I'd always hoped, after you married, you'd show more consideration to the Zhao family; but now before your feathers have grown you've forgotten your roots, you're so keen to fly to the very top of tree."--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 16:57, 10 May 2022 (UTC)<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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探春没听完，已气得脸白气噎，抽抽咽咽的一面哭，一面问道：“谁是我舅舅？我舅舅年下才升了九省检点，那里又跑出一个舅舅来？我倒素昔按礼尊敬，越发敬出这些亲戚来了。既这么说，每日环儿出去，为什么赵国基又站起来，又跟他上学？为什么不拿出舅舅的款来？何苦来，谁不知道我是姨娘养的，必要过两三个月寻出由头来，彻底来翻腾一阵，怕人不知道，故意表白表白。也不知道是谁给谁没脸？<br />
Before she had finished,Tanchun's face was white with anger. Nearly choking with sobs she demanded,"Who's my uncle? My uncle's just been appointed Military Inspector of Nine Provinces.What other uncles do I have? Is this my reward for always observing the ruler of propriety---to have all these relative foisted off on me? If what you say were true,why did Zho Guoji have to stand up whenever Ring went out? Why follow him to school? Why didn't he behave like an uncle? "Do you have to make such a scene? Everyone knows I'm a child by a concubine, yet you needs must bring it up every few months and rub it in,as if you had to make it plain for fear they didn't know. Who's making the other lose face?<br />
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==比较文学与跨文化研究 Mahzad 202021080004==<br />
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幸亏我还明白，但凡糊涂不知礼的，早急了！”李纨急得只管劝，赵姨娘只管还唠叨。忽听有人说：“二奶奶打发平姑娘说话来了。”赵姨娘听说，方把嘴止住。只见平儿走来，赵姨娘忙陪笑让坐，又忙问：“你奶奶好些？我正要瞧去，就只没得空儿。”李纨见平儿进来，因问他：“来作什么？”平儿笑道：“奶奶说：赵姨奶奶的兄弟没了，恐怕奶奶和姑娘不知有旧例。若照常例，只得二十两；如今请姑娘裁度着，再添些也使得。” 探春早已拭去泪痕，忙说道：“又好好的添什么，谁又是‘二十四个月养的’？<br />
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==外国语言文学 Muhammad Numan 202121080002==<br />
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不然，也是出兵放马、背着主子逃出命来过的人不成？你主子真个倒巧：叫我开了例，他做好人，拿着太太不心疼的钱，乐得做人情。你告诉他：我不敢添减混出主意。他添他施恩，等他好了出来，爱怎么添怎么添！”平儿一来时，已明白了对半；今听这话，越发会意。见探春有怒色，便不敢以往日喜乐之时相待，只一边垂手默侍。时值宝钗也从上房中来，探春等忙起身让坐，未及开言，又有一个媳妇进来回事，因探春才哭了，便有三四个小丫鬟捧了脸盆、巾帕、靶镜等物来。<br />
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==英语语言文学 TOURE MARIAM 202021080005==<br />
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此时探春因盘膝坐在矮板榻上，那捧盆丫鬟走至跟前，便双膝跪下，高捧沐盆；那两个丫鬟也都在旁屈膝捧着巾帕并靶镜脂粉之饰。平儿见侍书不在这里，便忙上来与探春挽袖卸镯，又接过一条大手巾来，将探春面前衣襟掩了，探春方伸手向面盆中盥沐。媳妇便回道：“奶奶、姑娘：家学里支环爷和兰哥儿一年的公费。”平儿先道：“你忙什么？你睁着眼看见姑娘洗脸，你不出去伺候着，倒先说话来。二奶奶跟前，你也这样没眼色来着？姑娘虽恩宽，我去回了二奶奶，只说你们眼里都没姑娘，你们都吃了亏，可别怨我！”<br />
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==外国语言文学 UDDIN NIZAM 202121080007==<br />
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唬得那个媳妇忙陪笑说：“我粗心了。”一面说，一面忙退出去。探春一面匀脸，一面向平儿冷笑道：“你迟了一步，没见还有可笑的。连吴姐姐这么个办老了事的也不查清楚了就来混我们。幸亏我们问他，他竟有脸说‘忘了’。我说他回二奶奶事也忘了再找去？我料着你主子未必有耐性儿等他去找。”平儿笑道：“他有这么一次，包管腿上的筋早折了两根。姑娘别信他们。那是他们瞅着大奶奶是个菩萨，姑娘又是腼腆小姐，固然是托懒来混。”说着，又向门外说道：“你们只管撒野，等奶奶大安了，咱们再说。”<br />
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==翻译学 SAGARA SEYDOU 201911080004 ==<br />
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门外的众媳妇都笑道：“姑娘，你是个最明白的人，俗语说：‘一人作罪一人当。’我们并不敢欺蔽主子。如今主子是娇客，若认真惹恼了，死无葬身之地！”平儿冷笑道：“你们明白就好了。”又陪笑向探春道：“姑娘知道，二奶奶本来事多，那里照看得这些？保不住不忽略。俗语说：‘旁观者清。’这几年姑娘冷眼看着，或有该添该减的去处，二奶奶没行到，姑娘竟一添减：头一件，与太太有益；第二件，也不枉姑娘待我们奶奶的情义了。”话未说完，宝钗李纨皆笑道：“好丫头，真怨不得凤丫头偏疼他！</div>Li Yuanhttps://bou.de/u/index.php?title=20220505_homework&diff=14240120220505 homework2022-05-11T02:54:29Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
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<div>Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]<br />
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Assignment 1: '''Click here''' [[Chinese Classics Translation 2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is '''Chinese Classics on Overseas Bookfairs 朱丽娟 段小蝶 钟青 周哲'''<br />
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Assignment 2: '''Click here''' (coming soon) to do the quizzes on the textbook <br />
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Assignment 3: Please do the translation below here<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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这李乡绅膝下无儿，只有一位千金小姐。这小姐芳名叫做雏鸾，琴棋书画，无所不通。”贾母忙道：“怪道叫做《凤求鸾》。不用说了，我已经猜着了：自然是王熙凤要求这雏鸾小姐为妻了。”女先儿笑道：“老祖宗原来听过这回书。”众人都道：“老太太什么没听见过！就是没听见，也猜着了。”贾母笑道：“这些书就是一套子，左不过是些佳人才子，最没趣儿。把人家女儿说的这么坏，还说是‘佳人’，编的连影儿也没有了。<br />
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Gentry Li has no son but a daughter named ‘Young Phoenix’, a versatile lady who is excellent at lyre-playing, chess, calligraphy, and painting.” “No wonder it is called ‘Male Phoenix Marries Female Phoenix.’ No more telling. I have known its following plots——it is natural that Splendid Phoenix King will marry this young lady of Family Li, ” Grandma Merchant said frankly. This female storyteller was amused, “It turns out that you have ever listened to this story.” The rest just laughed, “There is nothing that our old lady has never known. If there is, she could guess what it is about.” “These stories tell nothing but always some pairs of ideal lovers, a perfect match between talent and beauty. Cannot be boring too much! Especially those stories, whose makers often depict such a bad young lady but claim to be ‘a good beauty’, are really groundless of such makings, ”Grandma Merchant felt flattered.<br />
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Gentry Plum has no son but a daughter named ‘Young Phoenix’, a versatile lady who is excellent at lyre-playing, chess, calligraphy, and painting.” “No wonder it is called ‘''Male Phoenix Courts Female Phoenix''’. No more telling. I have known its following plots -- it is natural that Splendid Phoenix King will marry this young lady of Family Li to her son, ” Grandma Merchant said frankly. This female storyteller was amused, “It turns out that you have ever listened to this story.” The rest just laughed, “There is nothing that our old lady has never known. If there is, she could guess what it is about.” “These stories tell nothing but always some pairs of ideal lovers, a perfect match between talent and beauty. Cannot be boring too much! Especially those stories, whose makers often depict such a bad young lady but claim to be ‘a good beauty’, are really groundless of such makings, ”Grandma Merchant felt flattered.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 14:08, 8 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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开口都是乡绅门第，父亲不是尚书，就是宰相。一个小姐，必是爱如珍宝。这小姐必是通文知礼，无所不晓，竟是‘绝代佳人’，只见了一个清俊男人，不管是亲是友，想起他的‘终身大事’来，父母也忘了，书也忘了，鬼不成鬼，贼不成贼，那一点儿像个佳人？就是满腹文章，做出这样事来，也算不得是佳人了。比如一个男人家，满腹的文章，去做贼，难道那王法就看他是个才子，就不入贼情一案了不成？可知那编书的是自己堵自己的嘴。<br />
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All the genius and beauty novels are about families of squire. Normally, the father of the beauty is either a minister or a prime minister of the country, holding his only daughter in high esteem. And it is typical of this beautiful girl to be well educated, steeped in propriety, omniscient, and worthy of the name "knockout". After one sight of a handsome man, a relative or a friend of her, she falls in love with him incurably, putting her parents, etiquette and social rites behind her. How can such a girl, leading a crazy and covert life, be called beauty? Literate as she is, she is unqualified for the name of beauty after making such an insane decision. Take this for example: if a man of literature did stealthy work, would the justice official judge him not guilty just owing to his talents? Now you can see the author couldn't justify himself.<br />
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All the genius and beauty novels are about cultured family. Normally, the father of the beauty is either a minister or a prime minister of the country, holding his only daughter in high esteem. And it is typical of this beautiful girl to be well educated, brought up in propriety, omniscient, and worthy of the name "knockout". After one sight of a handsome man, a relative or a friend of her, she falls in love with him incurably, putting her parents, etiquette and social rites behind her. How can such a girl, leading a crazy and covert life, be called beauty? Literate as she is, she is unqualified for the name of beauty after making such an insane decision. Take this for example: if a man of literature did stealthy work, would the justice official judge him not guilty just owing to his talents? Now you can see the author couldn't justify himself.<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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再者：既说是世宦书香大家小姐，都知礼读书，连夫人都知书识礼，便是告老还家，自然大家人口奶奶丫鬟伏侍小姐的人也不少，怎么这些书上，凡有这样的事，就只小姐和紧跟的一个丫头？你们自想想，那些人都是管做什么的，可是前言不答后语不是？”众人听了，都笑说：“老太太这一说，是谎都批出来了。”贾母笑道：“有个原故：编这样书的人，有一等妒人家富贵的，或者有求不遂心，所以编出来遭塌人家。<br />
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‘Besides, not only would the daughter of a good scholar-official family be well-educated,so would her mother. And even if her father had retired, a big family like that would have plenty of nurses and maids to look after the girl. How is it that in all these stories, when such things happen, no one has any inkling of it except the girl herself and one trusted maid? What are all the others doing. Isn’t that contradictory?’Everyone laughed.‘The old lady has shown up their lies!’‘There’s a reason for this,’ she continued. ‘Either the people who spin these tales envy the rank and riches of other families, or ask for help which isn’t granted, and so they make up these stories to discredit them.'<br />
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‘Besides, not only would the daughter of a good scholar-official family be well-educated,so would her mother. And even if her father had retired, a big family like that would have plenty of nurses and maids to look after the girl. How is it that in all these stories, when such things happen, no one has any inkling of it except the girl herself and one trusted maid? What are all the others doing. Isn’t that contradictory?’Everyone laughed.‘The old lady has shown up their lies!’‘There’s a reason for this,’ she continued. ‘Either the people who spin these tales envy the rank and riches of other families, or ask for help which isn’t granted, and so they make up these stories to discredit them.'--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 13:16, 8 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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再有一等人，他自己看了这些书，看邪了，想着得一个佳人才好，所以编出来取乐儿。何尝他知道那世宦读书家的道理！别说那书上那些世宦书礼大家，如今眼下拿着咱们这中等人家说起，也没那样的事。别叫他诌掉了下巴了罢！所以我们从不许说这些书，连丫头们也不懂这些话。这几年我老了，他们姊妹们住的远，我偶然闷了，说几句听听，他们一来，就忙着止住了。”李薛二人都笑说：“这正是大家子的规矩。连我们家也没有这些杂话叫孩子们听见。”<br />
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There was another person who read these books, and he got a bad idea. He thought it would be nice to have a good person, so he made them up for fun. How could he know the truth of the emperor reading home? Don't say that book those world eunuch ceremony everybody, now take us this medium family to speak of, also have no such thing. Don't make him talk his jaw off! That's why we're never allowed to talk about these books, and even the girls don't understand them. In the past few years, as I was getting older and my sisters lived far away from me, I occasionally got bored. Both Silk Plum and Precious Hairpin Marshgrass laughed and said, "This is just the rule. Not even in our house for the children to hear."<br />
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There was another kind of people who read these books, and he got a bad idea. He thought it would be nice to have a beautiful girl, so he made them up for fun. How could he know the truth of scholar-official families? Don't say those great families in that book, we medium family also have no such thing. What he said is just nonsense! That's why we're never allowed to talk about these books, and even the girls don't understand them. In the past few years, as I was getting older and my sisters lived far away from me, I occasionally got bored and want talk about some. But once girls come, I just end up the talk." Both Aunt Plum and Aunt Marshgrass laughed and said, "This is just the rule. Even in our house we won't allow the children to hear such things."<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 15:06, 9 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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凤姐儿走上来斟酒，笑道：“罢，罢！酒冷了，老祖宗喝一口润润嗓子再辨谎。这一回就叫做‘辨谎记’，就出在本朝、本地、本年、本月、本日、本时。老祖宗‘一张口难说两家话’，‘花开两朵，各表一枝’，‘是真是谎且不表，再整观灯看戏的人’。老祖宗且让这二位亲戚吃杯酒、看两出戏着，再从逐朝话言掰起，如何？”一面说，一面斟酒，一面笑。未说完，众人俱已笑倒了。<br />
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Sister Phoenix came up to pour wine, laughing, "Stop, stop! The wine was cold, but Grandma, you'd better drink a mouthful to moisten your throat and then distinguish it is a lie or not. This story is called the Lie or Not, and it's written in this hour,this day, this month, this year, this place. It's hard for our grandma to say two words with one mouth. Putting aside one matter,let's talk about the other. Instead of discussing whether it is true or not, how about continuing to watch the lanterns and plays. How about a glass of wine and a couple of plays? Just let the two relatives drink some wine and watch the play for a while, and after that, then you can start to analyze it. " At the same time she poured the wine and laughed. Before she finished, everyone has already burst into laughter.<br />
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Sister Phoenix came up to pour wine, laughing, "Stop, stop! The wine was cold, but Grandma, you'd better drink a mouthful to moisten your throat and then distinguish it is a lie or not. This story is called the Lie or Not, and it's written in this hour,this day, this month, this year, this place and this dynasty. It's hard for our grandma to say two words with one mouth. Putting aside one matter,let's talk about the other. Instead of discussing whether it is true or not, how about continuing to watch the lanterns and plays. How about a glass of wine and a couple of plays? Just let the two relatives drink some wine and watch the play for a while, and after that, then you can start to analyze it. " At the same time she poured the wine and laughed. Before she finished, everyone has already burst into laughter.--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 02:42, 10 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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两个女先儿也笑个不住，都说：“奶奶好刚口！奶奶要一说书，真连我们吃饭的地方也没了。”<br />
薛姨妈笑道：“你少兴头些！外头有人，比不得往常。”凤姐儿笑道：“外头只有一位珍大哥哥，我们还是论哥哥妹妹，从小儿一处淘气淘了这么大。这几年因做了亲，我如今立了多少规矩了。便不是从小儿兄妹，只论大伯子小婶儿，那《二十四孝》上‘斑衣戏彩’，他们不能来戏彩引老祖宗笑一笑，我这里好容易引得老祖宗笑了一笑，多吃了一点东西，大家喜欢，都该谢我才是，难道反笑我不成？”<br />
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The two women could not stop laughing and said, "Your Lady is so eloquent! If lady went to storytelling, and there was no place for us to make a living." Aunt Marshgrass laughed. "Take it easy on you! There are people outside, more than usual." Sister Phoenix smiled: "There is only brother Treasure outside, so we are still brother and sister. We have been so naughty since we were kids. And I've made a lot of rules over the years since I get married. Even though we are in now uncle-aunt relationship rather than siblings, according to 24 stories of filial piety, they are not able to make Grandma Merchant laugh and I tried so hard to make old lady laugh and eat more. How can you not appreciate me rather than laugh at me.”<br />
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The two women could not stop laughing and said, "You are so eloquent! If aunt were a storyteller, and there was no place for us to make a living." Aunt Marshgrass laughed. "Don't make fun of me! There are people outside,not as usual." Sister Phoenix smiled: "There is only brother Treasure outside, so we are still brother and sister. We have been so naughty since we were kids. And I've made a lot of rules over the years since I get married. Even though we are in now an uncle-aunt relationship rather than siblings, according to ''24 stories of filial piety'', they are not able to make Grandma Merchant laugh and I tried so hard to make the old lady laugh and eat more. How can you not appreciate me rather than laugh at me.”--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 05:30, 10 May 2022 (UTC)<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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贾母笑道：“可是这两日我竟没有痛痛的笑一场，倒是亏他才一路说，笑的我这里痛快了些，我再吃钟酒。”吃着酒，又命宝玉：“来敬你姐姐一杯。”凤姐儿笑道：“不用他敬，我讨老祖宗的寿罢。”说着便将贾母的杯拿起来，将半杯剩酒吃了，将杯递与丫鬟，另将温水浸的杯换一个上来。于是各席上的都撤去，另将温水浸着的代换，斟了新酒上来，然后归坐。女先儿回说：“老祖宗不听这书，或者弹一套曲子听听罢。”<br />
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Grandma Merchant smiled, “I had no good laugh for a few days and luckily she raised my spirit and made me happy. So I’ll drink a cup of wine.” After drinking, she ordered Precious Jade to offer Splendid Phoenix King a toast. “Give Splendid Phoenix King a toast.” “I don’t need that. I just wanted to celebrate your birthday and bring some fortune.” Splendid Phoenix King picked up Grandma Merchant’s cup and drank the left wine. Then she handed the cup to the servant and took another cup from a basin of warm water. All the cups on the tables were changed then for fresh ones from the basin and when more wine had been poured they resumed their seats.“If our Grandma doesn’t want to hear this story, or we play a tune?” asked one of the performers.<br />
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Grandma Merchant smiled, “I haven’t had a good laugh for a few days and luckily she raised my spirit. I really do feel better for it. I think I’ll have another of wine.” After drinking, she ordered Precious Jade to offer Splendid Phoenix a toast. “No need,” declared Splendid Phoenix laughingly. “Let me share your good health.” She took Grandma Merchant’s cup and drank the left wine. Then she handed the cup to a maid and took another from a basin of warm water. All the cups on the tables were changed then for fresh ones from the basin, and when more wine had been poured they resumed their seats.“If our Grandma doesn’t want to hear this story, how about we play a tune?” asked one of the performers.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 04:52, 8 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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贾母道：“你们两个对一套‘将军令’罢。”二人听说，忙合弦按调拨弄起来。贾母因问：“天有几更了？”众婆子忙回：“三更了。”贾母道：“怪道寒浸浸起来。”早有众人丫鬟拿了添换的衣裳送来。王夫人起身陪笑说道：“老太太不如挪进暖阁里地炕上，倒也罢了。这二位亲戚也不是外人，我们陪着就是了。”贾母听说，笑道：“既这样说，不如大家都挪进去，岂不暖和？”王夫人道：“恐里头坐下不。”<br />
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"Give us The General's Command," said Grandma Merchant. The two women at once began tuning their instruments and playing until Grandma Merchant inquired what the time was. "Midnight," said the senior servants. "No wonder it's getting so cold." said Grandma Merchant. Some young maids had already brought with warmer clothes. Now Lady King rose, smiling, to ask, "Why not move to the room with the heated floor, madam? Our two relatives are not outsiders. We' ll keep them company for you." "In that case why don't we all move inside?" said Grandma Merchant. "That would be much cosier." "I doubt there’s no room for us all," said Lady King.<br />
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"Show us The General's Command," said Grandma Merchant. The two women at once began tuning their instruments and playing until Grandma Merchant inquired what the time was. "Midnight," said the senior servants. "No wonder it's getting so cold," said Grandma Merchant. Some young maids had already brought with them warmer clothes. Now Lady King rose, smiling, to ask, "Why not move to the room with the heated floor, madam? Our two relatives are not outsiders. We'll keep them company for you." "In that case why don't we all move inside?" said Grandma Merchant. "That would be much cozier." "I doubt there’s no enough room for us all," said Lady King.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 00:55, 8 May 2022 (UTC)<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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贾母道：“我有道理：如今也不用这些桌子，只用两三张并起来，大家坐在一处，挤着，又亲热，又暖和。”众人都道：“这才有趣儿。”说着，便起了席。众媳妇忙撤去残席，里面直顺并了三张大桌，又添换了果馔摆好。贾母便说：“都别拘礼，听我分派你们就坐才好。”说着，便让薛李正面上坐，自己西向坐了，叫宝琴、黛玉、湘云三人皆紧依左右坐下，向宝玉说：“你挨着你太太。”于是邢夫人王夫人之中夹着宝玉。<br />
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Grandma Merchant said: "I have my own idea: we can only put two or three of these tables together, so we can huddle, warm and close. The others agreed and stood up:" That's fun." Maids were rushed to clean the table and pieced three big tables together with fruits and pastries. After all these, Grandma Merchant said: "Be causal and listen to my arrangement." while saying this, she let Mrs. Margrass and Silk Plum seated to the north and she seated to the west. Moreover, she asked Precious Strings, Mascara Jade, and Fragrant-cloud to seat along with her closely and talked to Precious Jade: " You seat close to your mother." Thus, there was Precious Jade seating between Lady City and Lady King.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 00:52, 8 May 2022 (UTC)<br />
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Grandma Merchant said: "I have my own idea: we can only put two or three of these tables together, so we can huddle together, warm and close. The others agreed and stood up:" That's fun." Maids rushed to clean the tables and pieced three big tables together with fruits and pastries on them. After all of these, Grandma Merchant said: "Be causal and listen to my seat arrangement." while saying this, she let Mrs. Margrass and Silk Plum seated to the north and she seated to the west of the table. Then, she asked Precious Strings, Mascara Jade, and Fragrant-cloud to seat along with her closely and talked to Precious Jade: " You sit close to your mother." Thus, Precious Jade seated between Lady City and Lady King.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 07:42, 8 May 2022 (UTC)<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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宝钗等姐妹在西边；挨次下去，便是娄氏带着贾蓝；尤氏李纨夹着贾兰；下面横头便是贾蓉之妻。贾母便说：“珍阿哥带着你兄弟们去罢，我也就睡了。”贾珍等忙答应，又都进来听吩咐。贾母道：“快去罢！不用进来。才坐好了，又都起来。你快歇着罢，明儿还有大事呢。”贾珍忙答应了，又笑说：“留下蓉儿斟酒才是。”贾母笑道：“正是，忘了他。”贾珍应了一个“是”，便转身带领贾琏等出来。<br />
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Precious Hairpin Marshgrass and other girls sat on the west side of the dining-table; then the next were Lady Lou coupled with Blue Merchant, and Madam Outstanding and Silk Plum with Orchid Merchant sat between them; then the one sat on the shorter side of the table was Prosperity Merchant's wife. Then Grandma Merchant said:" Treasure, brought your bothers back, and I'm going to sleep then." Treasure Merchant and other boys replied and hasten into the room waiting for the Old Lady's orders. " Just go ! You don't have to come in. You just sat down then got up again. Get some rest, there's something important need to do tomorrow." the Old Lady said. Treasure Merchant responeded and said with a smile:" Leave Prosperity to pour alcohol for you." the Old Lady smiled:"Exaltly, I forgot that." Treasure Merchant replied with "Yes" and led Romance Merchant and others out Old Lady's room.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 07:34, 8 May 2022 (UTC)<br />
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Precious Hairpin Marshgrass and other girls sat on the west side of the dining-table; then the next were Lady Lou coupled with Blue Merchant, and Madam Outstanding and Silk Plum with Orchid Merchant sat between them; then the one sat on the shorter side of the table was Prosperity Merchant's wife. Then Grandma Merchant said:" Treasure, bring your brothers back, and I'm going to sleep." Treasure Merchant and other boys replied and hastened into the room waiting for the Old Lady's orders. " Just go ! You don't have to come in. You just sit down then get up again. Get some rest, there's something important need to do tomorrow." the Old Lady said. Treasure Merchant responded and said with a smile:" Leave Prosperity to pour alcohol for you." the Old Lady smiled:"Exactly, I forgot that." Treasure Merchant replied with "Yes" and led Romance Merchant and others out Old Lady's room.--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 13:08, 9 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
二人自是欢喜，便命人将贾琮贾璜各自送回家去，便约了贾琏去追欢买笑，不在话下。这里贾母笑道：“我正想着，虽然这些人取乐，必得重孙一对双全的在席上才好。蓉儿这可全了。蓉儿！和你媳妇坐在一处，倒也团圆了。”因有家人媳妇呈上戏单，贾母笑道：“我们娘儿们正说得兴头，又要吵起来。况且那孩子们熬夜，怪冷的。也罢，且叫他们歇歇，把咱们的女孩子们叫他来，就在这台上唱两出罢，也给他们瞧瞧。”<br />
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Happy to hear this, they ordered Merchant Vessel and Merchant Jade to be sent home. Then they invited Romance Merchant to have fun. "They had a lot of fun, but they have to bring their grandchildren," Grandma Merchant said with a smile. It's best if Prosperity comes. Sit with your daughter-in-law, and you'll be reunited." Then a family member presented the program list to her. Grandma Merchant said with a smile, "We are having fun, but it will be noisy around. It will be cold for those children to stay up late. Tell them to rest, and let their daughter call him, and sing a little on this stage. Show them some the ropes."<br />
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Happy to hear this, they ordered Merchant Jade and Merchant Pendant to be sent home. Then they invited Romance Merchant to have fun. "I was just thinking that to make our pleasure complete we ought to have a married couple here." Grandma Merchant said with a smile. “It's best if Prosperity comes. Sit with your wife, and you'll be reunited." Then some women presented the program list to her. Grandma Merchant laughed, "We are having fun, but it will be noisy around. It will be cold for those children to stay up late. Tell them to rest, and call our girl-actresses here to put on a couple of items on this stage. Let's take a look."--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 15:34, 9 May 2022 (UTC)<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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媳妇子们听了，答应出来，忙的一面着人往大观园去传人，一面二门口去传小厮们伺候。小厮们忙至戏房，将班中所有大人一概带出，只留下小孩子们。一时，梨香院的教习带了文官等十二人从游廊角门出来，婆子们抱着几个软包，因不及抬箱，料着贾母爱听的三五出戏的彩衣包了来。婆子们带了文官等进去见过，只垂手站着。贾母笑道：“大正月里，你师父也不放你们出来逛逛？你们如今唱什么？<br />
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The women promised and hurriedly sent a servant to the Grand View Garden to call people, with instructing pages at the inner gate. The boys hurried to the changing room, taking all the adults out of the class, leaving only the children. Then the instructor of Pear Fragrance Court brought Elegante and the eleven other girl actresses out through the side gate of the corridor, accompanied by some women carrying bundles. Since there was no time to bring all their stage properties, they had chosen only the costumes for a few operas which they guessed the old lady might like. The women took these girl actresses to pay their respects, then they humbly stood there. Grandma Merchant laughed, "In the first lunar month, why didn't your master let you wander around? What have you been rehearsing recently?<br />
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The women promised and hurriedly sent a servant to the Grand View Garden to call people, with instructing pages at the inner gate. The boys hurried to the performinging room, taking all the adults out of the room, leaving only the children. Then the instructor of Pear Fragrance Court brought Elegante and the eleven other girl actresses out through the side gate of the corridor, accompanied by some women carrying bundles. Since there was no time to bring all their stage properties, they had chosen only the costumes for a few operas which they guessed the old lady might like. The women took these girl actresses to pay their respects, then they humbly stood there. Grandma Merchant laughed, "In the first lunar month, why didn't your master let you wander around? What have you been rehearsing recently?--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 12:42, 8 May 2022 (UTC)Li Ying<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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才刚八出《八义》，闹的我头疼，咱们清淡些好。你瞧瞧，薛姨太太，这李亲家太太，都是有戏的人家，不知听过多少好戏的；这些姑娘们都比咱们家的姑娘见过好戏，听过好曲子。如今这小戏子又是那有名玩戏的人家的班子，虽是小孩子，却比大班子还强。咱们好歹别落了褒贬！少不得弄个新样儿的：叫芳官唱一出《寻梦》，只用箫和笙笛，余者一概不用。”文官笑道：“老祖宗说的是。我们的戏，自然不能入姨太太和亲家太太姑娘们的眼；<br />
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The Grandma Merchant said,”The eight scenes from The Eight Gallants were so noisy that they made me headache. we would like something quite.Look, Aunt Xue and Aunt Li both have opera groups at their home, and I don't know how many good operas they've heard. Now this little performer outside belongs to famous families of opera ,though he is a child ,better than many large opera groups.So we are not able to disgrace ourselves, we should have to be on our best.So we must prepare another performance, let Fragrance Official sing the “The Dream Recalled”, only two-string fiddle and a flute allowed to use. Quite Official said,“ My majesty, you are right. Our performance is just not well enough to attract every aunts and girls that on the scene.<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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不过听我们一个发脱口齿，再听个喉咙罢了。”贾母笑道：“正是这话了。”李婶娘薛姨妈喜的笑道：“好个灵透孩子！你也跟着老太太打趣我们！”贾母笑道：“我们这原是随便的玩意儿，又不出去做买卖，所以竟不大合时。”说着，又叫葵官：“唱一出《惠明下书》，也不用抹脸。只用这两出，叫他们二位太太听个助意儿罢了。若省了一点儿力，我可不依。”文官等听了出来，忙去扮演上台，先是“寻梦”，次是“下书”。<br />
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"They just want to hear our dictation and voice," she said. "That's it," Grandma Merchant laughed. "What a clever girl! You also make fun of us with Grandma!" Aunt Marshgrass and Aunt Plum said with smile. "We are doing this with a casual attitude without the intent to perform for money, so the performance is not accordance with the trend," Grandma laughed. "Just sing the Huiming Taking the Letter without the paint on face. It's enough for them to have an idea of your competence after heading these two scenes. Don't muddle through your work, or I'll not let it go," she said to Sunflower. Literary and others was hurry to change the clothes and then make the performance on the stage, Chasing the Dream first and Taking the Letter second.<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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众人鸦雀无闻。薛姨妈笑道：“实在戏也看过几百班，从没见过只用箫管的。”贾母道：“先有，只是像方才《西楼·楚江情》一支，多有小生吹萧合的。这合大套的实在少。这也在人讲究罢了，这算什么出奇？”指湘云道：“我像他这么大的时候儿，他爷爷有一班小戏，偏有一个弹琴的，凑了《西厢记》的《听琴》，《玉簪记》的《琴挑》，《续琵琶》的《胡茄十八拍》，成了真的了。比这个更如何？”<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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众人都道：“那更难得了。”贾母于是叫过媳妇们来，吩咐文官等叫他们吹弹一套“灯月圆”。媳妇们领命而去。当下贾蓉夫妻二人捧酒一巡。凤姐儿因贾母十分高兴，便笑道：“趁着女先儿们在这里，不如咱们传梅，行一套‘春喜上眉梢’的令，如何？”贾母笑道：“这是个好令，正对时景。”忙命人取了黑漆铜钉花腔令鼓来，与女先儿们击着。席上取了一枝红梅，贾母笑道：“到了谁手里住了鼓，吃一杯，也要说些什么才好。”<br />
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They all answered: "That will be more unusual." Madam Merchant called over the women and asked them including Wen Guan to perform a song called "Round lamp and Moon". Receiving the order, they went to prepare for it. At this moment, Prosperity Merchant and his wife went around to fill wine in cups. Seeing Madam Merchant was exalted, Splendid Phoenix said with a smile:" today the music players are here. Why not we have them playing "Spring pleasure up on brows" and we have a game: passing a branch of plum blossoms while beating drums?" Madam Merchant smiled:" That is a good idea. Suitable for the time." She asked servants to fetch black lacquered drums which were studded with patterns of bronze nails and give them to music players to play. Then she picked one branch of plum from the flower vase on the table, and said smilingly:" when the drum was stopped, whoever gets the flower need to drink a cup of wine and say something."<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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凤姐儿笑道：“依我说，谁像老祖宗要什么有什么呢。我们这不会的，岂不没意思。依我说，也要雅俗共赏。不如谁住了，谁说个笑话儿罢。”众人听了，都知道他素日善说笑话，最是肚内有无限新鲜趣令；今儿如此说，不但在席的诸人喜欢，连地下伏侍的老小人等无不欢喜。那小丫头子们都忙去找姐姐唤妹妹的，告诉他们：“快来听，二奶奶又说笑话儿了。”众丫头子们便挤了一屋子。<br />
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Splendid Phoenix King smiled:"In my opinion, is there anyone having everything just like the Grandma? It would be boring if we can't do it. So from my perspective, we should make it available for everyone. So how about a joke from the one who stop." Hearing this, people knew that she liked to talk jokes so that she had many interesting things to say; so everyone there agreed her suggestion, including the servants. Those servant girls just hurriedly looked for their sisters and told them:"Hurry up. the lady is talking jokes now." then the girls just crowded in the room.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 03:24, 8 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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于是戏完乐罢，贾母将些汤细点果与文官等吃去，便命响鼓。那女先儿们都是惯熟的，或紧或慢，或如残漏之滴，或如迸豆之急，或如惊马之驰，或如疾电之光，忽然暗其鼓声，那梅方递至贾母手中，鼓声恰住，大家哈哈大笑。贾蓉忙上来斟了一杯，众人都笑道：“自然老太太先喜了，我们才托赖些喜。”贾母笑道：“这酒也罢了，只是这笑话儿倒有些难说。”众人都说：“老太太的比凤姑娘说的还好，赏一个，我们也笑一笑。”<br />
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Then the drama and the joy of appreciating ended. After telling some servants to bring soup, fruits, deserts and dishes to Literal Official and and others to eat, Grandma Merchant ordered the drummers to begin playing. Those blind women were all skilled in this game, whose play were slow sometimes and sometimes quick; sometimes as dribs of water and sometimes as beans jumping all around; sometimes as horses running wild and sometimes as lightning flashing and then darkening. The speed in which the branch was passed was kept in the same pace with the drum beats. Just as it was passed onto Grandma Merchant’s hands, the beats stopped. Everybody laughed a little, and Prosperity Merchant immediately came close to pour her a cup of wine. “Of course your old ladyship is the most lucky, we just want to share a little of your luck.” They all said. “It’s fine by me to drink, yet the joke fails me.” Grandma Merchant smiled. They all said, ”Your joke is even better than Sister Phoenix’s. Just tell one and it will give us a good laugh.”--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:58, 8 May 2022 (UTC)<br />
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Then the drama and the music came to an end. After telling some servants to bring soup, fruits, deserts and dishes to Literal Official and and others to eat, Grandma Merchant ordered the drummers to begin playing. Those blind women were all skilled in this game, whose play were slow sometimes and sometimes quick; sometimes as dribs of water and sometimes as beans jumping all around; sometimes as horses running wild and sometimes as lightning flashing and then darkening. The speed in which the branch was passed was kept in the same pace with the drum beats. Just as it was passed onto Grandma Merchant’s hands, the beats stopped. Everybody chortled with delight, and Prosperity Merchant immediately came to pour her a cup of wine. “Of course your old ladyship is the most lucky one, we just want to share a little of your luck.” They all said. “It’s fine for me to drink, yet the joke fails me.” Grandma Merchant smiled. They all said, ”Your joke is even better than Sister Phoenix’s. Just tell one and it will give us a good laugh.”--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 06:14, 9 May 2022 (UTC)<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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贾母笑道：“并没有新鲜招笑儿的，不少得老脸皮厚的说一个罢。”因说道：“一家子养了十个儿子，聚了十房媳妇儿。惟有第十房媳妇儿聪明伶俐、心巧嘴乖，公婆最疼，成日家说那九个不孝顺，这九个媳妇儿委屈，便商议说‘咱们九个心里孝顺，只是不像那小蹄子儿嘴巧，所以公公婆婆只说他好。这委屈向谁诉去？’有主意的说道：‘咱们明儿到阎王庙去烧香，和阎王爷说去，问他一问：叫我们托生为人，怎么单单给那小蹄子一张乖嘴，我们都入了夯嘴里头。’<br />
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Grandma Merchant laughed: "I do have no novel jokes, but nerve myself to tell one." She continued: "There are ten sons in a big family, and ten daughters-in-law. However, the parents-in-law love the tenth daughter-in-law most, who is clever, bright-minded and honey-lipped. The parents-in-law always complain that the nine duaghters-in-law left are not filial. Thus, the latter feel aggrieved and have a thought in mind that 'We are filial in mind, not like that flattery woman so our parents-in-law praise her. But where can we pour out our grievance?' Some suggested: 'We can go to the Temple of Hell and ask Hell why he merely gives a plausible mouth to that bitch, who hurts us by her implacable mouth.'<br />
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“I don't know any good new ones,” said Grandma Merchant. “I'll just have to put a bold face on it and do the best I can.” She continued: "There are ten sons in a big family, and ten daughters-in-law. However, the parents-in-law love the tenth daughter-in-law most, who is clever, bright-minded and honey-lipped. The parents-in-law always complain that the nine duaghters-in-law left are not filial. Thus, the latter feel aggrieved and have a thought in mind that 'We are filial in mind, not like that flattery woman so our parents-in-law praise her. But where can we pour out our grievance?' Some suggested: 'We can go to the Temple of Hell and ask Hell why he merely gives a plausible mouth to that bitch, who hurts us by her implacable mouth.'--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 01:07, 9 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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那八个听了，都喜欢说：‘这个主意不错。’第二日，便都往阎王庙里来烧香。九个都在供桌底下睡着了。九个魂专等阎王驾到。左等不来，右等也不到。正着急，只见孙行者驾着觔斗云来了，看见九个魂，便要拿金箍棒打来，吓得九个魂忙跪下央求。孙行者问起原故来，九个人忙细细的告诉了他。孙行者听了，把脚一跺，叹了一口气道：‘这原故幸亏遇见我，等着阎王来了，他也不得知道。’<br />
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The others were delighted with this suggestion. They all went the nest day to the temple and offered incense, then slept there at the foot of the altar while their spirits waited for the King of Hell to appear. They waited for a long time but nothing happened. Presently, just as they were growing desperate, Monkey came bowling along on his cloud-trapeze, and seeing the nine souls there, lifted up his metal-clasped cudgel to strike them with. The souls knelt down in terror and begged him to spare them. Monkey asked them what they were doing there, so they told him their story. When they had finished, Monkey stamped his foot and sighed sympathetically. “‘What a good job you met me here and not old Yama,” he said. “He wouldn't have been able to help you at all.”<br />
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The others were delighted with this suggestion and showed their agreement. They all went the nest day to the temple and offered incense, then slept there at the foot of the altar while their spirits waited for the King of Hell to appear. They waited for a long time but nothing happened. Presently, just as they were growing desperate, Monkey came bowling along on his cloud-trapeze, and seeing the nine souls there, lifted up his metal-clasped cudgel to strike them with. The souls knelt down in terror and begged him to spare them. Monkey asked them what they were doing there, so they told him their story in detail. When they had finished, Monkey stamped his foot and sighed sympathetically. “‘What a good job you met me here but not old Yama,” he said. “He wouldn't have been able to help you at all.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 02:42, 10 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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九个人听了，就求说：‘大圣发个慈悲，我们就好了。’孙行者笑道：’却也不难，那日你们妯娌十个托生时，可巧我到阎王那里去的，因为撒了一泡尿在地下，你那个小婶儿便吃了。你们如今要伶俐嘴乖，有的是尿，再撒泡你们吃就是了。”说毕，大家都笑起来。凤姐儿笑道：“好的呀！幸而我们都是夯嘴夯腮的，不然，也就吃了猴儿尿了。”尤氏娄氏都笑向李纨道：“咱们这里头谁是吃过猴儿尿的，别装没事人儿。”<br />
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“The nine spirits pleaded, ‘Have pity and tell us, Great Sage. That’s all we ask. “‘That’s easy,’ answered Monkey with a smile. ‘The day you ten girls were born, I’d gone to visit the King of Hell and happened to piss on the ground. Your youngest sister-in-law lapped it up. If you want the gift of the gab, I’ve plenty more piss you can drink if you like.’ “The whole company burst out laughing. “Fine!” cried Sister Phoenix. “It’s lucky we’re all so dumb here. Otherwise people might say we’d drunk monkey’s piss.” Madam Outstanding and Madam Lou joked to Silk Plum, “The one who’s drunk monkey’s piss is playing innocent!”<br />
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“The nine spirits pleaded, ‘Have pity and tell us, Great Sage. That’s all we ask. “‘That’s easy,’ answered Monkey with a smile. ‘The day you ten girls were born, I’d gone to visit the King of Hell and happened to piss on the ground. Your youngest sister-in-law lapped it up. If you want the gift of the gab, I’ve plenty more piss you can drink if you like.’ “The whole company burst out laughing. “Fine!” cried Sister Phoenix. “It’s lucky we’re all so dumb here. Otherwise people might say we’d drunk monkey’s piss.” Madam Outstanding and Madam Lou joked to Silk Plum, “The one who’s drunk monkey’s piss is playing innocent!”--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 09:44, 8 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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薛姨妈笑道：“笑话儿在对景就发笑。”说着，又击起鼓来。小丫头子们只要听凤姐儿的笑话，便悄悄的和女先儿说明，以咳嗽为记。须臾传至两遍，刚到了凤姐儿手里，小丫头子们故意咳嗽，女先儿便住了。众人齐笑道：“这可拿住他了。快吃了酒，说一个好的罢。别太逗人笑得肠子疼。”凤姐儿想了一想，笑道：“一家子也是过正月节，合家赏灯吃酒，真真的热闹非常。<br />
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"A joke is always the better for being apt," Aunt Marshgrass observed.The drums started up again then. The maids, who wanted only to hear Splendid Phoenix tell a joke, had come to a secret understanding with the blind women that if one of them coughed it would be a signal to stop, and when the branch had been round twice and had just reached Splendid Phoenix for the second time, the maids all coughed and the drumming stopped.Now we've caught her!”the others exulted.“Drink up quickly and let us have a good one.Just don't make us split our sides laughing.”Splendid Phoenix thought for a few moments and then started:‘A family was celebrating the First Moon festival, just as we are doing, admiring the lanterns and drinking wine together. It was a very lively party and everyone in the family was there:<br />
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"A joke is always the better for being apt," Aunt Marshgrass observed. The drums started up again then. The maids, who wanted only to hear Splendid Phoenix tell a joke, had come to a secret understanding with the blind women that if one of them coughed it would be a signal to stop, and just after being passed twice in a moment， it had just reached Splendid Phoenix for the second time, the maids all coughed and the drumming stopped. Everyone giggled together， “Now we've caught her!” the others exulted.“Drink up quickly and let us have a good one. Just don't make us split our sides laughing.”Splendid Phoenix thought for a few moments and then started:‘A family was celebrating the Lantern Festival, just as we are doing, admiring the lanterns and drinking wine together. It was a very lively party and everyone in the family was there:<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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祖婆婆、太婆婆、媳妇、孙子媳妇、重孙子媳妇、亲孙子媳妇、侄孙子、重孙子、灰孙子、滴里搭拉的孙子、孙女儿、外孙女儿、姨表孙女儿、姑表孙女儿，……嗳哟哟，真好热闹！”众人听他说着，已经笑了，都说：“听这数贫嘴的，又不知要编派那一个呢！”尤氏笑道：“你要招我，我可撕你的嘴。”凤姐儿起身拍手笑道：“人家这里费力，你们紧着混，我就不说了。”贾母笑道：“你说你说，底下怎么样？”<br />
Grandmas, wives, grandson wives, grandsons, granddaughters...Oh, how hilarious! " Hearing that, everyone has already laughed and said, "What a loquacious guy. We don't know who she's gonna play!" Madam Outstanding said with a smile: "if you’d like to provoke me, I could tear your mouth." Sister Phoenix got up and clapped her hands and said with a smile, "I here try to finish it, you one after another gag, I will not say anymore！" Grandma Merchant smiled and said, "Don't mind， just go on. What about the situation of these people?"<br />
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Grandmas, wives, daughters, grandson’s wives, grandsons, granddaughters... All of his relatives were there. Oh, how boisterous! " Everyone was laughing when hearing about this, and they said, "What a loquacious guy. Who knows whom she's gonna make fun of!" Madam Outstanding laughed: " If you dare to provoke me, I could tear your mouth." Sister Phoenix got up and clapped her hands and said with a smile, " It’s difficult for me to continue this. I am tired now. You guys just frolic here, and I’m not gonna join you." Grandma Merchant smiled and said, " Don't mind, just go on. What happened then?"--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 08:02, 8 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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凤姐儿想了一想，笑道：“底下就团团的坐了一屋子，吃了一夜酒，就散了。”众人见他正言厉色的说了，也都再无有别话，怔怔的还等往下话，只觉他冰冷无味的就住了。史湘云看了他半日。凤姐儿笑道：“再说一个过正月节的：几个人拿着房子大的炮仗往城外放去，引了上万的人跟着瞧去。有一个性急的人等不得，便偷着拿香点着。只听‘噗哧’的一声，众人哄然一笑，都散了。这抬炮仗的人抱怨卖炮仗的捍的不结实，没等放就散了。”<br />
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Sister Phoenix thought it over and then smiled, “ They just sit around the table to drink for the whole night and then scattered to their own place.” Seeing that she was talking about this quiet seriously, all the people there were in a daze, waiting for her to continue about this story, but she just stopped suddenly, making the atmosphere as cold as ice. Then Fragrant Cloud stared at her for quiet a long time, but her sister just laughed and said, “ Now let me tell you another story about Lantern Festival. There were some guys who carried a huge firecracker to set it off at somewhere outside of the town, which attracted tens of thousands of people following them to appreciate this. However, someone hot-tempered was so impatient to wait for this that he set it off with an incense stick furtively halfway. Then with the sound of the firework cracking, all the people there howled with laughter and then dispersed. Not knowing what had happened, those who were carrying the firecracker just complained about its low quality and weakness which made it spoiled before being set off.<br />
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Sister Phoenix thought it over and then smiled, “ They just sit around the table, drinking for the whole night and then heading for their own place.” Seeing that she was talking about this with stern countenance, all the people there were in a daze, waiting for her to continue about this story, but she just stopped suddenly, making the atmosphere as cold as ice. Then Fragrant Cloud stared at her for quiet a long time, but her sister just laughed and said, “ Now let me tell you another story about Lantern Festival. There were some guys who carried a huge firecracker to set them off at somewhere outside of the town, which attracted tens of thousands of people following them to appreciate this. However, someone hot-tempered was so impatient to wait for this that he set it off with an incense stick furtively halfway. Then with the sound of the firework cracking, all the people there howled with laughter and then dispersed. Not knowing what had happened, those who were carrying the firecrackers just complained about its low quality and weakness which made it spoiled before being set off.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 05:19, 9 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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湘云道：“难道本人没听见？”凤姐儿道：“本人原是个聋子。”众人听说，想了一回，不觉失声都大笑起来。又想着先前那一个没完的，问他道：“先那一个到底怎么样？也该说完了。”凤姐儿将桌子一拍，道：“好罗唆！到了第二日是十六日，年也完了，节也完了，我看人忙着收东西还闹不清，那里还知道底下事了？”众人听说，复又笑起来。凤姐儿笑道：“外头已经四更多了，依我说：老祖宗也乏了，咱们也该‘聋子放炮仗——散了’罢。”<br />
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Then Fragrant-cloud asked, "Didn't that peroson hear those words?" "No, for the one who put firecrackers was a deaf", Sister Phoenix replied. Hearing the reply, the crowd burst into laughter after pondering for a while. Meanwhile, when thinking over the previous unfinished joke Sister Phoenix made, the crowd asked, "What's the ending of the first one you've just made on earth? It's time to finish that." Patting on the table, Sister Phoenix then said, " How long-winded you are! The next day is the 16th day of the lunar calendar, when the Spring Festival is over. And I am just occupied to take charge of the trivial things, then how can I know what's happening afterwards?" The crowd then let out screams of laughter again the minute they heard what Phoenix said. Then she herself said with a smile, "Now it's 2:24 clock or so in the morning now. From my perspective, Grandma is tired now, and we just break up."<br />
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Then Fragrant-cloud asked, "Didn't that person hear those words?" "No, because the one who put firecrackers was a deaf", Sister Phoenix replied. Hearing the reply, the crowd burst into laughter after pondering for a while. Meanwhile, when thinking over the previous unfinished joke Sister Phoenix made, the crowd asked, "What's the ending of the first one you've just made on earth? It's time to finish that." Patting on the table, Sister Phoenix then said, " How long-winded you are! The next day is the sixteenth day of the first lunar month, representing that the Spring Festival is over. And I am just occupied taking charge of the trivial things, then how can I know what happened afterwards?" The crowd then let out screams of laughter again the minute they heard what Phoenix said. Then she herself said with a smile, "Now it's more than three o'clock in the morning. From my perspective, Grandma is tired, and let's break up now."--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 08:01, 7 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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尤氏等用手帕握着嘴，笑的前仰后合，指他说道：“这个东西真会数贫嘴。”贾母笑道：“真真这凤丫头，越发贫嘴了。”一面说，一面吩咐道：“他提起炮仗来，咱们也把烟火放了，解解酒。”贾蓉听了，忙出去，带着小厮们，就在院子内安下屏架，将烟火设吊齐备。这烟火俱系各处进贡之物，虽不甚大，却极精致，各色故事俱全，夹着各色花炮。黛玉禀气虚弱，不禁‘劈拍’之声，贾母便搂他在怀内。薛姨妈搂着湘云。<br />
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Hearing the words, Madam Outstanding and others present fell about laughing, covering their mouths with handkerchiefs. Then Madam Outstanding pointed Sister Phoenix and said, " She is really adept in joking." "That's true, Sister Phoenix is getting much better at making jokes." Grandma Merchant said with a smile. When saying that, she instructed, "Since Sister Phoenix mentioned firecrackers, now let's set off fireworks to alleviate the effect of alcohol." Hearing that, Prosperity Merchant hurried to go out of the room with his footmen, and then they placed the screen in the yard and had all the fireworks set up. The fireworks are the tribute from all over the country, which are small but rather delicate in appearance and complete in variety, blended with sparklers of various colors. Mascara Jade, being of a nervous disposition, was terrified of pops and bangs. Knowing this, Grandma Merchant hugged her to her bosom to comfort her. At the same time, Aunt Marshgrass hugged Fragrant-cloud History as well.<br />
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Hearing the words, Madam Outstanding and others present fell about laughing, covering their mouths with handkerchiefs. Then Madam Outstanding wagged a finger at Sister Phoenix and said, " How this creature does rattle on." "That's true, Sister Phoenix is getting much better at making jokes." Grandma Merchant said with a smile. When saying that, she instructed, "Since Sister Phoenix mentioned firecrackers, now let's set off fireworks to sober ourselves up." Hearing that, Prosperity Merchant promptly went out to get pages to set up screens and stands in the courtyard on which to place or hang the fireworks. The fireworks are the tribute from all over the country, which are small but rather delicate in appearance and complete in variety, blended with sparklers of various colors. Mascara Jade, being of a nervous disposition, was terrified of pops and bangs. Knowing this, Grandma Merchant hugged her to her bosom to comfort her. At the same time, Aunt Marshgrass hugged Fragrant-cloud History as well.--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 11:58, 9 May 2022 (UTC)<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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湘云笑道：“我不怕。”宝钗笑道：“他专爱自己放大炮仗，还怕这个呢。”王夫人便将宝玉搂入怀内。凤姐笑道：“我们是没人疼的。”尤氏笑道：“有我呢，我搂着你。你这会子又撒娇儿了，听见放炮仗，就像‘吃了蜜蜂儿屎’的，今儿又轻狂了。”凤姐儿笑道：“等散了，咱们园子里放去。我比小厮们还放得好呢。”说话之间，外面一色色的放了又放。又有许多“满天星”“九龙入云”“平地一声雷”“飞天十响”之类的零星小炮仗。<br />
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She declared with a smile that she was not afraid. “She likes nothing better than letting off big fire-crackers herself,” explained Precious Hairpin. “Why should she be scared of these?” Lady King had taken Precious Jade on her lap. “No one cares for poor little me!” Sister Phoenix complained. “I do,” chuckled Madam Outstanding. “Come and sit on my knee and don’t be afraid. You’re behaving like a spoilt brat again. The sound of fireworks has sent you off your head, just as if you’d eaten bees’ wax.” “When this party’s over let’s go and let off fireworks in the Garden,” proposed Sister Phoenix gaily. “I’m better at that than those page boys.” Meanwhile a pyrotechnical display was going on outside, including sparklers like “A Skyful of Stars,” “Nine Dragons Soar to the Clouds,” “A Bolt from the Blue,” and ‘Ten Peals in the Air.”<br />
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She laughed and said that she didn't mind the fireworks. There's nothing she likes better than letting them off herself, ‘She's not afraid of fireworks!” explained Precious Hairpin. “Why should she be scared of these?” Lady King had taken Precious Jade on her lap. “No one cares for poor little me!” Sister Phoenix complained. “I do,” chuckled Madam Outstanding. “Come and sit on my knee and don’t be afraid. You’re behaving like a spoilt brat again. The sound of fireworks has sent you off your head, just as if you’d eaten bees’ wax.” “When this party’s over let’s go and let off fireworks in the Garden,” proposed Sister Phoenix gaily. “I’m better at that than those page boys.” Meanwhile, a pyrotechnical display was going on outside, including sparklers like “A Skyful of Stars,” “Nine Dragons Soar to the Clouds,” “A Bolt from the Blue,” and ‘Ten Peals in the Air.”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 09:16, 10 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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放罢，然后又命小戏子打了一回“莲花落”，撒得满台的钱，那些孩子们满台的抢钱取乐。上汤时，贾母说：“夜长，不觉得有些饿了。”凤姐儿忙回说：“有预备的鸭子肉粥。”贾母道：“我吃些清淡的罢。”凤姐儿忙道：“也有枣儿熬的粳米粥，预备太太们吃斋的。”贾母道：“倒是这个还罢了。”说着，已经撤去残席，内外另设各种精致小菜。大家随意吃了些，用过漱口茶，方散。<br />
When the display was over, the boy actors were asked to go up on the stage again and play the Beggar's Song, and everyone amused themselves by throwing money onto the stage and watching them scramble for it. As hot soup was once more being served, Grandma Merchant remarked that after being up for so many hours she was beginning to feel rather empty. “We've prepared some duck congee,” Splendid Phoenix told her. “I'd prefer something less greasy,” was the reply. ‘We've got a rice and date frumenty that was made for the ladies who don't eat meat,' said Splendid Phoenix. ‘That will do,' said Grandma Merchant. The used things were removed now from the table and another set of dishes containing all sorts of tempting entremets laid out in their place. When everyone had sampled what they fancied, they rinsed their mouths out with tea supplied for that purpose and the party finally broke up.<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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十七日一早，又过宁府行礼，伺候掩了祠门，收过影像，方回来。此日便是薛姨妈家请吃年酒。贾母连日觉得身上乏了，坐了半日，回来了。自十八日以后，亲友来请，或来赴席的，贾母一概不会，有邢夫人、王夫人、凤姐三人料理。连宝玉只除王子腾家去了，余者亦皆不去，只说是贾母留下解闷。闲言不提。当下元宵已过，凤姐突然小产了，合家惊慌。要知端的，且听下回分解。<br />
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On the seventeenth, they also repaired, at an early hour, to the Ning mansion to present their compliments; and remaining in attendance, while the doors of the ancestral hall were closed and the images put away, they, at length, returned to their quarters.Invitations had been issued on this occasion to drink the new year wine at Mrs. Hsueeh's residence. But dowager lady Chia had been out on several consecutive days, and so tired out did she feel that she withdrew to her rooms, after only a short stay.After the eighteenth, relatives and friends arrived and made their formal invitations; or else they came as guests to the banquets given. But so little was old lady Chia in a fit state to turn her mind to anything that the two ladies, Madame Hsing and lady Feng, had to attend between them to everything that cropped up. But Pao-yue as well did not go anywhere else than to Wang Tzu-t'eng's, and the excuse he gave out was that his grandmother kept him at home to dispel her ennui.We need not, however, dilate on irrelevant details. In due course, the festival of the fifteenth of the first moon passed. But, reader, if you have any curiosity to learn any subsequent events, listen to those given in the chapter below.<br />
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On the seventeenth, they also repaired, at an early hour, to the Peace mansion to present their compliments; and remaining in attendance, while the doors of the ancestral hall were closed and the images put away, they, at length, returned to their quarters.Invitations had been issued on this occasion to drink the new year wine at Aunt Marshgrass residence. But dowager lady Merchant had been out on several consecutive days, and so tired out did she feel that she withdrew to her rooms, after only a short stay.After the eighteenth, relatives and friends arrived and made their formal invitations; or else they came as guests to the banquets given. But so little was old lady Merchant in a fit state to turn her mind to anything that the two ladies, Madame City and lady Phonix, had to attend between them to everything that cropped up. But Precious Jade as well did not go anywhere else than to Song Rising's, and the excuse he gave out was that his grandmother kept him at home to dispel her ennui.We need not, however, dilate on irrelevant details. In due course, the festival of the fifteenth of the first moon passed，and the family panic as Phonix suddenly miscarried . But, reader, if you have any curiosity to learn any subsequent events, listen to those given in the chapter below.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 05:27, 10 May 2022 (UTC)<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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且说荣府中刚将年事忙过，凤姐儿因年内年外操劳太过，一时不及检点，便小月了，不能理事，天天两三个太医用药。凤姐儿自恃强壮，虽不出门，然筹画计算，想起什么事来，便命平儿去回王夫人。任人谏劝，他只不听。王夫人便觉失了膀臂，一人能有多少精神？凡有了大事，自己主张；将家中琐碎之事，一应都暂令李纨协理。李纨本是个尚德不尚才的，未免逞纵了下人。王夫人便命探春合同李纨裁处，只说过了一月，凤姐将息好了，仍交与他。<br />
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And that the Honor House will just be busy with the New Year, Phoenix had a miscarriage because she was too overworked and didn't pay attention. Therefore, She can no longer manage the affairs of the house, and several eunuchs prescribe her medicine every day. But she felt well enough to remain at home and plan. Remembering what happened, she would order Patience to go back to Mrs. King. She only did not listen to other’s advice. Mrs. King then felt the loss of arms, and how much energy can a person have? She decided major events while asking Silk Plum to dealing with trivial matters. Silk Plum advocated virtue than talent, and were too persuasive for the subordinates. Mrs. King ordered Seeking -Spring to help Silk Plum. After one month, Phoenix was handed over after being better.<br />
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The Lantern Festival passed. No sooner was the bustle of New Year over than Splendid Phoenix had a miscarriage. She had to stop running the household for a month, and two or three doctors attended her every day; but overestimating her own strength, although staying indoors she continued mapping out plans for the household, which Patience was sent to report to Lady King. All advice to rest she ignored. Lady King felt as if she had lost her right arm, and simply had not the energy to cope. She decided important matters herself, entrusting lesser domestic affairs to Silk Plum for the time being. But Silk Plum, being one of those people who have more virtue than ability, inevitably let the servants have their own way; so Lady King told Seeking Spring to help her out for a month, until Phoenix was well enough to take over again.--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 14:36, 10 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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谁知凤姐禀赋气血不足，兼年幼不知保养，平生争强斗智，心力更亏，故虽系小月，竟着实亏虚下来。一月之后，又添了下红之症。他虽不肯说出来，众人看他面目黄瘦，便知失于调养。王夫人只令他好生服药调养，不令他操心。他自己也怕成了大症，遗笑于人，便想偷空调养，恨不得一时复旧如常。谁知服药调养，直到三月间，才渐渐的起复过来，下红也渐渐止了，此是后话。<br />
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Splendid Phoenix had a delicate constitution and was never health-conscious as a girl. In her passion to shine she had overtaxed her strength, with the result that her miscarriage left her very weak. A month after it she was still losing blood. Although she kept this a secret, everyone could see from her pallor and loss of weight that she was not taking proper care of herself. Lady King urged her not to worry about family affairs, but just to take medicine and recuperate. And as she herself was afraid that if she fell really ill other people would gloat, she concentrated on getting better as soon as possible. However, she did not start to mend for some time: not until the autumn did she begin to recover and gradually stop losing blood. But this is anticipating.<br />
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Splendid Phoenix had a delicate constitution, however, and as a girl had never looked after her health. In her passion to shine she had overtaxed her strength, with the result that her miscarriage left her very weak. A month after it she was still losing blood.Although she kept this a secret, everyone could see from her pallor and loss of weight that she was not taking proper care of herself. Lady King urged her not to worry about family affairs, but just to take medicine and recuperate. And as she herself was afraid that if she fell really ill other people would gloat, she concentrated on getting better as soon as possible. However, she did not start to mend for some time: not until the autumn did she begin to recover and gradually stop losing blood. But this is anticipating.--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 10:20, 8 May 2022 (UTC)<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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如今且说王夫人见他如此，探春与李纨暂难谢事，园中人多，又恐失于照管，特请了宝钗来，托他各处小心。因嘱咐他：“老婆子们不中用，得空儿吃酒斗牌，白日里睡觉，夜里斗牌，我都知道的。凤丫头在外头，他们还有个怕惧，如今他们又该取便了。好孩子，你还是个妥当人。你兄弟妹妹们又小，我又没工夫，你替我辛苦两天，照看照看。凡有想不到的事，你来告诉我，别等老太太问出来，我没话回。<br />
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Meanwhile, seeing that for the time being Seeking-Spring and Silk Plum could hardly be relieved of their responsibilities, and that there were many people in the Garden who needed to be kept in order, Lady King enlisted Precious Hairpin Marshgrass's help as well. “The old serving-women are no use,” she told her.“They drink and gamble whenever they have the chance, sleeping during the day so as to play cards at nigh. I know all they're up to. When Splendid Phoenix was up and about, there was someone they were afraid of; but now that she is out of the way, I expect they do just as they please. You're a good steady girl, my dear. Your cousins are young and I'm busy, do you mind putting yourself out, for a couple of days, to keep an eye on things for me?<br />
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Meanwhile, seeing that for the time being Seeking-Spring and Silk Plum could hardly be relieved of their responsibilities, and that there were many people in the Garden who needed to be kept in order, Lady King enlisted Precious Hairpin Marshgrass's help as well. “The old serving-women are no use,” she told her.“They drink and gamble whenever they have the chance, sleeping during the day so as to play cards at nigh. I know all they're up to. When Splendid Phoenix was up and about, there was someone to scare them; but now they'll be taking advantage. You're a good steady girl, my dear. Your cousins are young and I'm busy, do you mind putting yourself out, for a couple of days, to keep an eye on things for me? If there’s anything I overlook, come and let me know before the old lady asks and I’m stumped for an answer.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 02:36, 10 May 2022 (UTC)<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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那些人不好了，你只管说；他们不听，你来回我。别弄出大事来才好。”宝钗听说，只得答应了。时届季春，黛玉又犯了咳嗽；湘云又因时气所感，亦病卧于蘅芜苑，一天医药不断。探春同李纨相住间隔，二人近日同事，不比往年，来往回话人等亦甚不便，故二人议定，每日早晨，皆到园门口南边的三间小花厅上去会齐办事；吃过早饭，于午错方回。这三间厅，原系预备省亲之时众执事太监起坐之处，故省亲之后，也用不着了，每日只有婆子们上夜。<br />
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If the servants misbehave, just tell them off. If they won't listen, let me know. We don't want to have any trouble." Precious Hairpin had to agree to this. It was now early spring and Mascara Jade was coughing again while Fragrant Cloud too was under the weather, confined to her bed in Alpinia Park, taking medicine day after day. As Seeking Spring and Silk Plum lived some distance from each other, now that they were working together it proved so inconvenient sending messages to and from that they arranged to settle their business every morning in the small three-roomed hall south of the Garden gate. They took to having breakfast there and returning to their own quarters about noon. This hail had served as the headquarters for the eunuchs in charge at the time of the Imperial Consort's visit, since when it had only been used by some old maid-servants who kept watch there at night.<br />
<br />
If the servants misbehave, just tell them off. If they won't listen to you, just let me know. We don't want to have any trouble." Precious Hairpin had to agree to this. It was now early spring and Mascara Jade was coughing again while Fragrant Cloud too was under the weather, confined to her bed in Alpinia Park, taking medicine day after day. As Seeking Spring and Silk Plum lived some distance from each other, now that they were working together it proved so inconvenient sending messages to and from that they arranged to settle their business every morning in the small three-roomed hall south of the Garden gate. They took to having breakfast there and returning to their own quarters about noon. This hail had served as the headquarters for the eunuchs in charge at the time of the Imperial Consort's visit, since when it had only been used by some old maid-servants who kept watch there at night.--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 02:28, 9 May 2022 (UTC)<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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如今天已和暖，不用十分修饰，只不过略略的陈设了，便可他二人起坐。这厅上也有一处匾，题着“补仁谕德”四字；家下俗呼皆只叫“议事厅儿”。如今他二人每日卯正至此，午正方散，凡一应执事的媳妇等来往回话者，络绎不绝。众人先听见李纨独办，各各心中暗喜，以为李纨素日是个厚道多恩无罚的，自然比凤姐儿好搪塞；便添了一个探春，都想着不过是个未出闺阁的年轻小姐，且素日也最平和恬淡，因此都不在意，比凤姐儿前更懈怠了许多。<br />
<br />
As the weather was warm now no major repairs were needed: a little fixing up made the place fit for the two of them to live. The tablet over this hall bore the inscription “Assisting Benevolence and Discussing Virtue,” but members of the household all called it the Council Hall.Now the two young mistresses came here at six every morning and did not leave until noon, after an endless stream of women-servants had reported on the matters entrusted to them. These women had all exulted secretly at the news that Silk Plum was to be in sole charge, thinking her too kind-hearted to punish anyone, and obviously much easier to impose on than Splendid Phoenix. It did not worry them either when Seeking-Spring later joined her, for they discounted her as a young unmarried girl who had always been most pleasant and easy-going. So they became much slacker than before.<br />
<br />
The weather was warm , no major repairs were needed: a little fixing up made the place fit for the two of them to live. The tablet over this hall bore the inscription “Assisting Benevolence and Discussing Virtue,” but members of the household all called it the Council Hall.Now the two young mistresses came here at six every morning and did not leave until noon, after an endless stream of women-servants had reported on the matters entrusted to them. These women had all exulted secretly at the news that Silk Plum was to be in sole charge, thinking her too kind-hearted to punish anyone, and obviously much easier to impose on than Splendid Phoenix. It did not worry them either when Seeking-Spring later joined her, for they discounted her as a young unmarried girl who had always been most pleasant and easy-going. So they became much slacker than before.--[[User:Yang Xinyi|Yang Xinyi]] ([[User talk:Yang Xinyi|talk]]) 12:23, 9 May 2022 (UTC)<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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只三四日后，几件事过手，渐觉探春精细处不让凤姐，只不过是言语安静、性情和顺而已。可巧连日有王公侯伯世袭官员十几处，皆系荣宁非亲即友即世交之家，或有升迁，或有黜降，或有婚丧红白等事，王夫人贺吊迎送，应酬不暇，前边更无人照管。他二人便一日皆在厅上起坐，宝钗便一日在上房监察，至王夫人回方散。每于夜间针线暇时，临寝之先，坐了轿，带领园中上夜人等，各处巡察一次：他三人如此一理，更觉比凤姐儿当权时倒更谨慎了些。<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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因而里外下人，都暗中抱怨说：“刚刚的倒了一个‘巡海夜叉’，又添了三个‘镇山太岁’，越发连夜里偷着吃酒玩的工夫都没了。”这日王夫人正是往锦乡侯府去赴席，李纨与探春，早已梳洗，伺候出门去后，回至厅上坐了，刚吃茶时，只见吴新登的媳妇进来回说：“赵姨娘的兄弟赵国基昨日出了事，已回过老太太、太太，说知道了，叫回姑娘来。”说毕，便垂手旁侍，再不言语。彼时来回话者不少，都打听他二人办事如何：<br />
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Therefore all servants complained in secret: “One wave have just been leveled while another wave has arisen, and more and more there was no time to secretly drink and play at night.” On that day, Lady King was going to Duke Jinxiang's mansion to attend the banquet. Silk Plum and Seeking-Spring Merchant had already washed and dressed. After waiting for them to go out, they returned to the hall and sat down. When they were just having tea, Ascend Proper Wu's daughter-in-law came in and replied: "Concubine Zhao's brother Nation Base Zhao had an accident yesterday, and it had been told to Grandma Merchant and Lady King, and they called you back.” After she finished speaking, she lowered her hands and waited by the side silently. At that time, there were many people who answering back and they all asked about how was it going with the two of them.<br />
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Therefore all servants complained in secret: “We are just rid of one demon and then here come three guardian mountain spirits. Now wen don not even have a chance to drink and play cards at night.” One day, Lady King was invited to a feast at Duke Jinxiang’s mansion. Silk Plum and Seeking-Spring Merchant had already got up early to attend her until she left. Then they went back to the hall. When they were just sipping tea there, Ascend Proper Wu’ wife came in to inform them that Concubine Zhao’s brother, Nation Base Zhao, had died the previous day. “I have reported this to old lady Merchant and lady King,” she said. “She told me to let you ladies know.” She did not make further comment after this and just lowered her hands and stood by at respectful attention. At that time, all servants who had come to report on business were eager to see how these two would handle this matter.--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 04:55, 7 May 2022 (UTC)<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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若办得妥当，大家则安个畏惧之心；若少有嫌隙不当之处，不但不畏服，一出二门，还说出许多笑话来取笑。吴新登的媳妇心中已有主意：若是凤姐前，他便早已献勤，说出许多主意、又查出许多旧例来，任凤姐拣择施行；如今他藐视李纨老实，探春是年轻的姑娘，所以只说出这一句话来，试他二人有何主见。探春便问李纨。李纨想了一想，便道：“前日袭人的妈死了，听见说赏银四十两，这也赏他四十两罢了。”<br />
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If they handled these things correctly, they would respect them; if they made the least mistake, they would despite them and would start gossip and make fun of them when they go out of the inner gate. Ascend Proper Wu’s wife knew what should be done. If she reported things to Splendid Phoenix, she would have made various suggestions for her to decide between. But now as she looked down on Silk Plum as a simpleton and Seeking-Spring as only a young girl, she said no more, waiting to see what they would do. Seeking-Spring consulted Silk Plum, who thought for a while. “I remember that the other day when Aroma’s mother died, I knew she was given forty taels,” Silk Plum said. “We can also give him forty taels.”<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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吴新登的媳妇听了，忙答应了个“是”，接了对牌就走。探春道：“你且回来。”吴新登家的只得回来。探春道：“你且别支银子。我且问你：那几年老太太屋里的几位老姨奶奶，也有家里的，也有外头的，这两个分别。家里的若死了人是赏多少？外头的死了人是赏多少？你且说两个我们听听。”一问，吴新登家的便都忘了，忙陪笑回说道：“这也不是什么大事，赏多赏少，谁还敢争不成？”<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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探春笑道：“这话胡闹。依我说，赏一百倒好。若不按例，别说你们笑话，明儿也难见你二奶奶。”吴新登家的笑道：“既这么说，我查旧帐去；此时却记不得。”探春笑道：“你办事办老了的，还记不得，倒来难我们。你素日回你二奶奶，也现查去？若有这道理，凤姐姐还不算利害，也就算是宽厚了。还不快找了来我瞧。再迟一日，不说你们粗心，倒像我们没主意了。”吴新登家的满面通红，忙转身出来。众媳妇们都伸舌头。<br />
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Seeking-Spring laughed and said:"Such nonsense. As I see it, it is better to reward a hundred. If you don't follow the routine, it is not only you who would laugh at. It would also be hard to explain it to Lady Splendid Phoenix." Wu Xindeng's family laughed: "If so, I will check the old accounts;I can't remember for now." Seeking-Spring smiled and said, "You have long used to these matters, yet you still can't remember and come to trouble us. Did you reply to Lady Splendid Phoenix after you checked it out in past days? If that's the case, Sister Phoenix is far from demanding but lenient. Hurry to check it and reply!. One day later, not to mention your carelessness, it's just like we couldn't make any decisions." Wu Xindeng Family's face turned red, hurried to come out. All the daughters-in-law stuck out their tongues in surprise.<br />
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Seeking-Spring laughed and said: "Such nonsense. As I see it, it is better to reward a hundred. If you don't follow the routine, it is not only you who would laugh at. It would also be hard to explain it to Lady Splendid Phoenix." Ascend Proper Wu's Wife laughed: "If so, I will check the old accounts; I can't remember now." Seeking-Spring smiled and said, "You have been long used to these matters, yet you still can't remember and come to trouble us. Did you reply to Lady Splendid Phoenix after you checked it out in past days? If that's the case, Sister Phoenix is far from demanding but lenient. Hurry to check it and reply!. One day later, not to mention your carelessness, it's just like we couldn't make any decisions." Ascend Proper Wu's Wife's face turned red and hurried to come out. All the daughters-in-law stuck out their tongues in surprise.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 11:49, 10 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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这里又回别的事。一时吴家的取了旧帐来，探春看时，两个家里的赏过皆二十四两，两个外头的皆赏过四十两。外还有两个外头的：一个赏过一百两，一个赏过六十两。这两笔底下皆有原故：一个是隔省迁父母之柩，外赏六十两；一个是现买葬地，外赏二十两。探春便递与李纨看了，探春便说：“给他二十两银子，把这账留下我们细看。”吴新登家的去了。忽见赵姨娘进来，李纨探春忙让坐。<br />
Seeking Spring was dealing with another matters when Ascend Proper Wu's Wife brought the old account back. Seeking Spring saw that both of the internal servants had been rewarded 24 tael and two external ones 40 tael. In addition, another two external servants had been rewarded 100 tael and 60 tael respectively. There're reasons for the two accounts: one was an additional 60 tael for transferring his parents' coffins from another province; the other was an additional 20 tael for buying the cemetery. Seeking Spring handed the account to Silk Plum and then said, "Give him 20 tael. We will keep the account to check carefully." Ascend Proper Wu's Wife then left. Suddenly Aunt Walk came in. Silk Plum and Seeking Spring hurriedly stood up to set aside precedency seat for her.<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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赵姨娘开口便说道：“这屋里的人，都踩下我的头去还罢了，姑娘，你也想一想，该替我出气才是。”一面说，一面便眼泪鼻涕哭起来。探春忙道：“姨娘这话说谁，我竟不懂。谁踹姨娘的头？说出来，我替姨娘出气。”赵姨娘道：“姑娘现踹我，我告诉谁去！”探春听说，忙站起来说道：“我并不敢。”李纨也忙站起来劝。赵姨娘道：“你们请坐下，听我说。我这屋里熬油似的熬了这么大年纪，又有你兄弟，这会子连袭人都不如了，我还<br />
有什么脸？<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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连你也没脸面，别说是我呀！”探春笑道：“原来为这个。我说我并不敢犯法违礼。”一面便坐了，拿账翻与赵姨娘瞧，又念与他听；又说道：“这是祖宗手里旧规矩，人人都依着，偏我改了不成？这也不但袭人，将来环儿收了外头的，自然也是同袭人一样。这原不是什么争大争小的事，讲不到有脸没脸的话上。他是太太的奴才，我是按着旧规矩办。说办的好，领祖宗的恩典，太太的恩典；若说办的不匀，那是他糊涂不知福，也只好凭他抱怨去。<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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太太连房子赏了人，我有什么有脸之处；一文不赏，我也没什么没脸之处。依我说，太太不在家，姨娘安静些，养神罢了，何苦只要操心。太太满心疼我，因姨娘每每生事，几次寒心。我但凡是个男人，可以出得去，我必早走了，立一番事业，那时自有我一番道理；偏我是女孩儿家，一句多话也没我乱说的。太太满心里都知道。如今因看我重，才叫我照管家务。还没有做一件好事，姨娘倒先来作践我。倘或太太知道了，怕我为难，不叫我管，那才正经没脸呢，连姨娘真也没脸了！”<br />
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Madame had given the house away, how I am so shameless? Madame give no dime, how I am so proud? I say, Aunt could rest in quietness when Madame is not home. Why bother all that. Madame cares about me and is disappointed when Aunt makes trouble. If I am a man and able to go out, I would have gone and make a success so that my words count. But I am a girl and I could not say any words inappropriate. Madame knows the best. I am valued so I am caring the house works. I haven't done a thing, and the aunt insults me. If Madame knows and she would tell me to leave it alone so that I won't be in a dilemma. That is shameless. Aunt is so shameless!"<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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一面说，一面不禁滚下泪来。赵姨娘没了别话答对，便说道：“太太疼你，你越发拉扯拉扯我们。你只顾讨太太的疼，就把我们忘了。”探春道：“我怎么忘了？叫我怎么拉扯？这也问他们各人，那一个主子不疼出力得用的人？那一个好人用人拉扯的？”李纨在旁只管劝说：“姨娘别生气，也怨不得姑娘，他满心里要拉扯，口里怎么说的出来？”探春忙道：“这大嫂子也糊涂了。我拉扯谁？谁家姑娘们拉扯奴才了？<br />
Seeking-Spring spoke as she was sobbing bitterly. Having no other answer to this, the concubine retorted,"If the mistress is partial to you, that's all the more reason to lend us a helping hand. But you've quite forgotten us in your eagerness to curry favor with her." "Who says I've forgotten you? How am I to lend a helping hand? You have to ask yourselves: Don't all mistresses like inferiors who make themselves useful? Good people don't need the kind offices of others."Silk Plum put in soothingly, "Don't be angry, madam. It's not her fault. She's only too eager to help you,but how can she say so?" "Don't be ridiculous, sister-in-law!" cried Seeking-Spring." Who do you mean I'm to help? Does the daughter of any house help servants?<br />
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Seeking-Spring spoke as she was sobbing bitterly. Having no other answer to this, the concubine retorted,"If the mistress is partial to you, that's all the more reason to lend us a helping hand. But you've quite forgotten us in your eagerness to curry favor with her." "Who says I've forgotten you? How am I to lend a helping hand? You have to ask yourselves: Don't all mistresses like inferiors who make themselves useful? Good people don't need the kind offices of others."Silk Plum put in soothingly, "Don't be angry, madam. It's not her fault. She's only too eager to help you,but how can she say so?" "Don't be ridiculous, sister-in-law!" cried Seeking-Spring." Who do you mean I'm to help? Does the daughter of any house help servants?--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 12:09, 10 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
他们的好歹，你们该知道，与我什么相干。”赵姨娘气得问道：“谁叫你拉扯别人去了？你不当家，我也不来问你。你如今现在说一是一，说二是二。如今你舅舅死了，你多给了二三十两银子，难道太太就不依你？分明太太是好太太，都是你们尖酸克薄，可惜太太有恩无处使。姑娘放心，这也使不着你的银子！明日等出了阁，我还想你额外照看赵家呢。如今没有长翎毛儿就忘了根本，只‘拣高枝儿飞’去了。”<br />
You should know what they are -- their affairs are none of my business." "Who asked you to help others?" fumed the concubine. "If you weren't in charge I wouldn't have come to you. Now if you say one it's one, if you say two it's two. If you gave an extra twenty or thirty taels for your uncle's funeral, why should the mistress object? Everyone knows how good she is — it's you people who are so singy. It's too bad she has no chance to show her kindness. But don't worry, miss, it's not your own silver you're saving. I'd always hoped, after you married, you'd show more consideration to the Zhao family; but now before your feath-ers have grown you've forgotten your roots, you're so keen to fly to the very top of tree."<br />
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You should know what they are -- their affairs are none of my business."fumed the concubine. "Who asked you to help others?" "If you weren't in charge I wouldn't have come to you. Now if you say one,it's one, if you say two,it's two. If you gave an extra twenty or thirty taels for your uncle's funeral, why should the mistress object? Everyone knows how good she is — it's you people who are so singy. It's too bad she has no chance to show her kindness. But don't worry, miss, it's not your own silver you're saving. I'd always hoped, after you married, you'd show more consideration to the Zhao family; but now before your feathers have grown you've forgotten your roots, you're so keen to fly to the very top of tree."--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 16:57, 10 May 2022 (UTC)<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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探春没听完，已气得脸白气噎，抽抽咽咽的一面哭，一面问道：“谁是我舅舅？我舅舅年下才升了九省检点，那里又跑出一个舅舅来？我倒素昔按礼尊敬，越发敬出这些亲戚来了。既这么说，每日环儿出去，为什么赵国基又站起来，又跟他上学？为什么不拿出舅舅的款来？何苦来，谁不知道我是姨娘养的，必要过两三个月寻出由头来，彻底来翻腾一阵，怕人不知道，故意表白表白。也不知道是谁给谁没脸？<br />
Before she had finished,Tanchun's face was white with anger. Nearly choking with sobs she demanded,"Who's my uncle? My uncle's just been appointed Military Inspector of Nine Provinces.What other uncles do I have? Is this my reward for always observing the ruler of propriety---to have all these relative foisted off on me? If what you say were true,why did Zho Guoji have to stand up whenever Ring went out? Why follow him to school? Why didn't he behave like an uncle? "Do you have to make such a scene? Everyone knows I'm a child by a concubine, yet you needs must bring it up every few months and rub it in,as if you had to make it plain for fear they didn't know. Who's making the other lose face?<br />
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==比较文学与跨文化研究 Mahzad 202021080004==<br />
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幸亏我还明白，但凡糊涂不知礼的，早急了！”李纨急得只管劝，赵姨娘只管还唠叨。忽听有人说：“二奶奶打发平姑娘说话来了。”赵姨娘听说，方把嘴止住。只见平儿走来，赵姨娘忙陪笑让坐，又忙问：“你奶奶好些？我正要瞧去，就只没得空儿。”李纨见平儿进来，因问他：“来作什么？”平儿笑道：“奶奶说：赵姨奶奶的兄弟没了，恐怕奶奶和姑娘不知有旧例。若照常例，只得二十两；如今请姑娘裁度着，再添些也使得。” 探春早已拭去泪痕，忙说道：“又好好的添什么，谁又是‘二十四个月养的’？<br />
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==外国语言文学 Muhammad Numan 202121080002==<br />
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不然，也是出兵放马、背着主子逃出命来过的人不成？你主子真个倒巧：叫我开了例，他做好人，拿着太太不心疼的钱，乐得做人情。你告诉他：我不敢添减混出主意。他添他施恩，等他好了出来，爱怎么添怎么添！”平儿一来时，已明白了对半；今听这话，越发会意。见探春有怒色，便不敢以往日喜乐之时相待，只一边垂手默侍。时值宝钗也从上房中来，探春等忙起身让坐，未及开言，又有一个媳妇进来回事，因探春才哭了，便有三四个小丫鬟捧了脸盆、巾帕、靶镜等物来。<br />
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==英语语言文学 TOURE MARIAM 202021080005==<br />
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此时探春因盘膝坐在矮板榻上，那捧盆丫鬟走至跟前，便双膝跪下，高捧沐盆；那两个丫鬟也都在旁屈膝捧着巾帕并靶镜脂粉之饰。平儿见侍书不在这里，便忙上来与探春挽袖卸镯，又接过一条大手巾来，将探春面前衣襟掩了，探春方伸手向面盆中盥沐。媳妇便回道：“奶奶、姑娘：家学里支环爷和兰哥儿一年的公费。”平儿先道：“你忙什么？你睁着眼看见姑娘洗脸，你不出去伺候着，倒先说话来。二奶奶跟前，你也这样没眼色来着？姑娘虽恩宽，我去回了二奶奶，只说你们眼里都没姑娘，你们都吃了亏，可别怨我！”<br />
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==外国语言文学 UDDIN NIZAM 202121080007==<br />
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唬得那个媳妇忙陪笑说：“我粗心了。”一面说，一面忙退出去。探春一面匀脸，一面向平儿冷笑道：“你迟了一步，没见还有可笑的。连吴姐姐这么个办老了事的也不查清楚了就来混我们。幸亏我们问他，他竟有脸说‘忘了’。我说他回二奶奶事也忘了再找去？我料着你主子未必有耐性儿等他去找。”平儿笑道：“他有这么一次，包管腿上的筋早折了两根。姑娘别信他们。那是他们瞅着大奶奶是个菩萨，姑娘又是腼腆小姐，固然是托懒来混。”说着，又向门外说道：“你们只管撒野，等奶奶大安了，咱们再说。”<br />
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==翻译学 SAGARA SEYDOU 201911080004 ==<br />
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门外的众媳妇都笑道：“姑娘，你是个最明白的人，俗语说：‘一人作罪一人当。’我们并不敢欺蔽主子。如今主子是娇客，若认真惹恼了，死无葬身之地！”平儿冷笑道：“你们明白就好了。”又陪笑向探春道：“姑娘知道，二奶奶本来事多，那里照看得这些？保不住不忽略。俗语说：‘旁观者清。’这几年姑娘冷眼看着，或有该添该减的去处，二奶奶没行到，姑娘竟一添减：头一件，与太太有益；第二件，也不枉姑娘待我们奶奶的情义了。”话未说完，宝钗李纨皆笑道：“好丫头，真怨不得凤丫头偏疼他！</div>Li Yuanhttps://bou.de/u/index.php?title=20220505_homework&diff=14240020220505 homework2022-05-11T02:53:11Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
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<div>Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]<br />
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Assignment 1: '''Click here''' [[Chinese Classics Translation 2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is '''Chinese Classics on Overseas Bookfairs 朱丽娟 段小蝶 钟青 周哲'''<br />
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Assignment 2: '''Click here''' (coming soon) to do the quizzes on the textbook <br />
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Assignment 3: Please do the translation below here<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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这李乡绅膝下无儿，只有一位千金小姐。这小姐芳名叫做雏鸾，琴棋书画，无所不通。”贾母忙道：“怪道叫做《凤求鸾》。不用说了，我已经猜着了：自然是王熙凤要求这雏鸾小姐为妻了。”女先儿笑道：“老祖宗原来听过这回书。”众人都道：“老太太什么没听见过！就是没听见，也猜着了。”贾母笑道：“这些书就是一套子，左不过是些佳人才子，最没趣儿。把人家女儿说的这么坏，还说是‘佳人’，编的连影儿也没有了。<br />
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Gentry Li has no son but a daughter named ‘Young Phoenix’, a versatile lady who is excellent at lyre-playing, chess, calligraphy, and painting.” “No wonder it is called ‘Male Phoenix Marries Female Phoenix.’ No more telling. I have known its following plots——it is natural that Splendid Phoenix King will marry this young lady of Family Li, ” Grandma Merchant said frankly. This female storyteller was amused, “It turns out that you have ever listened to this story.” The rest just laughed, “There is nothing that our old lady has never known. If there is, she could guess what it is about.” “These stories tell nothing but always some pairs of ideal lovers, a perfect match between talent and beauty. Cannot be boring too much! Especially those stories, whose makers often depict such a bad young lady but claim to be ‘a good beauty’, are really groundless of such makings, ”Grandma Merchant felt flattered.<br />
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Gentry Plum has no son but a daughter named ‘Young Phoenix’, a versatile lady who is excellent at lyre-playing, chess, calligraphy, and painting.” “No wonder it is called ‘''Male Phoenix Courts Female Phoenix''’. No more telling. I have known its following plots -- it is natural that Splendid Phoenix King will marry this young lady of Family Li to her son, ” Grandma Merchant said frankly. This female storyteller was amused, “It turns out that you have ever listened to this story.” The rest just laughed, “There is nothing that our old lady has never known. If there is, she could guess what it is about.” “These stories tell nothing but always some pairs of ideal lovers, a perfect match between talent and beauty. Cannot be boring too much! Especially those stories, whose makers often depict such a bad young lady but claim to be ‘a good beauty’, are really groundless of such makings, ”Grandma Merchant felt flattered.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 14:08, 8 May 2022 (UTC)<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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开口都是乡绅门第，父亲不是尚书，就是宰相。一个小姐，必是爱如珍宝。这小姐必是通文知礼，无所不晓，竟是‘绝代佳人’，只见了一个清俊男人，不管是亲是友，想起他的‘终身大事’来，父母也忘了，书也忘了，鬼不成鬼，贼不成贼，那一点儿像个佳人？就是满腹文章，做出这样事来，也算不得是佳人了。比如一个男人家，满腹的文章，去做贼，难道那王法就看他是个才子，就不入贼情一案了不成？可知那编书的是自己堵自己的嘴。<br />
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All the genius and beauty novels are about families of squire. Normally, the father of the beauty is either a minister or a prime minister of the country, holding his only daughter in high esteem. And it is typical of this beautiful girl to be well educated, steeped in propriety, omniscient, and worthy of the name "knockout". After one sight of a handsome man, a relative or a friend of her, she falls in love with him incurably, putting her parents, etiquette and social rites behind her. How can such a girl, leading a crazy and covert life, be called beauty? Literate as she is, she is unqualified for the name of beauty after making such an insane decision. Take this for example: if a man of literature did stealthy work, would the justice official judge him not guilty just owing to his talents? Now you can see the author couldn't justify himself.<br />
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All the genius and beauty novels are about cultured family. Normally, the father of the beauty is either a minister or a prime minister of the country, holding his only daughter in high esteem. And it is typical of this beautiful girl to be well educated, brought up in propriety, omniscient, and worthy of the name "knockout". After one sight of a handsome man, a relative or a friend of her, she falls in love with him incurably, putting her parents, etiquette and social rites behind her. How can such a girl, leading a crazy and covert life, be called beauty? Literate as she is, she is unqualified for the name of beauty after making such an insane decision. Take this for example: if a man of literature did stealthy work, would the justice official judge him not guilty just owing to his talents? Now you can see the author couldn't justify himself.<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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再者：既说是世宦书香大家小姐，都知礼读书，连夫人都知书识礼，便是告老还家，自然大家人口奶奶丫鬟伏侍小姐的人也不少，怎么这些书上，凡有这样的事，就只小姐和紧跟的一个丫头？你们自想想，那些人都是管做什么的，可是前言不答后语不是？”众人听了，都笑说：“老太太这一说，是谎都批出来了。”贾母笑道：“有个原故：编这样书的人，有一等妒人家富贵的，或者有求不遂心，所以编出来遭塌人家。<br />
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‘Besides, not only would the daughter of a good scholar-official family be well-educated,so would her mother. And even if her father had retired, a big family like that would have plenty of nurses and maids to look after the girl. How is it that in all these stories, when such things happen, no one has any inkling of it except the girl herself and one trusted maid? What are all the others doing. Isn’t that contradictory?’Everyone laughed.‘The old lady has shown up their lies!’‘There’s a reason for this,’ she continued. ‘Either the people who spin these tales envy the rank and riches of other families, or ask for help which isn’t granted, and so they make up these stories to discredit them.'<br />
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‘Besides, not only would the daughter of a good scholar-official family be well-educated,so would her mother. And even if her father had retired, a big family like that would have plenty of nurses and maids to look after the girl. How is it that in all these stories, when such things happen, no one has any inkling of it except the girl herself and one trusted maid? What are all the others doing. Isn’t that contradictory?’Everyone laughed.‘The old lady has shown up their lies!’‘There’s a reason for this,’ she continued. ‘Either the people who spin these tales envy the rank and riches of other families, or ask for help which isn’t granted, and so they make up these stories to discredit them.'--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 13:16, 8 May 2022 (UTC)<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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再有一等人，他自己看了这些书，看邪了，想着得一个佳人才好，所以编出来取乐儿。何尝他知道那世宦读书家的道理！别说那书上那些世宦书礼大家，如今眼下拿着咱们这中等人家说起，也没那样的事。别叫他诌掉了下巴了罢！所以我们从不许说这些书，连丫头们也不懂这些话。这几年我老了，他们姊妹们住的远，我偶然闷了，说几句听听，他们一来，就忙着止住了。”李薛二人都笑说：“这正是大家子的规矩。连我们家也没有这些杂话叫孩子们听见。”<br />
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There was another person who read these books, and he got a bad idea. He thought it would be nice to have a good person, so he made them up for fun. How could he know the truth of the emperor reading home? Don't say that book those world eunuch ceremony everybody, now take us this medium family to speak of, also have no such thing. Don't make him talk his jaw off! That's why we're never allowed to talk about these books, and even the girls don't understand them. In the past few years, as I was getting older and my sisters lived far away from me, I occasionally got bored. Both Silk Plum and Precious Hairpin Marshgrass laughed and said, "This is just the rule. Not even in our house for the children to hear."<br />
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There was another kind of people who read these books, and he got a bad idea. He thought it would be nice to have a beautiful girl, so he made them up for fun. How could he know the truth of scholar-official families? Don't say those great families in that book, we medium family also have no such thing. What he said is just nonsense! That's why we're never allowed to talk about these books, and even the girls don't understand them. In the past few years, as I was getting older and my sisters lived far away from me, I occasionally got bored and want talk about some. But once girls come, I just end up the talk." Both Aunt Plum and Aunt Marshgrass laughed and said, "This is just the rule. Even in our house we won't allow the children to hear such things."<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 15:06, 9 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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凤姐儿走上来斟酒，笑道：“罢，罢！酒冷了，老祖宗喝一口润润嗓子再辨谎。这一回就叫做‘辨谎记’，就出在本朝、本地、本年、本月、本日、本时。老祖宗‘一张口难说两家话’，‘花开两朵，各表一枝’，‘是真是谎且不表，再整观灯看戏的人’。老祖宗且让这二位亲戚吃杯酒、看两出戏着，再从逐朝话言掰起，如何？”一面说，一面斟酒，一面笑。未说完，众人俱已笑倒了。<br />
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Sister Phoenix came up to pour wine, laughing, "Stop, stop! The wine was cold, but Grandma, you'd better drink a mouthful to moisten your throat and then distinguish it is a lie or not. This story is called the Lie or Not, and it's written in this hour,this day, this month, this year, this place. It's hard for our grandma to say two words with one mouth. Putting aside one matter,let's talk about the other. Instead of discussing whether it is true or not, how about continuing to watch the lanterns and plays. How about a glass of wine and a couple of plays? Just let the two relatives drink some wine and watch the play for a while, and after that, then you can start to analyze it. " At the same time she poured the wine and laughed. Before she finished, everyone has already burst into laughter.<br />
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Sister Phoenix came up to pour wine, laughing, "Stop, stop! The wine was cold, but Grandma, you'd better drink a mouthful to moisten your throat and then distinguish it is a lie or not. This story is called the Lie or Not, and it's written in this hour,this day, this month, this year, this place and this dynasty. It's hard for our grandma to say two words with one mouth. Putting aside one matter,let's talk about the other. Instead of discussing whether it is true or not, how about continuing to watch the lanterns and plays. How about a glass of wine and a couple of plays? Just let the two relatives drink some wine and watch the play for a while, and after that, then you can start to analyze it. " At the same time she poured the wine and laughed. Before she finished, everyone has already burst into laughter.--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 02:42, 10 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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两个女先儿也笑个不住，都说：“奶奶好刚口！奶奶要一说书，真连我们吃饭的地方也没了。”<br />
薛姨妈笑道：“你少兴头些！外头有人，比不得往常。”凤姐儿笑道：“外头只有一位珍大哥哥，我们还是论哥哥妹妹，从小儿一处淘气淘了这么大。这几年因做了亲，我如今立了多少规矩了。便不是从小儿兄妹，只论大伯子小婶儿，那《二十四孝》上‘斑衣戏彩’，他们不能来戏彩引老祖宗笑一笑，我这里好容易引得老祖宗笑了一笑，多吃了一点东西，大家喜欢，都该谢我才是，难道反笑我不成？”<br />
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The two women could not stop laughing and said, "Your Lady is so eloquent! If lady went to storytelling, and there was no place for us to make a living." Aunt Marshgrass laughed. "Take it easy on you! There are people outside, more than usual." Sister Phoenix smiled: "There is only brother Treasure outside, so we are still brother and sister. We have been so naughty since we were kids. And I've made a lot of rules over the years since I get married. Even though we are in now uncle-aunt relationship rather than siblings, according to 24 stories of filial piety, they are not able to make Grandma Merchant laugh and I tried so hard to make old lady laugh and eat more. How can you not appreciate me rather than laugh at me.”<br />
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The two women could not stop laughing and said, "You are so eloquent! If aunt were a storyteller, and there was no place for us to make a living." Aunt Marshgrass laughed. "Don't make fun of me! There are people outside,not as usual." Sister Phoenix smiled: "There is only brother Treasure outside, so we are still brother and sister. We have been so naughty since we were kids. And I've made a lot of rules over the years since I get married. Even though we are in now an uncle-aunt relationship rather than siblings, according to ''24 stories of filial piety'', they are not able to make Grandma Merchant laugh and I tried so hard to make the old lady laugh and eat more. How can you not appreciate me rather than laugh at me.”--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 05:30, 10 May 2022 (UTC)<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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贾母笑道：“可是这两日我竟没有痛痛的笑一场，倒是亏他才一路说，笑的我这里痛快了些，我再吃钟酒。”吃着酒，又命宝玉：“来敬你姐姐一杯。”凤姐儿笑道：“不用他敬，我讨老祖宗的寿罢。”说着便将贾母的杯拿起来，将半杯剩酒吃了，将杯递与丫鬟，另将温水浸的杯换一个上来。于是各席上的都撤去，另将温水浸着的代换，斟了新酒上来，然后归坐。女先儿回说：“老祖宗不听这书，或者弹一套曲子听听罢。”<br />
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Grandma Merchant smiled, “I had no good laugh for a few days and luckily she raised my spirit and made me happy. So I’ll drink a cup of wine.” After drinking, she ordered Precious Jade to offer Splendid Phoenix King a toast. “Give Splendid Phoenix King a toast.” “I don’t need that. I just wanted to celebrate your birthday and bring some fortune.” Splendid Phoenix King picked up Grandma Merchant’s cup and drank the left wine. Then she handed the cup to the servant and took another cup from a basin of warm water. All the cups on the tables were changed then for fresh ones from the basin and when more wine had been poured they resumed their seats.“If our Grandma doesn’t want to hear this story, or we play a tune?” asked one of the performers.<br />
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Grandma Merchant smiled, “I haven’t had a good laugh for a few days and luckily she raised my spirit. I really do feel better for it. I think I’ll have another of wine.” After drinking, she ordered Precious Jade to offer Splendid Phoenix a toast. “No need,” declared Splendid Phoenix laughingly. “Let me share your good health.” She took Grandma Merchant’s cup and drank the left wine. Then she handed the cup to a maid and took another from a basin of warm water. All the cups on the tables were changed then for fresh ones from the basin, and when more wine had been poured they resumed their seats.“If our Grandma doesn’t want to hear this story, how about we play a tune?” asked one of the performers.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 04:52, 8 May 2022 (UTC)<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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贾母道：“你们两个对一套‘将军令’罢。”二人听说，忙合弦按调拨弄起来。贾母因问：“天有几更了？”众婆子忙回：“三更了。”贾母道：“怪道寒浸浸起来。”早有众人丫鬟拿了添换的衣裳送来。王夫人起身陪笑说道：“老太太不如挪进暖阁里地炕上，倒也罢了。这二位亲戚也不是外人，我们陪着就是了。”贾母听说，笑道：“既这样说，不如大家都挪进去，岂不暖和？”王夫人道：“恐里头坐下不。”<br />
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"Give us The General's Command," said Grandma Merchant. The two women at once began tuning their instruments and playing until Grandma Merchant inquired what the time was. "Midnight," said the senior servants. "No wonder it's getting so cold." said Grandma Merchant. Some young maids had already brought with warmer clothes. Now Lady King rose, smiling, to ask, "Why not move to the room with the heated floor, madam? Our two relatives are not outsiders. We' ll keep them company for you." "In that case why don't we all move inside?" said Grandma Merchant. "That would be much cosier." "I doubt there’s no room for us all," said Lady King.<br />
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"Show us The General's Command," said Grandma Merchant. The two women at once began tuning their instruments and playing until Grandma Merchant inquired what the time was. "Midnight," said the senior servants. "No wonder it's getting so cold," said Grandma Merchant. Some young maids had already brought with them warmer clothes. Now Lady King rose, smiling, to ask, "Why not move to the room with the heated floor, madam? Our two relatives are not outsiders. We'll keep them company for you." "In that case why don't we all move inside?" said Grandma Merchant. "That would be much cozier." "I doubt there’s no enough room for us all," said Lady King.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 00:55, 8 May 2022 (UTC)<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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贾母道：“我有道理：如今也不用这些桌子，只用两三张并起来，大家坐在一处，挤着，又亲热，又暖和。”众人都道：“这才有趣儿。”说着，便起了席。众媳妇忙撤去残席，里面直顺并了三张大桌，又添换了果馔摆好。贾母便说：“都别拘礼，听我分派你们就坐才好。”说着，便让薛李正面上坐，自己西向坐了，叫宝琴、黛玉、湘云三人皆紧依左右坐下，向宝玉说：“你挨着你太太。”于是邢夫人王夫人之中夹着宝玉。<br />
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Grandma Merchant said: "I have my own idea: we can only put two or three of these tables together, so we can huddle, warm and close. The others agreed and stood up:" That's fun." Maids were rushed to clean the table and pieced three big tables together with fruits and pastries. After all these, Grandma Merchant said: "Be causal and listen to my arrangement." while saying this, she let Mrs. Margrass and Silk Plum seated to the north and she seated to the west. Moreover, she asked Precious Strings, Mascara Jade, and Fragrant-cloud to seat along with her closely and talked to Precious Jade: " You seat close to your mother." Thus, there was Precious Jade seating between Lady City and Lady King.--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 00:52, 8 May 2022 (UTC)<br />
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Grandma Merchant said: "I have my own idea: we can only put two or three of these tables together, so we can huddle together, warm and close. The others agreed and stood up:" That's fun." Maids rushed to clean the tables and pieced three big tables together with fruits and pastries on them. After all of these, Grandma Merchant said: "Be causal and listen to my seat arrangement." while saying this, she let Mrs. Margrass and Silk Plum seated to the north and she seated to the west of the table. Then, she asked Precious Strings, Mascara Jade, and Fragrant-cloud to seat along with her closely and talked to Precious Jade: " You sit close to your mother." Thus, Precious Jade seated between Lady City and Lady King.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 07:42, 8 May 2022 (UTC)<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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宝钗等姐妹在西边；挨次下去，便是娄氏带着贾蓝；尤氏李纨夹着贾兰；下面横头便是贾蓉之妻。贾母便说：“珍阿哥带着你兄弟们去罢，我也就睡了。”贾珍等忙答应，又都进来听吩咐。贾母道：“快去罢！不用进来。才坐好了，又都起来。你快歇着罢，明儿还有大事呢。”贾珍忙答应了，又笑说：“留下蓉儿斟酒才是。”贾母笑道：“正是，忘了他。”贾珍应了一个“是”，便转身带领贾琏等出来。<br />
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Precious Hairpin Marshgrass and other girls sat on the west side of the dining-table; then the next were Lady Lou coupled with Blue Merchant, and Madam Outstanding and Silk Plum with Orchid Merchant sat between them; then the one sat on the shorter side of the table was Prosperity Merchant's wife. Then Grandma Merchant said:" Treasure, brought your bothers back, and I'm going to sleep then." Treasure Merchant and other boys replied and hasten into the room waiting for the Old Lady's orders. " Just go ! You don't have to come in. You just sat down then got up again. Get some rest, there's something important need to do tomorrow." the Old Lady said. Treasure Merchant responeded and said with a smile:" Leave Prosperity to pour alcohol for you." the Old Lady smiled:"Exaltly, I forgot that." Treasure Merchant replied with "Yes" and led Romance Merchant and others out Old Lady's room.--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 07:34, 8 May 2022 (UTC)<br />
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Precious Hairpin Marshgrass and other girls sat on the west side of the dining-table; then the next were Lady Lou coupled with Blue Merchant, and Madam Outstanding and Silk Plum with Orchid Merchant sat between them; then the one sat on the shorter side of the table was Prosperity Merchant's wife. Then Grandma Merchant said:" Treasure, bring your brothers back, and I'm going to sleep." Treasure Merchant and other boys replied and hastened into the room waiting for the Old Lady's orders. " Just go ! You don't have to come in. You just sit down then get up again. Get some rest, there's something important need to do tomorrow." the Old Lady said. Treasure Merchant responded and said with a smile:" Leave Prosperity to pour alcohol for you." the Old Lady smiled:"Exactly, I forgot that." Treasure Merchant replied with "Yes" and led Romance Merchant and others out Old Lady's room.--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 13:08, 9 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
二人自是欢喜，便命人将贾琮贾璜各自送回家去，便约了贾琏去追欢买笑，不在话下。这里贾母笑道：“我正想着，虽然这些人取乐，必得重孙一对双全的在席上才好。蓉儿这可全了。蓉儿！和你媳妇坐在一处，倒也团圆了。”因有家人媳妇呈上戏单，贾母笑道：“我们娘儿们正说得兴头，又要吵起来。况且那孩子们熬夜，怪冷的。也罢，且叫他们歇歇，把咱们的女孩子们叫他来，就在这台上唱两出罢，也给他们瞧瞧。”<br />
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Happy to hear this, they ordered Merchant Vessel and Merchant Jade to be sent home. Then they invited Romance Merchant to have fun. "They had a lot of fun, but they have to bring their grandchildren," Grandma Merchant said with a smile. It's best if Prosperity comes. Sit with your daughter-in-law, and you'll be reunited." Then a family member presented the program list to her. Grandma Merchant said with a smile, "We are having fun, but it will be noisy around. It will be cold for those children to stay up late. Tell them to rest, and let their daughter call him, and sing a little on this stage. Show them some the ropes."<br />
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Happy to hear this, they ordered Merchant Jade and Merchant Pendant to be sent home. Then they invited Romance Merchant to have fun. "I was just thinking that to make our pleasure complete we ought to have a married couple here." Grandma Merchant said with a smile. “It's best if Prosperity comes. Sit with your wife, and you'll be reunited." Then some women presented the program list to her. Grandma Merchant laughed, "We are having fun, but it will be noisy around. It will be cold for those children to stay up late. Tell them to rest, and call our girl-actresses here to put on a couple of items on this stage. Let's take a look."--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 15:34, 9 May 2022 (UTC)<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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媳妇子们听了，答应出来，忙的一面着人往大观园去传人，一面二门口去传小厮们伺候。小厮们忙至戏房，将班中所有大人一概带出，只留下小孩子们。一时，梨香院的教习带了文官等十二人从游廊角门出来，婆子们抱着几个软包，因不及抬箱，料着贾母爱听的三五出戏的彩衣包了来。婆子们带了文官等进去见过，只垂手站着。贾母笑道：“大正月里，你师父也不放你们出来逛逛？你们如今唱什么？<br />
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The women promised and hurriedly sent a servant to the Grand View Garden to call people, with instructing pages at the inner gate. The boys hurried to the changing room, taking all the adults out of the class, leaving only the children. Then the instructor of Pear Fragrance Court brought Elegante and the eleven other girl actresses out through the side gate of the corridor, accompanied by some women carrying bundles. Since there was no time to bring all their stage properties, they had chosen only the costumes for a few operas which they guessed the old lady might like. The women took these girl actresses to pay their respects, then they humbly stood there. Grandma Merchant laughed, "In the first lunar month, why didn't your master let you wander around? What have you been rehearsing recently?<br />
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The women promised and hurriedly sent a servant to the Grand View Garden to call people, with instructing pages at the inner gate. The boys hurried to the performinging room, taking all the adults out of the room, leaving only the children. Then the instructor of Pear Fragrance Court brought Elegante and the eleven other girl actresses out through the side gate of the corridor, accompanied by some women carrying bundles. Since there was no time to bring all their stage properties, they had chosen only the costumes for a few operas which they guessed the old lady might like. The women took these girl actresses to pay their respects, then they humbly stood there. Grandma Merchant laughed, "In the first lunar month, why didn't your master let you wander around? What have you been rehearsing recently?--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 12:42, 8 May 2022 (UTC)Li Ying<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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才刚八出《八义》，闹的我头疼，咱们清淡些好。你瞧瞧，薛姨太太，这李亲家太太，都是有戏的人家，不知听过多少好戏的；这些姑娘们都比咱们家的姑娘见过好戏，听过好曲子。如今这小戏子又是那有名玩戏的人家的班子，虽是小孩子，却比大班子还强。咱们好歹别落了褒贬！少不得弄个新样儿的：叫芳官唱一出《寻梦》，只用箫和笙笛，余者一概不用。”文官笑道：“老祖宗说的是。我们的戏，自然不能入姨太太和亲家太太姑娘们的眼；<br />
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The Grandma Merchant said,”The eight scenes from The Eight Gallants were so noisy that they made me headache. we would like something quite.Look, Aunt Xue and Aunt Li both have opera groups at their home, and I don't know how many good operas they've heard. Now this little performer outside belongs to famous families of opera ,though he is a child ,better than many large opera groups.So we are not able to disgrace ourselves, we should have to be on our best.So we must prepare another performance, let Fragrance Official sing the “The Dream Recalled”, only two-string fiddle and a flute allowed to use. Quite Official said,“ My majesty, you are right. Our performance is just not well enough to attract every aunts and girls that on the scene.<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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不过听我们一个发脱口齿，再听个喉咙罢了。”贾母笑道：“正是这话了。”李婶娘薛姨妈喜的笑道：“好个灵透孩子！你也跟着老太太打趣我们！”贾母笑道：“我们这原是随便的玩意儿，又不出去做买卖，所以竟不大合时。”说着，又叫葵官：“唱一出《惠明下书》，也不用抹脸。只用这两出，叫他们二位太太听个助意儿罢了。若省了一点儿力，我可不依。”文官等听了出来，忙去扮演上台，先是“寻梦”，次是“下书”。<br />
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"They just want to hear our dictation and voice," she said. "That's it," Gramma Merchant laughed. "What a clever girl! You also make fun of us with Gramma!" Aunt Marshgrass and Aunt Plum said with smile. "We are doing this with a casual attitude without the intent to perform for money, so the performance is not accordance with the trend," Gramma laughed. "Just sing the Huiming Taking the Letter without the paint on face. It's enough for them to have an idea of your competence after heading these two scenes. Don't muddle through your work, or I'll not let it go," she said to Sunflower. Literary and others was hurry to change the clothes and then make the performance on the stage, Chasing the Dream first and Taking the Letter second.<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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众人鸦雀无闻。薛姨妈笑道：“实在戏也看过几百班，从没见过只用箫管的。”贾母道：“先有，只是像方才《西楼·楚江情》一支，多有小生吹萧合的。这合大套的实在少。这也在人讲究罢了，这算什么出奇？”指湘云道：“我像他这么大的时候儿，他爷爷有一班小戏，偏有一个弹琴的，凑了《西厢记》的《听琴》，《玉簪记》的《琴挑》，《续琵琶》的《胡茄十八拍》，成了真的了。比这个更如何？”<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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众人都道：“那更难得了。”贾母于是叫过媳妇们来，吩咐文官等叫他们吹弹一套“灯月圆”。媳妇们领命而去。当下贾蓉夫妻二人捧酒一巡。凤姐儿因贾母十分高兴，便笑道：“趁着女先儿们在这里，不如咱们传梅，行一套‘春喜上眉梢’的令，如何？”贾母笑道：“这是个好令，正对时景。”忙命人取了黑漆铜钉花腔令鼓来，与女先儿们击着。席上取了一枝红梅，贾母笑道：“到了谁手里住了鼓，吃一杯，也要说些什么才好。”<br />
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They all answered: "That will be more unusual." Madam Merchant called over the women and asked them including Wen Guan to perform a song called "Round lamp and Moon". Receiving the order, they went to prepare for it. At this moment, Prosperity Merchant and his wife went around to fill wine in cups. Seeing Madam Merchant was exalted, Splendid Phoenix said with a smile:" today the music players are here. Why not we have them playing "Spring pleasure up on brows" and we have a game: passing a branch of plum blossoms while beating drums?" Madam Merchant smiled:" That is a good idea. Suitable for the time." She asked servants to fetch black lacquered drums which were studded with patterns of bronze nails and give them to music players to play. Then she picked one branch of plum from the flower vase on the table, and said smilingly:" when the drum was stopped, whoever gets the flower need to drink a cup of wine and say something."<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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凤姐儿笑道：“依我说，谁像老祖宗要什么有什么呢。我们这不会的，岂不没意思。依我说，也要雅俗共赏。不如谁住了，谁说个笑话儿罢。”众人听了，都知道他素日善说笑话，最是肚内有无限新鲜趣令；今儿如此说，不但在席的诸人喜欢，连地下伏侍的老小人等无不欢喜。那小丫头子们都忙去找姐姐唤妹妹的，告诉他们：“快来听，二奶奶又说笑话儿了。”众丫头子们便挤了一屋子。<br />
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Splendid Phoenix King smiled:"In my opinion, is there anyone having everything just like the Grandma? It would be boring if we can't do it. So from my perspective, we should make it available for everyone. So how about a joke from the one who stop." Hearing this, people knew that she liked to talk jokes so that she had many interesting things to say; so everyone there agreed her suggestion, including the servants. Those servant girls just hurriedly looked for their sisters and told them:"Hurry up. the lady is talking jokes now." then the girls just crowded in the room.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 03:24, 8 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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于是戏完乐罢，贾母将些汤细点果与文官等吃去，便命响鼓。那女先儿们都是惯熟的，或紧或慢，或如残漏之滴，或如迸豆之急，或如惊马之驰，或如疾电之光，忽然暗其鼓声，那梅方递至贾母手中，鼓声恰住，大家哈哈大笑。贾蓉忙上来斟了一杯，众人都笑道：“自然老太太先喜了，我们才托赖些喜。”贾母笑道：“这酒也罢了，只是这笑话儿倒有些难说。”众人都说：“老太太的比凤姑娘说的还好，赏一个，我们也笑一笑。”<br />
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Then the drama and the joy of appreciating ended. After telling some servants to bring soup, fruits, deserts and dishes to Literal Official and and others to eat, Grandma Merchant ordered the drummers to begin playing. Those blind women were all skilled in this game, whose play were slow sometimes and sometimes quick; sometimes as dribs of water and sometimes as beans jumping all around; sometimes as horses running wild and sometimes as lightning flashing and then darkening. The speed in which the branch was passed was kept in the same pace with the drum beats. Just as it was passed onto Grandma Merchant’s hands, the beats stopped. Everybody laughed a little, and Prosperity Merchant immediately came close to pour her a cup of wine. “Of course your old ladyship is the most lucky, we just want to share a little of your luck.” They all said. “It’s fine by me to drink, yet the joke fails me.” Grandma Merchant smiled. They all said, ”Your joke is even better than Sister Phoenix’s. Just tell one and it will give us a good laugh.”--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:58, 8 May 2022 (UTC)<br />
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Then the drama and the music came to an end. After telling some servants to bring soup, fruits, deserts and dishes to Literal Official and and others to eat, Grandma Merchant ordered the drummers to begin playing. Those blind women were all skilled in this game, whose play were slow sometimes and sometimes quick; sometimes as dribs of water and sometimes as beans jumping all around; sometimes as horses running wild and sometimes as lightning flashing and then darkening. The speed in which the branch was passed was kept in the same pace with the drum beats. Just as it was passed onto Grandma Merchant’s hands, the beats stopped. Everybody chortled with delight, and Prosperity Merchant immediately came to pour her a cup of wine. “Of course your old ladyship is the most lucky one, we just want to share a little of your luck.” They all said. “It’s fine for me to drink, yet the joke fails me.” Grandma Merchant smiled. They all said, ”Your joke is even better than Sister Phoenix’s. Just tell one and it will give us a good laugh.”--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 06:14, 9 May 2022 (UTC)<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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贾母笑道：“并没有新鲜招笑儿的，不少得老脸皮厚的说一个罢。”因说道：“一家子养了十个儿子，聚了十房媳妇儿。惟有第十房媳妇儿聪明伶俐、心巧嘴乖，公婆最疼，成日家说那九个不孝顺，这九个媳妇儿委屈，便商议说‘咱们九个心里孝顺，只是不像那小蹄子儿嘴巧，所以公公婆婆只说他好。这委屈向谁诉去？’有主意的说道：‘咱们明儿到阎王庙去烧香，和阎王爷说去，问他一问：叫我们托生为人，怎么单单给那小蹄子一张乖嘴，我们都入了夯嘴里头。’<br />
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Grandma Merchant laughed: "I do have no novel jokes, but nerve myself to tell one." She continued: "There are ten sons in a big family, and ten daughters-in-law. However, the parents-in-law love the tenth daughter-in-law most, who is clever, bright-minded and honey-lipped. The parents-in-law always complain that the nine duaghters-in-law left are not filial. Thus, the latter feel aggrieved and have a thought in mind that 'We are filial in mind, not like that flattery woman so our parents-in-law praise her. But where can we pour out our grievance?' Some suggested: 'We can go to the Temple of Hell and ask Hell why he merely gives a plausible mouth to that bitch, who hurts us by her implacable mouth.'<br />
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“I don't know any good new ones,” said Grandma Merchant. “I'll just have to put a bold face on it and do the best I can.” She continued: "There are ten sons in a big family, and ten daughters-in-law. However, the parents-in-law love the tenth daughter-in-law most, who is clever, bright-minded and honey-lipped. The parents-in-law always complain that the nine duaghters-in-law left are not filial. Thus, the latter feel aggrieved and have a thought in mind that 'We are filial in mind, not like that flattery woman so our parents-in-law praise her. But where can we pour out our grievance?' Some suggested: 'We can go to the Temple of Hell and ask Hell why he merely gives a plausible mouth to that bitch, who hurts us by her implacable mouth.'--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 01:07, 9 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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那八个听了，都喜欢说：‘这个主意不错。’第二日，便都往阎王庙里来烧香。九个都在供桌底下睡着了。九个魂专等阎王驾到。左等不来，右等也不到。正着急，只见孙行者驾着觔斗云来了，看见九个魂，便要拿金箍棒打来，吓得九个魂忙跪下央求。孙行者问起原故来，九个人忙细细的告诉了他。孙行者听了，把脚一跺，叹了一口气道：‘这原故幸亏遇见我，等着阎王来了，他也不得知道。’<br />
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The others were delighted with this suggestion. They all went the nest day to the temple and offered incense, then slept there at the foot of the altar while their spirits waited for the King of Hell to appear. They waited for a long time but nothing happened. Presently, just as they were growing desperate, Monkey came bowling along on his cloud-trapeze, and seeing the nine souls there, lifted up his metal-clasped cudgel to strike them with. The souls knelt down in terror and begged him to spare them. Monkey asked them what they were doing there, so they told him their story. When they had finished, Monkey stamped his foot and sighed sympathetically. “‘What a good job you met me here and not old Yama,” he said. “He wouldn't have been able to help you at all.”<br />
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The others were delighted with this suggestion and showed their agreement. They all went the nest day to the temple and offered incense, then slept there at the foot of the altar while their spirits waited for the King of Hell to appear. They waited for a long time but nothing happened. Presently, just as they were growing desperate, Monkey came bowling along on his cloud-trapeze, and seeing the nine souls there, lifted up his metal-clasped cudgel to strike them with. The souls knelt down in terror and begged him to spare them. Monkey asked them what they were doing there, so they told him their story in detail. When they had finished, Monkey stamped his foot and sighed sympathetically. “‘What a good job you met me here but not old Yama,” he said. “He wouldn't have been able to help you at all.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 02:42, 10 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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九个人听了，就求说：‘大圣发个慈悲，我们就好了。’孙行者笑道：’却也不难，那日你们妯娌十个托生时，可巧我到阎王那里去的，因为撒了一泡尿在地下，你那个小婶儿便吃了。你们如今要伶俐嘴乖，有的是尿，再撒泡你们吃就是了。”说毕，大家都笑起来。凤姐儿笑道：“好的呀！幸而我们都是夯嘴夯腮的，不然，也就吃了猴儿尿了。”尤氏娄氏都笑向李纨道：“咱们这里头谁是吃过猴儿尿的，别装没事人儿。”<br />
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“The nine spirits pleaded, ‘Have pity and tell us, Great Sage. That’s all we ask. “‘That’s easy,’ answered Monkey with a smile. ‘The day you ten girls were born, I’d gone to visit the King of Hell and happened to piss on the ground. Your youngest sister-in-law lapped it up. If you want the gift of the gab, I’ve plenty more piss you can drink if you like.’ “The whole company burst out laughing. “Fine!” cried Sister Phoenix. “It’s lucky we’re all so dumb here. Otherwise people might say we’d drunk monkey’s piss.” Madam Outstanding and Madam Lou joked to Silk Plum, “The one who’s drunk monkey’s piss is playing innocent!”<br />
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“The nine spirits pleaded, ‘Have pity and tell us, Great Sage. That’s all we ask. “‘That’s easy,’ answered Monkey with a smile. ‘The day you ten girls were born, I’d gone to visit the King of Hell and happened to piss on the ground. Your youngest sister-in-law lapped it up. If you want the gift of the gab, I’ve plenty more piss you can drink if you like.’ “The whole company burst out laughing. “Fine!” cried Sister Phoenix. “It’s lucky we’re all so dumb here. Otherwise people might say we’d drunk monkey’s piss.” Madam Outstanding and Madam Lou joked to Silk Plum, “The one who’s drunk monkey’s piss is playing innocent!”--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 09:44, 8 May 2022 (UTC)<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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薛姨妈笑道：“笑话儿在对景就发笑。”说着，又击起鼓来。小丫头子们只要听凤姐儿的笑话，便悄悄的和女先儿说明，以咳嗽为记。须臾传至两遍，刚到了凤姐儿手里，小丫头子们故意咳嗽，女先儿便住了。众人齐笑道：“这可拿住他了。快吃了酒，说一个好的罢。别太逗人笑得肠子疼。”凤姐儿想了一想，笑道：“一家子也是过正月节，合家赏灯吃酒，真真的热闹非常。<br />
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"A joke is always the better for being apt," Aunt Marshgrass observed.The drums started up again then. The maids, who wanted only to hear Splendid Phoenix tell a joke, had come to a secret understanding with the blind women that if one of them coughed it would be a signal to stop, and when the branch had been round twice and had just reached Splendid Phoenix for the second time, the maids all coughed and the drumming stopped.Now we've caught her!”the others exulted.“Drink up quickly and let us have a good one.Just don't make us split our sides laughing.”Splendid Phoenix thought for a few moments and then started:‘A family was celebrating the First Moon festival, just as we are doing, admiring the lanterns and drinking wine together. It was a very lively party and everyone in the family was there:<br />
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"A joke is always the better for being apt," Aunt Marshgrass observed. The drums started up again then. The maids, who wanted only to hear Splendid Phoenix tell a joke, had come to a secret understanding with the blind women that if one of them coughed it would be a signal to stop, and just after being passed twice in a moment， it had just reached Splendid Phoenix for the second time, the maids all coughed and the drumming stopped. Everyone giggled together， “Now we've caught her!” the others exulted.“Drink up quickly and let us have a good one. Just don't make us split our sides laughing.”Splendid Phoenix thought for a few moments and then started:‘A family was celebrating the Lantern Festival, just as we are doing, admiring the lanterns and drinking wine together. It was a very lively party and everyone in the family was there:<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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祖婆婆、太婆婆、媳妇、孙子媳妇、重孙子媳妇、亲孙子媳妇、侄孙子、重孙子、灰孙子、滴里搭拉的孙子、孙女儿、外孙女儿、姨表孙女儿、姑表孙女儿，……嗳哟哟，真好热闹！”众人听他说着，已经笑了，都说：“听这数贫嘴的，又不知要编派那一个呢！”尤氏笑道：“你要招我，我可撕你的嘴。”凤姐儿起身拍手笑道：“人家这里费力，你们紧着混，我就不说了。”贾母笑道：“你说你说，底下怎么样？”<br />
Grandmas, wives, grandson wives, grandsons, granddaughters...Oh, how hilarious! " Hearing that, everyone has already laughed and said, "What a loquacious guy. We don't know who she's gonna play!" Madam Outstanding said with a smile: "if you’d like to provoke me, I could tear your mouth." Sister Phoenix got up and clapped her hands and said with a smile, "I here try to finish it, you one after another gag, I will not say anymore！" Grandma Merchant smiled and said, "Don't mind， just go on. What about the situation of these people?"<br />
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Grandmas, wives, daughters, grandson’s wives, grandsons, granddaughters... All of his relatives were there. Oh, how boisterous! " Everyone was laughing when hearing about this, and they said, "What a loquacious guy. Who knows whom she's gonna make fun of!" Madam Outstanding laughed: " If you dare to provoke me, I could tear your mouth." Sister Phoenix got up and clapped her hands and said with a smile, " It’s difficult for me to continue this. I am tired now. You guys just frolic here, and I’m not gonna join you." Grandma Merchant smiled and said, " Don't mind, just go on. What happened then?"--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 08:02, 8 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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凤姐儿想了一想，笑道：“底下就团团的坐了一屋子，吃了一夜酒，就散了。”众人见他正言厉色的说了，也都再无有别话，怔怔的还等往下话，只觉他冰冷无味的就住了。史湘云看了他半日。凤姐儿笑道：“再说一个过正月节的：几个人拿着房子大的炮仗往城外放去，引了上万的人跟着瞧去。有一个性急的人等不得，便偷着拿香点着。只听‘噗哧’的一声，众人哄然一笑，都散了。这抬炮仗的人抱怨卖炮仗的捍的不结实，没等放就散了。”<br />
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Sister Phoenix thought it over and then smiled, “ They just sit around the table to drink for the whole night and then scattered to their own place.” Seeing that she was talking about this quiet seriously, all the people there were in a daze, waiting for her to continue about this story, but she just stopped suddenly, making the atmosphere as cold as ice. Then Fragrant Cloud stared at her for quiet a long time, but her sister just laughed and said, “ Now let me tell you another story about Lantern Festival. There were some guys who carried a huge firecracker to set it off at somewhere outside of the town, which attracted tens of thousands of people following them to appreciate this. However, someone hot-tempered was so impatient to wait for this that he set it off with an incense stick furtively halfway. Then with the sound of the firework cracking, all the people there howled with laughter and then dispersed. Not knowing what had happened, those who were carrying the firecracker just complained about its low quality and weakness which made it spoiled before being set off.<br />
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Sister Phoenix thought it over and then smiled, “ They just sit around the table, drinking for the whole night and then heading for their own place.” Seeing that she was talking about this with stern countenance, all the people there were in a daze, waiting for her to continue about this story, but she just stopped suddenly, making the atmosphere as cold as ice. Then Fragrant Cloud stared at her for quiet a long time, but her sister just laughed and said, “ Now let me tell you another story about Lantern Festival. There were some guys who carried a huge firecracker to set them off at somewhere outside of the town, which attracted tens of thousands of people following them to appreciate this. However, someone hot-tempered was so impatient to wait for this that he set it off with an incense stick furtively halfway. Then with the sound of the firework cracking, all the people there howled with laughter and then dispersed. Not knowing what had happened, those who were carrying the firecrackers just complained about its low quality and weakness which made it spoiled before being set off.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 05:19, 9 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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湘云道：“难道本人没听见？”凤姐儿道：“本人原是个聋子。”众人听说，想了一回，不觉失声都大笑起来。又想着先前那一个没完的，问他道：“先那一个到底怎么样？也该说完了。”凤姐儿将桌子一拍，道：“好罗唆！到了第二日是十六日，年也完了，节也完了，我看人忙着收东西还闹不清，那里还知道底下事了？”众人听说，复又笑起来。凤姐儿笑道：“外头已经四更多了，依我说：老祖宗也乏了，咱们也该‘聋子放炮仗——散了’罢。”<br />
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Then Fragrant-cloud asked, "Didn't that peroson hear those words?" "No, for the one who put firecrackers was a deaf", Sister Phoenix replied. Hearing the reply, the crowd burst into laughter after pondering for a while. Meanwhile, when thinking over the previous unfinished joke Sister Phoenix made, the crowd asked, "What's the ending of the first one you've just made on earth? It's time to finish that." Patting on the table, Sister Phoenix then said, " How long-winded you are! The next day is the 16th day of the lunar calendar, when the Spring Festival is over. And I am just occupied to take charge of the trivial things, then how can I know what's happening afterwards?" The crowd then let out screams of laughter again the minute they heard what Phoenix said. Then she herself said with a smile, "Now it's 2:24 clock or so in the morning now. From my perspective, Grandma is tired now, and we just break up."<br />
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Then Fragrant-cloud asked, "Didn't that person hear those words?" "No, because the one who put firecrackers was a deaf", Sister Phoenix replied. Hearing the reply, the crowd burst into laughter after pondering for a while. Meanwhile, when thinking over the previous unfinished joke Sister Phoenix made, the crowd asked, "What's the ending of the first one you've just made on earth? It's time to finish that." Patting on the table, Sister Phoenix then said, " How long-winded you are! The next day is the sixteenth day of the first lunar month, representing that the Spring Festival is over. And I am just occupied taking charge of the trivial things, then how can I know what happened afterwards?" The crowd then let out screams of laughter again the minute they heard what Phoenix said. Then she herself said with a smile, "Now it's more than three o'clock in the morning. From my perspective, Grandma is tired, and let's break up now."--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 08:01, 7 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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尤氏等用手帕握着嘴，笑的前仰后合，指他说道：“这个东西真会数贫嘴。”贾母笑道：“真真这凤丫头，越发贫嘴了。”一面说，一面吩咐道：“他提起炮仗来，咱们也把烟火放了，解解酒。”贾蓉听了，忙出去，带着小厮们，就在院子内安下屏架，将烟火设吊齐备。这烟火俱系各处进贡之物，虽不甚大，却极精致，各色故事俱全，夹着各色花炮。黛玉禀气虚弱，不禁‘劈拍’之声，贾母便搂他在怀内。薛姨妈搂着湘云。<br />
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Hearing the words, Madam Outstanding and others present fell about laughing, covering their mouths with handkerchiefs. Then Madam Outstanding pointed Sister Phoenix and said, " She is really adept in joking." "That's true, Sister Phoenix is getting much better at making jokes." Grandma Merchant said with a smile. When saying that, she instructed, "Since Sister Phoenix mentioned firecrackers, now let's set off fireworks to alleviate the effect of alcohol." Hearing that, Prosperity Merchant hurried to go out of the room with his footmen, and then they placed the screen in the yard and had all the fireworks set up. The fireworks are the tribute from all over the country, which are small but rather delicate in appearance and complete in variety, blended with sparklers of various colors. Mascara Jade, being of a nervous disposition, was terrified of pops and bangs. Knowing this, Grandma Merchant hugged her to her bosom to comfort her. At the same time, Aunt Marshgrass hugged Fragrant-cloud History as well.<br />
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Hearing the words, Madam Outstanding and others present fell about laughing, covering their mouths with handkerchiefs. Then Madam Outstanding wagged a finger at Sister Phoenix and said, " How this creature does rattle on." "That's true, Sister Phoenix is getting much better at making jokes." Grandma Merchant said with a smile. When saying that, she instructed, "Since Sister Phoenix mentioned firecrackers, now let's set off fireworks to sober ourselves up." Hearing that, Prosperity Merchant promptly went out to get pages to set up screens and stands in the courtyard on which to place or hang the fireworks. The fireworks are the tribute from all over the country, which are small but rather delicate in appearance and complete in variety, blended with sparklers of various colors. Mascara Jade, being of a nervous disposition, was terrified of pops and bangs. Knowing this, Grandma Merchant hugged her to her bosom to comfort her. At the same time, Aunt Marshgrass hugged Fragrant-cloud History as well.--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 11:58, 9 May 2022 (UTC)<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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湘云笑道：“我不怕。”宝钗笑道：“他专爱自己放大炮仗，还怕这个呢。”王夫人便将宝玉搂入怀内。凤姐笑道：“我们是没人疼的。”尤氏笑道：“有我呢，我搂着你。你这会子又撒娇儿了，听见放炮仗，就像‘吃了蜜蜂儿屎’的，今儿又轻狂了。”凤姐儿笑道：“等散了，咱们园子里放去。我比小厮们还放得好呢。”说话之间，外面一色色的放了又放。又有许多“满天星”“九龙入云”“平地一声雷”“飞天十响”之类的零星小炮仗。<br />
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She declared with a smile that she was not afraid. “She likes nothing better than letting off big fire-crackers herself,” explained Precious Hairpin. “Why should she be scared of these?” Lady King had taken Precious Jade on her lap. “No one cares for poor little me!” Sister Phoenix complained. “I do,” chuckled Madam Outstanding. “Come and sit on my knee and don’t be afraid. You’re behaving like a spoilt brat again. The sound of fireworks has sent you off your head, just as if you’d eaten bees’ wax.” “When this party’s over let’s go and let off fireworks in the Garden,” proposed Sister Phoenix gaily. “I’m better at that than those page boys.” Meanwhile a pyrotechnical display was going on outside, including sparklers like “A Skyful of Stars,” “Nine Dragons Soar to the Clouds,” “A Bolt from the Blue,” and ‘Ten Peals in the Air.”<br />
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She laughed and said that she didn't mind the fireworks. There's nothing she likes better than letting them off herself, ‘She's not afraid of fireworks!” explained Precious Hairpin. “Why should she be scared of these?” Lady King had taken Precious Jade on her lap. “No one cares for poor little me!” Sister Phoenix complained. “I do,” chuckled Madam Outstanding. “Come and sit on my knee and don’t be afraid. You’re behaving like a spoilt brat again. The sound of fireworks has sent you off your head, just as if you’d eaten bees’ wax.” “When this party’s over let’s go and let off fireworks in the Garden,” proposed Sister Phoenix gaily. “I’m better at that than those page boys.” Meanwhile, a pyrotechnical display was going on outside, including sparklers like “A Skyful of Stars,” “Nine Dragons Soar to the Clouds,” “A Bolt from the Blue,” and ‘Ten Peals in the Air.”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 09:16, 10 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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放罢，然后又命小戏子打了一回“莲花落”，撒得满台的钱，那些孩子们满台的抢钱取乐。上汤时，贾母说：“夜长，不觉得有些饿了。”凤姐儿忙回说：“有预备的鸭子肉粥。”贾母道：“我吃些清淡的罢。”凤姐儿忙道：“也有枣儿熬的粳米粥，预备太太们吃斋的。”贾母道：“倒是这个还罢了。”说着，已经撤去残席，内外另设各种精致小菜。大家随意吃了些，用过漱口茶，方散。<br />
When the display was over, the boy actors were asked to go up on the stage again and play the Beggar's Song, and everyone amused themselves by throwing money onto the stage and watching them scramble for it. As hot soup was once more being served, Grandma Merchant remarked that after being up for so many hours she was beginning to feel rather empty. “We've prepared some duck congee,” Splendid Phoenix told her. “I'd prefer something less greasy,” was the reply. ‘We've got a rice and date frumenty that was made for the ladies who don't eat meat,' said Splendid Phoenix. ‘That will do,' said Grandma Merchant. The used things were removed now from the table and another set of dishes containing all sorts of tempting entremets laid out in their place. When everyone had sampled what they fancied, they rinsed their mouths out with tea supplied for that purpose and the party finally broke up.<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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十七日一早，又过宁府行礼，伺候掩了祠门，收过影像，方回来。此日便是薛姨妈家请吃年酒。贾母连日觉得身上乏了，坐了半日，回来了。自十八日以后，亲友来请，或来赴席的，贾母一概不会，有邢夫人、王夫人、凤姐三人料理。连宝玉只除王子腾家去了，余者亦皆不去，只说是贾母留下解闷。闲言不提。当下元宵已过，凤姐突然小产了，合家惊慌。要知端的，且听下回分解。<br />
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On the seventeenth, they also repaired, at an early hour, to the Ning mansion to present their compliments; and remaining in attendance, while the doors of the ancestral hall were closed and the images put away, they, at length, returned to their quarters.Invitations had been issued on this occasion to drink the new year wine at Mrs. Hsueeh's residence. But dowager lady Chia had been out on several consecutive days, and so tired out did she feel that she withdrew to her rooms, after only a short stay.After the eighteenth, relatives and friends arrived and made their formal invitations; or else they came as guests to the banquets given. But so little was old lady Chia in a fit state to turn her mind to anything that the two ladies, Madame Hsing and lady Feng, had to attend between them to everything that cropped up. But Pao-yue as well did not go anywhere else than to Wang Tzu-t'eng's, and the excuse he gave out was that his grandmother kept him at home to dispel her ennui.We need not, however, dilate on irrelevant details. In due course, the festival of the fifteenth of the first moon passed. But, reader, if you have any curiosity to learn any subsequent events, listen to those given in the chapter below.<br />
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On the seventeenth, they also repaired, at an early hour, to the Peace mansion to present their compliments; and remaining in attendance, while the doors of the ancestral hall were closed and the images put away, they, at length, returned to their quarters.Invitations had been issued on this occasion to drink the new year wine at Aunt Marshgrass residence. But dowager lady Merchant had been out on several consecutive days, and so tired out did she feel that she withdrew to her rooms, after only a short stay.After the eighteenth, relatives and friends arrived and made their formal invitations; or else they came as guests to the banquets given. But so little was old lady Merchant in a fit state to turn her mind to anything that the two ladies, Madame City and lady Phonix, had to attend between them to everything that cropped up. But Precious Jade as well did not go anywhere else than to Song Rising's, and the excuse he gave out was that his grandmother kept him at home to dispel her ennui.We need not, however, dilate on irrelevant details. In due course, the festival of the fifteenth of the first moon passed，and the family panic as Phonix suddenly miscarried . But, reader, if you have any curiosity to learn any subsequent events, listen to those given in the chapter below.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 05:27, 10 May 2022 (UTC)<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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且说荣府中刚将年事忙过，凤姐儿因年内年外操劳太过，一时不及检点，便小月了，不能理事，天天两三个太医用药。凤姐儿自恃强壮，虽不出门，然筹画计算，想起什么事来，便命平儿去回王夫人。任人谏劝，他只不听。王夫人便觉失了膀臂，一人能有多少精神？凡有了大事，自己主张；将家中琐碎之事，一应都暂令李纨协理。李纨本是个尚德不尚才的，未免逞纵了下人。王夫人便命探春合同李纨裁处，只说过了一月，凤姐将息好了，仍交与他。<br />
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And that the Honor House will just be busy with the New Year, Phoenix had a miscarriage because she was too overworked and didn't pay attention. Therefore, She can no longer manage the affairs of the house, and several eunuchs prescribe her medicine every day. But she felt well enough to remain at home and plan. Remembering what happened, she would order Patience to go back to Mrs. King. She only did not listen to other’s advice. Mrs. King then felt the loss of arms, and how much energy can a person have? She decided major events while asking Silk Plum to dealing with trivial matters. Silk Plum advocated virtue than talent, and were too persuasive for the subordinates. Mrs. King ordered Seeking -Spring to help Silk Plum. After one month, Phoenix was handed over after being better.<br />
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The Lantern Festival passed. No sooner was the bustle of New Year over than Splendid Phoenix had a miscarriage. She had to stop running the household for a month, and two or three doctors attended her every day; but overestimating her own strength, although staying indoors she continued mapping out plans for the household, which Patience was sent to report to Lady King. All advice to rest she ignored. Lady King felt as if she had lost her right arm, and simply had not the energy to cope. She decided important matters herself, entrusting lesser domestic affairs to Silk Plum for the time being. But Silk Plum, being one of those people who have more virtue than ability, inevitably let the servants have their own way; so Lady King told Seeking Spring to help her out for a month, until Phoenix was well enough to take over again.--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 14:36, 10 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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谁知凤姐禀赋气血不足，兼年幼不知保养，平生争强斗智，心力更亏，故虽系小月，竟着实亏虚下来。一月之后，又添了下红之症。他虽不肯说出来，众人看他面目黄瘦，便知失于调养。王夫人只令他好生服药调养，不令他操心。他自己也怕成了大症，遗笑于人，便想偷空调养，恨不得一时复旧如常。谁知服药调养，直到三月间，才渐渐的起复过来，下红也渐渐止了，此是后话。<br />
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Splendid Phoenix had a delicate constitution and was never health-conscious as a girl. In her passion to shine she had overtaxed her strength, with the result that her miscarriage left her very weak. A month after it she was still losing blood. Although she kept this a secret, everyone could see from her pallor and loss of weight that she was not taking proper care of herself. Lady King urged her not to worry about family affairs, but just to take medicine and recuperate. And as she herself was afraid that if she fell really ill other people would gloat, she concentrated on getting better as soon as possible. However, she did not start to mend for some time: not until the autumn did she begin to recover and gradually stop losing blood. But this is anticipating.<br />
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Splendid Phoenix had a delicate constitution, however, and as a girl had never looked after her health. In her passion to shine she had overtaxed her strength, with the result that her miscarriage left her very weak. A month after it she was still losing blood.Although she kept this a secret, everyone could see from her pallor and loss of weight that she was not taking proper care of herself. Lady King urged her not to worry about family affairs, but just to take medicine and recuperate. And as she herself was afraid that if she fell really ill other people would gloat, she concentrated on getting better as soon as possible. However, she did not start to mend for some time: not until the autumn did she begin to recover and gradually stop losing blood. But this is anticipating.--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 10:20, 8 May 2022 (UTC)<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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如今且说王夫人见他如此，探春与李纨暂难谢事，园中人多，又恐失于照管，特请了宝钗来，托他各处小心。因嘱咐他：“老婆子们不中用，得空儿吃酒斗牌，白日里睡觉，夜里斗牌，我都知道的。凤丫头在外头，他们还有个怕惧，如今他们又该取便了。好孩子，你还是个妥当人。你兄弟妹妹们又小，我又没工夫，你替我辛苦两天，照看照看。凡有想不到的事，你来告诉我，别等老太太问出来，我没话回。<br />
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Meanwhile, seeing that for the time being Seeking-Spring and Silk Plum could hardly be relieved of their responsibilities, and that there were many people in the Garden who needed to be kept in order, Lady King enlisted Precious Hairpin Marshgrass's help as well. “The old serving-women are no use,” she told her.“They drink and gamble whenever they have the chance, sleeping during the day so as to play cards at nigh. I know all they're up to. When Splendid Phoenix was up and about, there was someone they were afraid of; but now that she is out of the way, I expect they do just as they please. You're a good steady girl, my dear. Your cousins are young and I'm busy, do you mind putting yourself out, for a couple of days, to keep an eye on things for me?<br />
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Meanwhile, seeing that for the time being Seeking-Spring and Silk Plum could hardly be relieved of their responsibilities, and that there were many people in the Garden who needed to be kept in order, Lady King enlisted Precious Hairpin Marshgrass's help as well. “The old serving-women are no use,” she told her.“They drink and gamble whenever they have the chance, sleeping during the day so as to play cards at nigh. I know all they're up to. When Splendid Phoenix was up and about, there was someone to scare them; but now they'll be taking advantage. You're a good steady girl, my dear. Your cousins are young and I'm busy, do you mind putting yourself out, for a couple of days, to keep an eye on things for me? If there’s anything I overlook, come and let me know before the old lady asks and I’m stumped for an answer.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 02:36, 10 May 2022 (UTC)<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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那些人不好了，你只管说；他们不听，你来回我。别弄出大事来才好。”宝钗听说，只得答应了。时届季春，黛玉又犯了咳嗽；湘云又因时气所感，亦病卧于蘅芜苑，一天医药不断。探春同李纨相住间隔，二人近日同事，不比往年，来往回话人等亦甚不便，故二人议定，每日早晨，皆到园门口南边的三间小花厅上去会齐办事；吃过早饭，于午错方回。这三间厅，原系预备省亲之时众执事太监起坐之处，故省亲之后，也用不着了，每日只有婆子们上夜。<br />
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If the servants misbehave, just tell them off. If they won't listen, let me know. We don't want to have any trouble." Precious Hairpin had to agree to this. It was now early spring and Mascara Jade was coughing again while Fragrant Cloud too was under the weather, confined to her bed in Alpinia Park, taking medicine day after day. As Seeking Spring and Silk Plum lived some distance from each other, now that they were working together it proved so inconvenient sending messages to and from that they arranged to settle their business every morning in the small three-roomed hall south of the Garden gate. They took to having breakfast there and returning to their own quarters about noon. This hail had served as the headquarters for the eunuchs in charge at the time of the Imperial Consort's visit, since when it had only been used by some old maid-servants who kept watch there at night.<br />
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If the servants misbehave, just tell them off. If they won't listen to you, just let me know. We don't want to have any trouble." Precious Hairpin had to agree to this. It was now early spring and Mascara Jade was coughing again while Fragrant Cloud too was under the weather, confined to her bed in Alpinia Park, taking medicine day after day. As Seeking Spring and Silk Plum lived some distance from each other, now that they were working together it proved so inconvenient sending messages to and from that they arranged to settle their business every morning in the small three-roomed hall south of the Garden gate. They took to having breakfast there and returning to their own quarters about noon. This hail had served as the headquarters for the eunuchs in charge at the time of the Imperial Consort's visit, since when it had only been used by some old maid-servants who kept watch there at night.--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 02:28, 9 May 2022 (UTC)<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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如今天已和暖，不用十分修饰，只不过略略的陈设了，便可他二人起坐。这厅上也有一处匾，题着“补仁谕德”四字；家下俗呼皆只叫“议事厅儿”。如今他二人每日卯正至此，午正方散，凡一应执事的媳妇等来往回话者，络绎不绝。众人先听见李纨独办，各各心中暗喜，以为李纨素日是个厚道多恩无罚的，自然比凤姐儿好搪塞；便添了一个探春，都想着不过是个未出闺阁的年轻小姐，且素日也最平和恬淡，因此都不在意，比凤姐儿前更懈怠了许多。<br />
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As the weather was warm now no major repairs were needed: a little fixing up made the place fit for the two of them to live. The tablet over this hall bore the inscription “Assisting Benevolence and Discussing Virtue,” but members of the household all called it the Council Hall.Now the two young mistresses came here at six every morning and did not leave until noon, after an endless stream of women-servants had reported on the matters entrusted to them. These women had all exulted secretly at the news that Silk Plum was to be in sole charge, thinking her too kind-hearted to punish anyone, and obviously much easier to impose on than Splendid Phoenix. It did not worry them either when Seeking-Spring later joined her, for they discounted her as a young unmarried girl who had always been most pleasant and easy-going. So they became much slacker than before.<br />
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The weather was warm , no major repairs were needed: a little fixing up made the place fit for the two of them to live. The tablet over this hall bore the inscription “Assisting Benevolence and Discussing Virtue,” but members of the household all called it the Council Hall.Now the two young mistresses came here at six every morning and did not leave until noon, after an endless stream of women-servants had reported on the matters entrusted to them. These women had all exulted secretly at the news that Silk Plum was to be in sole charge, thinking her too kind-hearted to punish anyone, and obviously much easier to impose on than Splendid Phoenix. It did not worry them either when Seeking-Spring later joined her, for they discounted her as a young unmarried girl who had always been most pleasant and easy-going. So they became much slacker than before.--[[User:Yang Xinyi|Yang Xinyi]] ([[User talk:Yang Xinyi|talk]]) 12:23, 9 May 2022 (UTC)<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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只三四日后，几件事过手，渐觉探春精细处不让凤姐，只不过是言语安静、性情和顺而已。可巧连日有王公侯伯世袭官员十几处，皆系荣宁非亲即友即世交之家，或有升迁，或有黜降，或有婚丧红白等事，王夫人贺吊迎送，应酬不暇，前边更无人照管。他二人便一日皆在厅上起坐，宝钗便一日在上房监察，至王夫人回方散。每于夜间针线暇时，临寝之先，坐了轿，带领园中上夜人等，各处巡察一次：他三人如此一理，更觉比凤姐儿当权时倒更谨慎了些。<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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因而里外下人，都暗中抱怨说：“刚刚的倒了一个‘巡海夜叉’，又添了三个‘镇山太岁’，越发连夜里偷着吃酒玩的工夫都没了。”这日王夫人正是往锦乡侯府去赴席，李纨与探春，早已梳洗，伺候出门去后，回至厅上坐了，刚吃茶时，只见吴新登的媳妇进来回说：“赵姨娘的兄弟赵国基昨日出了事，已回过老太太、太太，说知道了，叫回姑娘来。”说毕，便垂手旁侍，再不言语。彼时来回话者不少，都打听他二人办事如何：<br />
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Therefore all servants complained in secret: “One wave have just been leveled while another wave has arisen, and more and more there was no time to secretly drink and play at night.” On that day, Lady King was going to Duke Jinxiang's mansion to attend the banquet. Silk Plum and Seeking-Spring Merchant had already washed and dressed. After waiting for them to go out, they returned to the hall and sat down. When they were just having tea, Ascend Proper Wu's daughter-in-law came in and replied: "Concubine Zhao's brother Nation Base Zhao had an accident yesterday, and it had been told to Grandma Merchant and Lady King, and they called you back.” After she finished speaking, she lowered her hands and waited by the side silently. At that time, there were many people who answering back and they all asked about how was it going with the two of them.<br />
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Therefore all servants complained in secret: “We are just rid of one demon and then here come three guardian mountain spirits. Now wen don not even have a chance to drink and play cards at night.” One day, Lady King was invited to a feast at Duke Jinxiang’s mansion. Silk Plum and Seeking-Spring Merchant had already got up early to attend her until she left. Then they went back to the hall. When they were just sipping tea there, Ascend Proper Wu’ wife came in to inform them that Concubine Zhao’s brother, Nation Base Zhao, had died the previous day. “I have reported this to old lady Merchant and lady King,” she said. “She told me to let you ladies know.” She did not make further comment after this and just lowered her hands and stood by at respectful attention. At that time, all servants who had come to report on business were eager to see how these two would handle this matter.--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 04:55, 7 May 2022 (UTC)<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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若办得妥当，大家则安个畏惧之心；若少有嫌隙不当之处，不但不畏服，一出二门，还说出许多笑话来取笑。吴新登的媳妇心中已有主意：若是凤姐前，他便早已献勤，说出许多主意、又查出许多旧例来，任凤姐拣择施行；如今他藐视李纨老实，探春是年轻的姑娘，所以只说出这一句话来，试他二人有何主见。探春便问李纨。李纨想了一想，便道：“前日袭人的妈死了，听见说赏银四十两，这也赏他四十两罢了。”<br />
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If they handled these things correctly, they would respect them; if they made the least mistake, they would despite them and would start gossip and make fun of them when they go out of the inner gate. Ascend Proper Wu’s wife knew what should be done. If she reported things to Splendid Phoenix, she would have made various suggestions for her to decide between. But now as she looked down on Silk Plum as a simpleton and Seeking-Spring as only a young girl, she said no more, waiting to see what they would do. Seeking-Spring consulted Silk Plum, who thought for a while. “I remember that the other day when Aroma’s mother died, I knew she was given forty taels,” Silk Plum said. “We can also give him forty taels.”<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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吴新登的媳妇听了，忙答应了个“是”，接了对牌就走。探春道：“你且回来。”吴新登家的只得回来。探春道：“你且别支银子。我且问你：那几年老太太屋里的几位老姨奶奶，也有家里的，也有外头的，这两个分别。家里的若死了人是赏多少？外头的死了人是赏多少？你且说两个我们听听。”一问，吴新登家的便都忘了，忙陪笑回说道：“这也不是什么大事，赏多赏少，谁还敢争不成？”<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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探春笑道：“这话胡闹。依我说，赏一百倒好。若不按例，别说你们笑话，明儿也难见你二奶奶。”吴新登家的笑道：“既这么说，我查旧帐去；此时却记不得。”探春笑道：“你办事办老了的，还记不得，倒来难我们。你素日回你二奶奶，也现查去？若有这道理，凤姐姐还不算利害，也就算是宽厚了。还不快找了来我瞧。再迟一日，不说你们粗心，倒像我们没主意了。”吴新登家的满面通红，忙转身出来。众媳妇们都伸舌头。<br />
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Seeking-Spring laughed and said:"Such nonsense. As I see it, it is better to reward a hundred. If you don't follow the routine, it is not only you who would laugh at. It would also be hard to explain it to Lady Splendid Phoenix." Wu Xindeng's family laughed: "If so, I will check the old accounts;I can't remember for now." Seeking-Spring smiled and said, "You have long used to these matters, yet you still can't remember and come to trouble us. Did you reply to Lady Splendid Phoenix after you checked it out in past days? If that's the case, Sister Phoenix is far from demanding but lenient. Hurry to check it and reply!. One day later, not to mention your carelessness, it's just like we couldn't make any decisions." Wu Xindeng Family's face turned red, hurried to come out. All the daughters-in-law stuck out their tongues in surprise.<br />
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Seeking-Spring laughed and said: "Such nonsense. As I see it, it is better to reward a hundred. If you don't follow the routine, it is not only you who would laugh at. It would also be hard to explain it to Lady Splendid Phoenix." Ascend Proper Wu's Wife laughed: "If so, I will check the old accounts; I can't remember now." Seeking-Spring smiled and said, "You have been long used to these matters, yet you still can't remember and come to trouble us. Did you reply to Lady Splendid Phoenix after you checked it out in past days? If that's the case, Sister Phoenix is far from demanding but lenient. Hurry to check it and reply!. One day later, not to mention your carelessness, it's just like we couldn't make any decisions." Ascend Proper Wu's Wife's face turned red and hurried to come out. All the daughters-in-law stuck out their tongues in surprise.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 11:49, 10 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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这里又回别的事。一时吴家的取了旧帐来，探春看时，两个家里的赏过皆二十四两，两个外头的皆赏过四十两。外还有两个外头的：一个赏过一百两，一个赏过六十两。这两笔底下皆有原故：一个是隔省迁父母之柩，外赏六十两；一个是现买葬地，外赏二十两。探春便递与李纨看了，探春便说：“给他二十两银子，把这账留下我们细看。”吴新登家的去了。忽见赵姨娘进来，李纨探春忙让坐。<br />
Seeking Spring was dealing with another matters when Ascend Proper Wu's Wife brought the old account back. Seeking Spring saw that both of the internal servants had been rewarded 24 tael and two external ones 40 tael. In addition, another two external servants had been rewarded 100 tael and 60 tael respectively. There're reasons for the two accounts: one was an additional 60 tael for transferring his parents' coffins from another province; the other was an additional 20 tael for buying the cemetery. Seeking Spring handed the account to Silk Plum and then said, "Give him 20 tael. We will keep the account to check carefully." Ascend Proper Wu's Wife then left. Suddenly Aunt Walk came in. Silk Plum and Seeking Spring hurriedly stood up to set aside precedency seat for her.<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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赵姨娘开口便说道：“这屋里的人，都踩下我的头去还罢了，姑娘，你也想一想，该替我出气才是。”一面说，一面便眼泪鼻涕哭起来。探春忙道：“姨娘这话说谁，我竟不懂。谁踹姨娘的头？说出来，我替姨娘出气。”赵姨娘道：“姑娘现踹我，我告诉谁去！”探春听说，忙站起来说道：“我并不敢。”李纨也忙站起来劝。赵姨娘道：“你们请坐下，听我说。我这屋里熬油似的熬了这么大年纪，又有你兄弟，这会子连袭人都不如了，我还<br />
有什么脸？<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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连你也没脸面，别说是我呀！”探春笑道：“原来为这个。我说我并不敢犯法违礼。”一面便坐了，拿账翻与赵姨娘瞧，又念与他听；又说道：“这是祖宗手里旧规矩，人人都依着，偏我改了不成？这也不但袭人，将来环儿收了外头的，自然也是同袭人一样。这原不是什么争大争小的事，讲不到有脸没脸的话上。他是太太的奴才，我是按着旧规矩办。说办的好，领祖宗的恩典，太太的恩典；若说办的不匀，那是他糊涂不知福，也只好凭他抱怨去。<br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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太太连房子赏了人，我有什么有脸之处；一文不赏，我也没什么没脸之处。依我说，太太不在家，姨娘安静些，养神罢了，何苦只要操心。太太满心疼我，因姨娘每每生事，几次寒心。我但凡是个男人，可以出得去，我必早走了，立一番事业，那时自有我一番道理；偏我是女孩儿家，一句多话也没我乱说的。太太满心里都知道。如今因看我重，才叫我照管家务。还没有做一件好事，姨娘倒先来作践我。倘或太太知道了，怕我为难，不叫我管，那才正经没脸呢，连姨娘真也没脸了！”<br />
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Madame had given the house away, how I am so shameless? Madame give no dime, how I am so proud? I say, Aunt could rest in quietness when Madame is not home. Why bother all that. Madame cares about me and is disappointed when Aunt makes trouble. If I am a man and able to go out, I would have gone and make a success so that my words count. But I am a girl and I could not say any words inappropriate. Madame knows the best. I am valued so I am caring the house works. I haven't done a thing, and the aunt insults me. If Madame knows and she would tell me to leave it alone so that I won't be in a dilemma. That is shameless. Aunt is so shameless!"<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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一面说，一面不禁滚下泪来。赵姨娘没了别话答对，便说道：“太太疼你，你越发拉扯拉扯我们。你只顾讨太太的疼，就把我们忘了。”探春道：“我怎么忘了？叫我怎么拉扯？这也问他们各人，那一个主子不疼出力得用的人？那一个好人用人拉扯的？”李纨在旁只管劝说：“姨娘别生气，也怨不得姑娘，他满心里要拉扯，口里怎么说的出来？”探春忙道：“这大嫂子也糊涂了。我拉扯谁？谁家姑娘们拉扯奴才了？<br />
Seeking-Spring spoke as she was sobbing bitterly. Having no other answer to this, the concubine retorted,"If the mistress is partial to you, that's all the more reason to lend us a helping hand. But you've quite forgotten us in your eagerness to curry favor with her." "Who says I've forgotten you? How am I to lend a helping hand? You have to ask yourselves: Don't all mistresses like inferiors who make themselves useful? Good people don't need the kind offices of others."Silk Plum put in soothingly, "Don't be angry, madam. It's not her fault. She's only too eager to help you,but how can she say so?" "Don't be ridiculous, sister-in-law!" cried Seeking-Spring." Who do you mean I'm to help? Does the daughter of any house help servants?<br />
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Seeking-Spring spoke as she was sobbing bitterly. Having no other answer to this, the concubine retorted,"If the mistress is partial to you, that's all the more reason to lend us a helping hand. But you've quite forgotten us in your eagerness to curry favor with her." "Who says I've forgotten you? How am I to lend a helping hand? You have to ask yourselves: Don't all mistresses like inferiors who make themselves useful? Good people don't need the kind offices of others."Silk Plum put in soothingly, "Don't be angry, madam. It's not her fault. She's only too eager to help you,but how can she say so?" "Don't be ridiculous, sister-in-law!" cried Seeking-Spring." Who do you mean I'm to help? Does the daughter of any house help servants?--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 12:09, 10 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
他们的好歹，你们该知道，与我什么相干。”赵姨娘气得问道：“谁叫你拉扯别人去了？你不当家，我也不来问你。你如今现在说一是一，说二是二。如今你舅舅死了，你多给了二三十两银子，难道太太就不依你？分明太太是好太太，都是你们尖酸克薄，可惜太太有恩无处使。姑娘放心，这也使不着你的银子！明日等出了阁，我还想你额外照看赵家呢。如今没有长翎毛儿就忘了根本，只‘拣高枝儿飞’去了。”<br />
You should know what they are -- their affairs are none of my business." "Who asked you to help others?" fumed the concubine. "If you weren't in charge I wouldn't have come to you. Now if you say one it's one, if you say two it's two. If you gave an extra twenty or thirty taels for your uncle's funeral, why should the mistress object? Everyone knows how good she is — it's you people who are so singy. It's too bad she has no chance to show her kindness. But don't worry, miss, it's not your own silver you're saving. I'd always hoped, after you married, you'd show more consideration to the Zhao family; but now before your feath-ers have grown you've forgotten your roots, you're so keen to fly to the very top of tree."<br />
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You should know what they are -- their affairs are none of my business."fumed the concubine. "Who asked you to help others?" "If you weren't in charge I wouldn't have come to you. Now if you say one,it's one, if you say two,it's two. If you gave an extra twenty or thirty taels for your uncle's funeral, why should the mistress object? Everyone knows how good she is — it's you people who are so singy. It's too bad she has no chance to show her kindness. But don't worry, miss, it's not your own silver you're saving. I'd always hoped, after you married, you'd show more consideration to the Zhao family; but now before your feathers have grown you've forgotten your roots, you're so keen to fly to the very top of tree."--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 16:57, 10 May 2022 (UTC)<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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探春没听完，已气得脸白气噎，抽抽咽咽的一面哭，一面问道：“谁是我舅舅？我舅舅年下才升了九省检点，那里又跑出一个舅舅来？我倒素昔按礼尊敬，越发敬出这些亲戚来了。既这么说，每日环儿出去，为什么赵国基又站起来，又跟他上学？为什么不拿出舅舅的款来？何苦来，谁不知道我是姨娘养的，必要过两三个月寻出由头来，彻底来翻腾一阵，怕人不知道，故意表白表白。也不知道是谁给谁没脸？<br />
Before she had finished,Tanchun's face was white with anger. Nearly choking with sobs she demanded,"Who's my uncle? My uncle's just been appointed Military Inspector of Nine Provinces.What other uncles do I have? Is this my reward for always observing the ruler of propriety---to have all these relative foisted off on me? If what you say were true,why did Zho Guoji have to stand up whenever Ring went out? Why follow him to school? Why didn't he behave like an uncle? "Do you have to make such a scene? Everyone knows I'm a child by a concubine, yet you needs must bring it up every few months and rub it in,as if you had to make it plain for fear they didn't know. Who's making the other lose face?<br />
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==比较文学与跨文化研究 Mahzad 202021080004==<br />
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幸亏我还明白，但凡糊涂不知礼的，早急了！”李纨急得只管劝，赵姨娘只管还唠叨。忽听有人说：“二奶奶打发平姑娘说话来了。”赵姨娘听说，方把嘴止住。只见平儿走来，赵姨娘忙陪笑让坐，又忙问：“你奶奶好些？我正要瞧去，就只没得空儿。”李纨见平儿进来，因问他：“来作什么？”平儿笑道：“奶奶说：赵姨奶奶的兄弟没了，恐怕奶奶和姑娘不知有旧例。若照常例，只得二十两；如今请姑娘裁度着，再添些也使得。” 探春早已拭去泪痕，忙说道：“又好好的添什么，谁又是‘二十四个月养的’？<br />
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==外国语言文学 Muhammad Numan 202121080002==<br />
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不然，也是出兵放马、背着主子逃出命来过的人不成？你主子真个倒巧：叫我开了例，他做好人，拿着太太不心疼的钱，乐得做人情。你告诉他：我不敢添减混出主意。他添他施恩，等他好了出来，爱怎么添怎么添！”平儿一来时，已明白了对半；今听这话，越发会意。见探春有怒色，便不敢以往日喜乐之时相待，只一边垂手默侍。时值宝钗也从上房中来，探春等忙起身让坐，未及开言，又有一个媳妇进来回事，因探春才哭了，便有三四个小丫鬟捧了脸盆、巾帕、靶镜等物来。<br />
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==英语语言文学 TOURE MARIAM 202021080005==<br />
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此时探春因盘膝坐在矮板榻上，那捧盆丫鬟走至跟前，便双膝跪下，高捧沐盆；那两个丫鬟也都在旁屈膝捧着巾帕并靶镜脂粉之饰。平儿见侍书不在这里，便忙上来与探春挽袖卸镯，又接过一条大手巾来，将探春面前衣襟掩了，探春方伸手向面盆中盥沐。媳妇便回道：“奶奶、姑娘：家学里支环爷和兰哥儿一年的公费。”平儿先道：“你忙什么？你睁着眼看见姑娘洗脸，你不出去伺候着，倒先说话来。二奶奶跟前，你也这样没眼色来着？姑娘虽恩宽，我去回了二奶奶，只说你们眼里都没姑娘，你们都吃了亏，可别怨我！”<br />
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==外国语言文学 UDDIN NIZAM 202121080007==<br />
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唬得那个媳妇忙陪笑说：“我粗心了。”一面说，一面忙退出去。探春一面匀脸，一面向平儿冷笑道：“你迟了一步，没见还有可笑的。连吴姐姐这么个办老了事的也不查清楚了就来混我们。幸亏我们问他，他竟有脸说‘忘了’。我说他回二奶奶事也忘了再找去？我料着你主子未必有耐性儿等他去找。”平儿笑道：“他有这么一次，包管腿上的筋早折了两根。姑娘别信他们。那是他们瞅着大奶奶是个菩萨，姑娘又是腼腆小姐，固然是托懒来混。”说着，又向门外说道：“你们只管撒野，等奶奶大安了，咱们再说。”<br />
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==翻译学 SAGARA SEYDOU 201911080004 ==<br />
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门外的众媳妇都笑道：“姑娘，你是个最明白的人，俗语说：‘一人作罪一人当。’我们并不敢欺蔽主子。如今主子是娇客，若认真惹恼了，死无葬身之地！”平儿冷笑道：“你们明白就好了。”又陪笑向探春道：“姑娘知道，二奶奶本来事多，那里照看得这些？保不住不忽略。俗语说：‘旁观者清。’这几年姑娘冷眼看着，或有该添该减的去处，二奶奶没行到，姑娘竟一添减：头一件，与太太有益；第二件，也不枉姑娘待我们奶奶的情义了。”话未说完，宝钗李纨皆笑道：“好丫头，真怨不得凤丫头偏疼他！</div>Li Yuanhttps://bou.de/u/index.php?title=20220505_culture&diff=14239820220505 culture2022-05-11T02:08:24Z<p>Li Yuan: /* 英语笔译 李颖 Li Ying 202170081578 */</p>
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<div>Quicklinks:[[Chinese Language and Culture 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Joint_translation_terms]]<br />
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[[20220505_culture|culture of session 11 for session 12 May 5]]<br />
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'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is <br />
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26 Chinese Writing: Chinese Characters 54% 李丹 Li Dan<br />
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36 Chinese Writing: Calligraphy 53% 崔晓凡 Cui Xiao fan<br />
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33 Traditional Festivals: Spring Festival Couplets 53% 刘珍 Liu Zhen 徐盖 Xu Gai<br />
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'''Assignment 2''': '''Click here''' to answer the questions of the topics below <br />
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26 Chinese Writing: Chinese Characters 54% <br />
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36 Chinese Writing: Calligraphy 53% <br />
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33 Traditional Festivals: Spring Festival Couplets 53% <br />
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Due before 4:30 pm May. 12<br />
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'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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Due before 6:00 pm May. 11<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.<br />
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When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".<br />
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Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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宝玉头里已经听烦了，推故要走，及听见这话，又坐了呆呆的往下听。薛姨妈道：“不中用。他虽好，到底是女孩儿家。养了蟠儿这个糊涂孩子，真真叫我不放心。只怕在外头喝点子酒，闹出事来。幸亏老太太这里的大爷二爷常和他在一块儿，我还放点儿心。”宝玉听到这里，便接口道：“姨妈更不用悬心。薛大哥相好的都是些正经买卖大客人，都是有体面的，那里就闹出事来？”薛姨妈笑道：“依你这样说，我敢只不用操心了。”说话间，饭已吃完。宝玉先告辞了：“晚间还要看书。”便各自去了。<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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这里丫头们刚捧上茶来，只见琥珀走过来向贾母耳朵旁边说了几句，贾母便向凤姐儿道：“你快去罢，瞧瞧巧姐儿去罢。”凤姐听了，还不知何故。大家也怔了。琥珀遂过来向凤姐道：“刚才平儿打发小丫头子来回二奶奶，说：‘巧姐儿身上不大好，请二奶奶忙着些过来才好呢。’”贾母因说道：“你快去罢，姨太太也不是外人。”凤姐连忙答应，在薛姨妈跟前告了辞。又见王夫人说道：“你先过去，我就去。小孩子家魂儿还不全呢，别叫丫头们大惊小怪的，屋里的猫儿狗儿，也叫他们留点神儿。尽着孩子贵气，偏有这些琐碎。”凤姐答应了，然后带了小丫头回房去了。<br />
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Here the maids just served tea, only to see Amber came over to Grandma Merchant’s ears and said a few words. Then Grandma Merchant said to Sister Phoenix: “You go quickly to see Sister Ingenious.” Sister Phoenix was confused to hear this and so was everyone present. Amber came over to Sister Phoenix and said, “Just now Patience sent a little girl to find you, saying: ‘Sister Ingenious is not feeling well now, please come to see her, my Second Mistress.’” Grandma Merchant said: “Hurry up, since Aunt Marshgrass is not an outsider.” Sister Phoenix hurriedly responded and apologized to Aunt Marshgrass. Then Lady King said to her, “You go first and I will come later. The kid’s soul is still incomplete. Ask the maids not to make a fuss and to pay attention to the cats and dogs in the room. The kid’s health is not as much as the trivial.” Sister Phoenix agreed, and then went back to her room followed by her maids.<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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这里薛姨妈又问了一回黛玉的病。贾母道：“林丫头那孩子倒罢了，只是心重些，所以身子就不大狠结实了。要赌灵性儿，也和宝丫头不差什么；要赌宽厚待人里头，却不济他宝姐姐有耽待、有尽让了。”薛姨妈又说了两句闲话儿，便道：“老太太歇着罢。我也要到家里去看看，只剩下宝丫头和香菱了。打那么同着姨太太看看巧姐儿。”贾母道：“正是。姨太太上年纪的人，看看是怎么不好，说给他们，也得点主意儿。”薛姨妈便告辞，同着王夫人出来，往凤姐院里去了。却说贾政试了宝玉一番，心里却也喜欢，走向外面和那些门客闲谈，说起方才的话来。<br />
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Aunt Marshgrass asked about Mascara Jade’s illness again.“She is a good child, but too sensitive,” said Grandma Merchant. “That is undermined her health. As far as intelligence goes, she is a match for Precious Hairpin; But regarding consideration for other people, she has not her thoughtfulness and unselfishness.”After a little more small talk Aunt Marshgrass said, “You should rest now, madam, and I must get back to see how things are doing, as there are only Precious Hairpin and Wiselotus Potterymake at home. And from there I must go with my sister to see Sister Ingenious.”“That is right. You have had a great deal of experience. Tell them if you notice anything missed, so that they will know what to do.”Aunt Marshgrass took her leave, accompanying Lady King to Splendid Phoenix’s quarters.Master Merchant, pleased by the results of Precious Jade’s test, brought the subject up when he went out to chat with his secretaries.<br />
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Aunt Marshgrass asked about Mascara Jade’s illness again.“She is a good child, but too sensitive,” said Grandma Merchant. “That is undermined her health. As far as intelligence goes, she is a match for Precious Hairpin; But regarding consideration for other people, she has not her thoughtfulness and unselfishness.”After a little more small talk Aunt Marshgrass said, “You should rest now, madam, and I must get back to see how things are doing, as there are only Precious Hairpin and Wiselotus Potterymake at home. And from there I must go with my sister to see Sister Ingenious.”“That is right. You have had a great deal of experience. Tell them if you notice anything missed, so that they will know what to do.”Aunt Marshgrass took her leave, accompanying Lady King to Splendid Phoenix’s quarters.Master Merchant, pleased by the results of Precious Jade’s test, brought the subject up when he went out to chat with his secretaries.--[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 05:29, 10 May 2022 (UTC)<br />
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==英语笔译 崔晓凡 Cui Xiaofan 202170081566==<br />
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便有新近到来最善大棋的一个王尔调，名作梅的，说道：“据我们看来，宝二爷的学问已是大进了。”贾政道：“那有进益，不过略懂得些罢咧。‘学问’两个字，早得很呢。”詹光道：“这是老世翁过谦的话。不但王大兄这般说，就是我们看，宝二爷必定要高发的。”贾政笑道：“这也是诸位过爱的意思。”那王尔调又道：“晚生还有一句话，不揣冒昧，合老世翁商议。”贾政道：“什么事？”王尔调陪笑道：“也是晚生的相与，做过南韶道的张大老爷家，有一位小姐，说是生得德容功貌俱全，此时尚未受聘。<br />
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One of them was the relative newcomer Ertiao King, a good chess-player whose courtesy name was Zuomei. “We can see that Master Precious Jade has made great progress in learning.” he observed. “Progress? No,” said Master Merchant. “He’s only just making a start. And it’s too early to talk of ‘learning.<br />
Light Zhan demurred, “You are too modest, sir. This is the opinion of us all, not only Mr.King. Precious Jade is sure to distinguish himself in the examinations.”<br />
“You are too partial to him, gentlemen.” “I have a proposal to make, sir,” added Ertiao King, “If you don’t think it presumptuous.” “What is it?” With a deferential smile King answered, “Some acquaintances of mine, the family of Old Mr. Zhang the former Governor of Nanshao, have a daughter who is said to be a paragon of virtue and a beauty, and she is not yet bespoken.<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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他又没有儿子，家资巨万，但是要富贵双全的人家，女婿又要出众，才肯作亲。晚生来了两个月，瞧着宝二爷的人品学业，都是必要大成的。老世翁这样门楣，还有何说！若晚生过去，包管一说成。”贾政道：“宝玉说亲，却也是年纪了，并且老太太常说起。但只张大老爷素来尚未深悉。”詹光道：“王兄所提张家，晚生却也知道。况和大老爷那边是旧亲，老世翁一问便知。”贾政想了一回，道：“大老爷那边，不曾听得这门亲戚。”詹光道：“老世翁原来不知：这张府上原和邢舅太爷那边有亲的。”贾政听了，方知是邢夫人的亲戚。<br />
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==英语笔译 高智慧 Gao Zhihui 202170081568==<br />
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坐了一回，进来了，便要同王夫人说知，转问邢夫人去。谁知王夫人陪了薛姨妈到凤姐那边看巧姐儿去了。那天已经掌灯时候，薛姨妈去了，王夫人才过来了。贾政告诉了王尔调和詹光的话，又问：“巧姐儿怎么了？”王夫人道：“怕是惊风的光景。”贾政道：“不甚利害呀？”王夫人道：“看着是搐风的来头，只还没搐出来呢。”贾政听了，便不言语，各自安歇一宿晚景不提。却说次日邢夫人过贾母这边来请安，王夫人便提起张家的事，一面回贾母，一面问邢夫人。邢夫人道：“张家虽系老亲，但近年来久已不通音信，不知他家的姑娘是怎么样的。<br />
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A little later he went in, with the intention of talking this new proposal over with Lady King and asking her to sound out Lady Xing about the Zhang family. He found, however, that his wife was out, visiting Sister Ingenious with Aunt Marshgrass . At lighting-up time, when Aunt Marshgrass went home and Lady King returned, Master Merchant discussed the proposal with her. He also asked after Sister Ingenious. “We think it’s convulsions,” she said. “Nothing serious, I hope?” “It’s too early to tell. The fits have still not passed.” Master Merchant sighed but said no more, and they retired for the night. Next day, when Lady Xing came to pay her morning respects to Grandma Merchant, Lady King mentioned the marriage proposal and took the opportunity of asking Lady Xing about the Zhang family. “Yes, they are relations of ours,” divulged Lady Xing. “But we’ve had no contact with them for years now, so I’ve no notion what this Miss Zhang is like.<br />
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A little later he went in, with the intention of talking this new proposal over with Lady King and asking her to sound out Lady City about the Open's family. He found, however, that his wife was out, visiting Sister Ingenious with Aunt Marshgrass . At lighting-up time, when Aunt Marshgrass went home and Lady King returned, Master Merchant discussed the proposal with her. He also asked after Sister Ingenious. “We think it’s convulsions,” she said. “Nothing serious, I hope?” “It’s too early to tell. The fits have still not passed.” Master Merchant sighed but said no more, and they retired for the night. Next day, when Lady City came to pay her morning respects to Grandma Merchant, Lady King mentioned the marriage proposal and took the opportunity of asking Lady City about the Open's family. “Yes, they are relations of ours,” divulged Lady City. “But we’ve had no contact with them for years now, so I’ve no notion what this Miss Open is like.<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 15:44, 9 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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倒是前日孙亲家太太打发老婆子来问安，却说起张家的事，说他家有个姑娘，托孙亲家那边有对劲的提一提。听见说，只这一个女孩儿，十分娇养，也识得几个字，见不得大阵仗儿，常在房中不出来的。张大老爷又说：只有这一个女孩儿，不肯嫁出去，怕人家公婆严，姑娘受不得委屈。必要女婿过门，赘在他家，给他料理些家事。”贾母听到这里，不等说完，便道：“这个使不得。我们宝玉，别人伏侍他还不彀呢，倒给人家当家去！”邢夫人道：“正是老太太这个话。”贾母因向王夫人道：“你回来告诉你老爷，就说我的话，这张家的亲事是作不得的。”<br />
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The other day, however,Spring Pleasure’s mother-in-law Mrs. Sun sent her old servant to inquire after our health. She said that there was a family surnamed Open which wanted Mr.Sun to find a husband for their daughter. It is said that they only have a daughter who is very pampered, and also read some books. But she was too shy to be in public and often stay in the room. The elder Mr.Open said he didn't want her to leave their family to get married for he only had one girl and he was afraid that her parents-in-law would be so strict that she would be wronged. He wanted a son-in-law to come and stay at his house and to take care of his household affairs." When Grandma Merchant heard this, she said before the words were finished, "You can't do that. Our Precious Jade needs to be looked after by others, how should he take care of the household business of others!" Lady City agreed, "You are right." Grandma Merchant said to Lady King, "When you go back and tell your master what I say, the marriage with the Open's family is impossible."<br />
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The other day, however,Spring Pleasure’s mother-in-law Mrs. Sun sent her old servant to pay her respects. She said that there was a family surnamed Open which wanted Mr.Sun to find a husband for their daughter. It is said that they only have a daughter who is very pampered, and also literate. But she was too shy to be in public and often stay in the room. The elder Mr.Open said he didn't want her to leave their family to get married for he only had one girl and he was afraid that her parents-in-law would be so strict that she would be wronged. He wanted a son-in-law to come and stay at his house and to take care of his household affairs." When Grandma Merchant heard this, she said before the words were finished, "You can't do that. Our Precious Jade needs to be looked after by others, how should he take care of the household business of others!" Lady City agreed, "You are right." Grandma Merchant said to Lady King, "When you go back and tell your master what I say, the marriage with the Open's family is impossible."--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 02:17, 10 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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王夫人答应了。贾母便问：“你们昨日看巧姐儿怎么样？头里平儿来回我，说狠不大好，我也要过去看看呢。”邢王二夫人道：“老太太虽疼他，他那里耽的住？”贾母道：“却也不止为他，我也要走动走动，活活筋骨儿。”说着，便吩咐：“你们吃饭去罢，回来同我过去。”邢王二夫人答应着出来，各自去了。一时，吃了饭，都来陪贾母到凤姐房中。凤姐连忙出来，接了进去。贾母便问：“巧姐儿到底怎么样？”。凤姐儿道：“只怕是搐风的来头。”贾母道：“这么着还不请人赶着瞧？”凤姐道：“已经请去了。”贾母因同邢王二夫人进房来看。<br />
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Lady King agreed. Grandma Merchant asked, "When you came to visit Sister Ingenious yesterday, is everything ok? Patience told me it wasn't good, and I'd like to go and have a look." Lady King and Lady City said, "Although the old lady adores her, how could her hold that?" "But it's not just for her" Grandma Merchant said. "I want to walk around, too." Then she said, "Go and eat, and come back and come over with me." Lady King and Lady City promised to come out, respectively. After dinner, they all came to accompany Grandma Merchant to Sister Phoenix's room. Sister Phoenix hurriedly came out and took them in. Grandma Merchant then asked: "What on earth happened to Sister Ingenious?" . "I'm afraid it's the cause of stroke," said Sister Phoenix. Grandma Merchant said, "So why don't you ask doctor to have a check?" Sister Phoenix replied: "I’ve already sent someone to bring a doctor." Grandma Merchant with King and City two ladies walked into the room to have a look.<br />
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Lady King agreed. Grandma Merchant asked, "When you came to visit Sister Ingenious yesterday, is everything ok? Patience told me it wasn't good, and I'd like to go and have a look." Lady King and Lady City said, "Although Madam adores her, how could her take that?" "But it's not just for her," Grandma Merchant replied. "I want to walk around and get some exercise." Then she said, "Go and eat, then come back and come over with me." Lady King and Lady City promised and left here respectively. After dinner, they all came to accompany Grandma Merchant to Sister Phoenix's room. Sister Phoenix hurriedly came out and took them in. Grandma Merchant then asked: "What on earth happened to Sister Ingenious?". "I'm afraid it's the cause of stroke," said Sister Phoenix. Grandma Merchant urged, "So why don't you ask the doctor to have a check?" Sister Phoenix replied: "I’ve already sent someone to ask for a doctor." Grandma Merchant with King and City two ladies walked into the room to have a look.--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 05:24, 10 May 2022 (UTC)<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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只见奶子抱着，用桃红绫子小绵被儿裹着，脸皮趣青，眉梢鼻翅，微有动意。贾母同邢王二夫人看了看，便出外间坐下。正说间，只见一个小丫头回凤姐道：“老爷打发人问姐儿怎么样。”凤姐道：“替我回老爷，就说请大夫去了。一会儿开了方子，就过去回老爷。”贾母忽然想起张家的事来，向王夫人道：“你该就去告诉你老爷，省得人家去说了，回来又驳回。”又问邢夫人道：“你们和张家如今为什么不走了？”邢夫人因又说：“论起那张家行事，也难合咱们作亲，太啬克，没的玷辱了宝玉。”凤姐听了这话，已知八九，便问道：“太太不是说宝兄弟的亲事？”<br />
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The nurse was hold¬ing the child who was wrapped up in a peach-red silk-padded quilt. Her face was pale, her forehead contorted and her nose feebly twitching. After looking at the baby with Lady City and Lady King, Grandma Merchant went back to the other room and had just sat down to have a conversation n when a young servant came in. “His Lordship has sent me to ask the situation of the lady,” she said. “Tell him that we’ve sent for the doctor,” answered Splendid Phoenix. “We’ll let him know what prescription doctor makes out.” Grandma Merchant, recollecting the Zhangs’ things, reminded Lady King, “You should go and let your husband know what we decided. Otherwise, they may decline the matchmaker’s idea.” She asked Lady City, “How is it you have nothing to do with the Zhang family these days?” “Because their stingy ways don’t suit us, madam. They’re not good enough for Baoyu!” From this Splendid Phoenix can almost understand what were they talking about. “Are you talking about Precious Jade’s marriage, madam?” she asked.<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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邢夫人道：“可不是么！”贾母接着，因把刚才的话，告诉凤姐。凤姐笑道：“不是我当着老祖宗太太们跟前说句大胆的话：现放着天配的姻缘，何用别处去找？”贾母笑问道：“在那里？”凤姐道：“一个‘宝玉’，一个‘金锁’，老太太怎么忘了？”贾母笑了一笑，因说：“昨日你姑妈在这里，你为什么不提？”凤姐道：“老祖宗和太太们在前头，那里有我们小孩子家说话的地方儿？况且姨妈过来瞧老祖宗，怎么提这些个？这也得太太们过去求亲才是。”贾母笑了，邢王二夫人也都笑了。贾母因道：“可是我背晦了。”<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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说着，人回：“大夫来了。”贾母便坐在外间，邢王二夫人略避。那大夫同贾琏进来，给贾母请了安，方进房中。看了出来，站在地下，躬身回贾母道：“妞儿一半是内热，一半是惊风。须先用一剂发散风痰药，还要用四神散才好，因病势来得不轻。如今的牛黄都是假的，要找真牛黄方用得。”贾母道了乏。那大夫同贾琏出去，开了方子，去了。凤姐道：“人参家里常有，这牛黄倒怕未必有，外头买去，只是要真的才好。”王夫人道：“等我打发人到姨太太那边去找找。他家蟠儿是向与那些西客们做买卖，或者有真的，也未可知。我叫人去问问。”<br />
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When they are talking, a servant replied: "The doctor is coming." Grandma Merchant sat outside and Lady King and Lady City were waiting there. The doctor came with Romance Merchant and kowtowed to Old Lady, then checked Sister Ingenious. After a while, he replied to Grandma Merchant: "The little lady had a fever and seizure. She should take anti-fever medicine first then a herbal called Sishen san. Due to the severe symptoms, you should go find medicine including true bezoar." Grandma Merchant was tried, so the doctor prescribed and then went out with Romance Merchant. Splendid Phoenix said: " Ginseng is often prepared at home while bezoar is rare. As long as it is a true bezoar, we can buy." Lady King agreed: "I'll ask Madam Margrass. Her son Dragon always does business with traders from the west. Maybe he will have the source to buy." --[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 05:42, 10 May 2022 (UTC)<br />
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When they were talking, a servant replied: "The doctor is coming." Grandma Merchant sat outside the room and Lady King and Lady City were waiting there. The doctor came with Romance Merchant and kowtowed to the Old Lady, then went into Sister Ingenious's room. After a while, he replied to Grandma Merchant: "The young lady had a fever and seizure. She should take anti-fever medicine first then a herbal called Sishen san. Due to the severe symptoms, you should go find true bezoar." Grandma Merchant said she was tried, so the doctor prescribed and then went out with Romance Merchant. Splendid Phoenix said: " Ginseng is often prepared at home but I don't know if there is bezoar.As long as the bezoar is true, we can buy." Lady King agreed: "I'll ask Madam Margrass. Her son Dragon always does business with traders from the west. Maybe he will have the source to buy."--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 06:38, 10 May 2022 (UTC)<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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正说话间，众姊妹都来睄来了。坐了一回，也都跟着贾母等去了。这里煎了药，给巧姐儿灌了下去，只听“喀”的一声，连药带痰都吐出来，凤姐才略放了一点儿心。只见王夫人那边的小丫头，拿着一点儿的小红纸包儿，说道：“二奶奶，牛黄有了。太太说了，叫二奶奶亲自把分两对准了呢。”凤姐答应着，接过来，便叫平儿配齐了真珠、冰片、朱砂，快熬起来。自己用戥子按方秤了，搀在里面，等巧姐儿醒了，好给他吃。只见贾环掀帘进来，说：“二姐姐，你们巧姐儿怎么了？妈叫我来瞧瞧他。”凤姐见了他母子便嫌，说：“好些了。你回去说，叫你们姨娘想着。”<br />
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While they were talking, the girls all came to see Sister Ingenious, sat, and then went out waiting with Grandma Merchant. Once the decoction was done, the maid fed it to Sister Ingenious. With the sound of coughing, she spit out the medicine and sputum, then Splendid Phoenix King felt relieved. A young maid from Lady King's yard took a small red paper-wrapped something,"Concubine, there's calculus bovis. Madam said that you need to measure the weight right in person." Splendid Phoenix King responded and ordered Patience to put real pearls, borneol and cinnabar into the bowl and decoct them. She weighed by herself and mixed this stuff with it, waiting for Sister Ingenious to wake up so that she can drink. Ring Merchant opened the curtain and said, "younger sister, what's wrong with Sister Ingenious? Mom asked me to come and see her. " Splendid Phoenix King detests him and his mother and said, "She gets better. Go back and tell your aunt to continue to care about her. "--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 05:38, 10 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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那贾环口里答应，只管各处瞧看。看了一回，便问凤姐儿道：“你这里听的说有牛黄，不知牛黄是怎么个样儿，给我瞧瞧呢。”凤姐道：“你别在这里闹了，妞儿才好些。那牛黄都煎上了。”贾环听了，便去伸手拿那铞子瞧时，岂知措手不及，“沸”的一声，铞子倒了，火已泼灭了一半。贾环见不是事，自觉没趣，连忙跑了。凤姐急的火星直爆，骂道：“真真那一世的对头冤家！你何苦来还来使促狭！从前你妈要想害我，如今又来害妞儿，我和你几辈子的仇呢！”一面骂平儿不照应。正骂着，只见丫头来找贾环。凤姐道：“你去告诉赵姨娘，说他操心也太苦了！<br />
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Ring Merchant said, looking around. After looking at it for a while, he asked Splendid Phoenix King: "I heard you have bezoar here. I want to see what it looks like." Feng replied, "Don't fool around. Your little sister is recovering. I'm using it to prepare his medicine." Ring Merchant reached out and picked up the pot spoon. Suddenly he knocked it down and half of the fire was put out. Ring Merchant knew that he was in trouble and staying here was a disgrace, so he ran away. Splendid Phoenix King got angry unceasingly, scold a way: "Your family and I are really enemies! Even you messed with it! Your mother used to hurt me, and now turns to Niu, do our families have hatred for generation ?" He chided Patience then for not keeping an eye out. While he was cursing, he saw a servant girl come in to look for Ring Merchant. Splendid Phoenix King said to him, "Please tell Aunt Zhao for me that it is too hard for him to worry about Ring Merchant."<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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巧姐儿死定了，不用他惦着了！”平儿急忙在那里配药再熬，那丫头摸不着头脑，便悄悄问平儿道：“二奶奶为什么生气？”平儿将环哥弄倒药铞子说了一遍。丫头道：“怪不得他不敢回来，躲了别处去了。这环哥儿明日还不知怎么样呢！平姐姐，我替你收拾罢。”平儿说：“这倒不消。幸亏牛黄还有一点，如今配好了，你去罢。”丫头道：“我一准回去告诉赵姨奶奶，也省得他天天说嘴。”丫头回去，果然告诉了赵姨娘。赵姨娘气的叫快找环儿。环儿在外间屋子里躲着，被丫头找了来。赵姨娘便骂道：“你这个下作种子！你为什么弄澈了人家的药，招的人家咒骂。<br />
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Sister Ingenious is dying! She needn’t worry!" Patience hurried there to make up the medicine and boil it again. The maid who didn’t know what had happened asked her quietly, "Why is our mistress so angry?" Patience told her how Ring Boy had knocked over the medicine pot. "No wonder that he is afraid to come back." said the maid. "He must be hiding somewhere. Goodness knows what he’ll be up to next! Let me clear up for you, sister." "That's not necessary." Patience replied. "Fortunately, there is a little bezoar left. Now it is ready. You can send it there." "I must go back to tell Concubine Walk. This should stop her singing his praises every day." said the maid. After she turned back, she as expected told Concubine Walk. Concubine Walk was so angry that orders servants to look for her son. Ring who hided in outer room, was found by maids. Concubine Walk then scold way: "you a crap! Why do you spill their medicine, giving them a chance to curse us?<br />
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Sister Ingenious is dying! There's no need for him to worry about!" Patience hurried there to make up the medicine and boil it again. The maid confused what had happened and asked her quietly, "Why is our mistress so mad?" Patience told her how Ring Boy had knocked over the medicine pot. "No wonder that he is afraid to come back." said the maid. "He must be hiding somewhere. Goodness knows what he’ll be up to next! Let me deal with this matter for you, sister." "That's not necessary." Patience replied. "Fortunately, there is a little bezoar left. Now it is ready. You can send it there." "I must go back to tell Concubine Walk. This should stop her singing his praises every day." said the maid. After she turned back, she as expected told Concubine Walk. Concubine Walk was so angry that orders servants to look for her son. Ring who hided in outer room, was found by maids. Concubine Walk then scold way: "you a crap! Why do you spill their medicine, giving them a chance to curse us?--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 05:32, 10 May 2022 (UTC)Li Ying<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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我原叫你去问一声，不用进去。你偏进去，又不就走，还要‘虎头上捉虱子’。你看我回了老爷，打你不打！”这里赵姨娘正说着，只听贾环在外间屋子里，更说出些惊心动魄的话来。话说赵姨娘正在屋里抱怨贾环，只听贾环在外间屋里发话道：“我不过弄倒了药铞子，澈了一点子药，那丫头子又没就死了，值的他也骂我，你也骂我，赖我心坏，把我往死里糟踏。等着我明儿还要那小丫头子的命呢！看你们怎么着！只叫他们隄防着就是了。”那赵姨娘赶忙从里间出来，握住他的嘴，说道：“你还只管信口胡唚，还叫人家先要了我的命呢！”娘儿两个吵了一回。<br />
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"I told you to ask her, not to go in.But you went ,you did not leave at once and you continued to ‘catch lice on the tiger' head'."You see, I'm going back to tell your father, and see he'll thrash you or not!”Aunt Marshgrass was whispering inside the room,while Ring Merchant outside the room speak more thrilling words.It was said that Aunt Marshgrasst was complaining about Ring Merchant in the house, only heard that Ring Merhcant said in the outer room: ““All I did was upset the skillet and spill some medicine I didn't kill the brat! Why should everyone curse me as if I were poisonous? Do you want to hound me to death? I still need the girl to stay here!So what’s your attitude toward this? Just call them to guard against it.”Aunt Marshgrass hurried from the inside room and covered his mouth said: “Don't say such silly words, do you want others to kill you first?”Both of them had a quarrel.<br />
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"I told you to ask her and not to go inside, but you just went in and did not leave at once. On the contrary, you continued to ‘catch lice on the tiger's head'. I'm going back to tell the Master about this, and we'll see he's going to thrash you or not!”Aunt Marshgrass was whispering inside the room, while Ring Merchant outside the room spoke something more thrilling.While Aunt Marshgrasst was complaining about Ring Merchant in the inside room, Ring Merchant said in the outer room. “All I did was upset the skillet and spill some medicine. I didn't kill the brat! Why should everyone curse me to death as if I were evil? I still intent to kill the girl tomorrow, and I just want to see what you're going to do. Just ask them to keep an eye on me,”he complained. Aunt Marshgrass walked out from the inside room in a hurry and covered his mouth. "Don't say such silly words.You want others to kill you first, don't you?”she said. The two of them had a quarrel.--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 02:08, 11 May 2022 (UTC)<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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赵姨娘听见凤姐的话，越想越气，也不着人来安慰凤姐一声儿。过了几天，巧姐儿也好了。因此，两边结怨比从前更加一层了。一日，林之孝进来回道：“今日是北静郡王生日，请老爷的示下。”贾政吩咐道：“只按向年旧例办了，回大老爷知道，送去就是了。”林之孝答应了，自去办理。不一时，贾赦过来同贾政商议带了贾珍、贾琏、宝玉去与北静王拜寿。别人还不理论，惟有宝玉素日仰慕北静王的容貌威仪，巴不得常见才好，遂连忙换了衣服，跟着来到北府。贾赦贾政递了职名候谕。不多时，里面出来了一个太监，手里掐着数珠儿。<br />
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After hearing what Sister Phoenix had said, Concubine Zhao could not allay her anger, and then sent nobody to comfort her. A couple of days later, Sister Ingenious fully recovered. Therefore, the feud between the two families was deepened again. One day, Filial Piety Forest came in and reported to Master Merchant. "Today is the Prince of North Quietness's birthday. Is there any special order, sir?" he asked. "Just sent something usual, and report to the Big Master before that," Master Merchant told him. Filial Piety Forest took the instruction and went to deal with it. After a while, Pardon Merchant came to discuss with Master Merchant about taking Treasure Merchant, Romance Merchant and Precious Jade together to offer birthday felicitations to the Prince. For others, there is no more to say, while Precious Jade， who respected and admired the eye-catching appearance and the gentle air of the Prince, must hope to visit him more often. Then, he got dressed in a hurry and went to the Palace of the Prince with others. Arriving there, Pardon Merchant and Master Merchant showed their identity and office position. An eunuch with several beads in his hand came out before long.<br />
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==英语笔译 李梓婕 Li Zijie 202170081580==<br />
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见了贾赦贾政，笑嘻嘻的说道：“二位老爷好？” 贾赦贾政也都赶忙问好，他兄弟三人也过来问了好。那太监道：“王爷叫请进去呢。”于是爷儿五个跟着那太监进入府中。过了两层门，转过一层殿去，里面方是内宫门。刚到门前，大家站住，那太监先进去回王爷去了。这里门上小太监都迎着问了好。一时，那太监出来说了个“请“字，爷儿五个肃敬跟入。只见北静郡王穿着礼服，已迎到殿门廊下。贾赦贾政先上来请安，捱次便是珍、琏、宝玉请安。那北静郡王单看宝玉道：“我久不见你，很惦记你。”因又笑问道：“你那块玉儿好？”<br />
And he beamed at the sight of them, asking:“How are you two gentlemen?”Pardon Merchant and Master Merchant greeted him in return, and the three young men followed suit.“His Highness asks you to come in,” said the eunuch.The five of them followed him in past two gates and one court to the inner palace gate, where they halted while he went in to announce their arrival and the young eunuchs there stepped forward to greet them.Before long, the eunuch returned to invite them in, and they followed him respectfully. The Prince of Beijing in ceremonial robes had come out to the corridor to meet them. First Their Lordships stepped forward to pay their respects, and after them Master Merchant, Romance Merchant and Precious Jade Merchant .The prince took Precious Jade Merchant by the hand. “It’s so long since I saw you, he said, “I’ve been thinking of you.” With a smile he asked, “Have you kept that jade of yours safe?”<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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宝玉躬着身打着一半千儿回道：“蒙王爷福庇，都好。”北静王道：“今日你来，没有什么好东西给你吃的，倒是大家说说话儿罢。”说着，几个老公打起帘子。北静王说“请。”自己却先进去，然后贾赦等都躬着身跟进去。先是贾赦请北静王受礼，北静王也说了两句谦辞。那贾赦早已跪下，次及贾政等捱次行礼，自不必说。那贾赦等复肃敬退出，北静王吩咐太监等让在众戚旧一处，好生款待，却单留宝玉在这里说话儿，又赏了坐。宝玉又磕头谢了恩，在挨门边绣墩上侧坐，说了一回读书作文诸事。<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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北静王甚加爱惜，又赏了茶，因说道：“昨儿巡抚吴大人来陛见，说起令尊翁前任学政时，秉公办事，凡属生童，俱心服之至。他陛见时，万岁爷也曾问过，他也十分保举，可知是令尊翁的喜兆。”宝玉连忙站起，听毕这一段话，才回启道：“此是王爷的恩典，吴大人的盛情。”正说着，小太监进来回道：“外面诸位大人老爷都在前殿谢王爷赏宴。”说着，呈上谢宴并请午安的帖子来。北静王略看了一看，仍递给小太监，笑了一笑，说道：“知道了，劳动他们。”那小太监又回道：“这贾宝玉，王爷单赏的饭预备了。”<br />
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Hearing his words, the King of North liked Precious Jade more. He gave Precious Jade some tea and said: "Governor Wu came to visit His Majesty yesterday. He told me that your father worked justly as the former educational administrator and gained the respect of all the candidates. When His Majesty inquired, Governor Wu also highly recommended your father. A good omen for him." Precious Jade quickly stood up, and after the King of North finished his words, Precious Jade replied: "Great Thanks for your lordship's favor and Fovernor Wu's kindness." At this moment, a little eunuch came in and reported: "lords outside are in the front hall presenting their gratitude for your lordship's banquet," and handed in their greeting cards. The King of North flipped through these cards and returned them back. He said smilingly: "I see." "And the dinner you prepared specially by Precious Jade is ready," the eunuch continued.<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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北静王便命那太监带了宝玉到一所极小巧精致的院里，派人陪着吃了饭，又过来谢了恩。北静王又说了些好话儿，忽然笑说道：“我前次见你那块玉，倒有趣儿，回来说了个式样，叫他们也作了一块来。今日你来得正好，就给你带回去顽罢。”因命小太监取来，亲手递给宝玉。宝玉接过来捧着，又谢了，然后退出，北静王又命两个小太监跟出来，才同着贾赦等回来了。贾赦便各自回院里去。这里贾政带着他三人回来见过贾母，请过了安，说了一回府里遇见的人。宝玉又回了贾政，吴大人陛见保举的话。贾政道：“这吴大人，本来咱们相好，也是我辈中人，还倒是有骨气的。”<br />
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North Silence King then asked the eunuch to take Preciou Jade to a small but extremely quaint yard, sent people to sever the meal, and thanked him. After that, North Silence King said something nice and smiled:" Last time I saw your jade and found it interestinng so that I told the craftman the shape and style of that jade and asked them to make one. Now, here you come and just take them back ." Then, he asked the little eunuch to take the jade, and handed it to Precious Jade himself. Precious Jade just held it and thanked North Silence King, then left. North Silence King then asked two eunuchs to escort him and got back with Pardon Merchant. Pardon Merchant just got back to his own yard. Here Master Merchant came to visit Grandma Merchant with three people and wished her good health, then said that he met someone in the mansion. Precious Jade then replied Master Merchant about Master Wu visiting the Baoju. Master Merchant said:" Master Wu gets along well with us and we are of the same generation. He is a tough guy."--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 02:20, 10 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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又说了几句闲话儿，贾母便叫“歇着去罢。”贾政退出，珍、琏、宝玉都跟到门口。贾政道：“你们都回去陪老太太坐着去罢。”说着便回房去。刚坐了一坐，只见一个小丫头回道：“外面林之孝请老爷回话。”说着递上个红单帖来，写着吴巡抚的名字。贾政知是来拜，便叫小丫头叫林之孝进来。贾政出至廊檐下。林之孝进来回道：“今日巡抚吴大人来拜，奴才回了去了。再奴才还听见说，现今工部出了一个郎中缺，外头人和部里都吵嚷是老爷拟正呢。”贾政道：“瞧罢咧。”林之孝又回了几句话，才出去了。<br />
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After a little more chat, Grandma Merchant told them to go back to their own apartment. Master Merchant took his leave, Treasure Merchant, Romance Merchant, and Precious Jade following him to the door. Master Merchant said, "you can stay here to accompany the Old Lady. And then he continued his way. Not long after he returned his apartment when a maid came in and gave him a red visiting card with Governor Wu's name on it, reporting, "Filial Piety Forest is waiting outside for your direction." Knowing he came for visiting, Master Merchant told the maid to lead him in and went out to the corrider to speak with him. "Governor Wu came to see you and I informed him that you were out," Filial Piety Forest said, "And I heard that there's a vacancy of Permanent Secretarys in the Ministry of Works. Officials out and in the Ministry all thought it was for you." "We shall see."said Master Merchant. Filial Piety Forest reported a little more and then left.--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:56, 9 May 2022 (UTC)<br />
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After a little more chat, Grandma Merchant told them to go back to their own apartments. Master Merchant took his leave, Treasure Merchant, Romance Merchant, and Precious Jade following him to the door. Master Merchant said, "You three go back the hall to accompany the Old Lady." And then he continued his way. Not long after he returned his apartment, a maid came in and gave him a red visiting card with Governor Wu's name on it, reporting, "Filial Piety Forest is waiting outside with something to report." Knowing Governor Wu came for visiting, Master Merchant told the maid to lead him in and himeself went out to the corrider to wait for him. "Governor Wu came to see you and I informed him that you were out," Filial Piety Forest said, "And I heard that there's a vacancy of Permanent Secretarys in the Ministry of Works. Officials out and in the Ministry all thought it was for you." "We shall see."said Master Merchant. Filial Piety Forest reported a little more and then left.--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 06:35, 10 May 2022 (UTC)<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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且说珍、琏、宝玉三人回去，独有宝玉到贾母那边，一面述说北静王待他的光景，并拿出那块玉来。大家看着，笑了一回。贾母因命人：“给他收起去罢，别丢了。”因问：“你那块玉好生带着罢，别闹混了。”宝玉在项上摘了下来，说：“这不是我那一块玉？那里就掉了呢！比起来，两块玉差远着呢，那里混得过？我正要告诉老太太；前儿晚上，我睡的时候，把玉摘下来挂在帐子里，他竟放起光来了，满帐子都是红的。”贾母说道：“又胡说了。帐子的檐子是红的，火光照着，自然红是有的。”宝玉道：“不是。那时候灯已灭了，屋里都漆黑的了，还看得见他呢。”<br />
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Treasure Merchant, Romance Merchant and Precious Jade were going back to the hall, merely Precious Jade staying along with Grandma Merchant. Then Precious Jade was talking about how he had been received by Beijing Wang while taking out the jade that the latter gave to him. After seeing the jade, all the people laughed. However, Grandma Merchant ordered the servants,"Preserve the jade well in case of losing." and asked: "Take good care of your own jade. Don't mix." Then Precious Jade took down from his neck his own jade and replied: "Isn't it the jade of mine? How can it be lost? These two jades are different by comparison, so do you think I won't be able to tell them? By the way, I have something to tell you that I took down the jade and hung it on my bed-curtain when I was ready to fall asleep the night before, the bed-curtain reddened by its shines." Grandma Merchant answered: "You must be kidding. The top of the bed-curtain is red and it's natural red after being enlightened by the light in the night." "No. The light had already gone out and the entire room was pitch black, but I still could see its light.<br />
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Treasure Merchant and Romance Merchant returned to their separate apartments, while Precious Jade went back to Grandma Merchant. He was now able to tell her all about his day at the Palace. He described how kindly the Prince had treated him, and took out the jade he had been given, which was passed round and commented on with some amusement. After seeing the jade, all the people laughed. However, Grandma Merchant ordered the servants,"Preserve the jade well in case of losing." and asked: "Take good care of your own jade. Don't mix." Then Precious Jade took down from his neck his own jade and replied: "Isn't it the jade of mine? How can it be lost? These two jades are different by comparison, so do you think I won't be able to tell them? By the way, I have something to tell you that I took down the jade and hung it on my bed-curtain when I was ready to fall asleep the night before, the bed-curtain reddened by its shines." Grandma Merchant answered: "You must be kidding. The top of the bed-curtain is red and it's natural red after being enlightened by the light in the night." "No. The light had already gone out and the entire room was pitch black, but I still could see its light.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 02:13, 10 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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邢王二夫人抿着嘴笑。凤姐道：“这是喜信发动了。”宝玉道：“什么喜信？”贾母道：“你不懂得。今儿个闹了一天，你去歇歇儿去罢，别在这里说呆话了。”宝玉又站了一回儿，才回园中去了。王夫人道：“本来就要去看的，因凤丫头为巧姐儿病着，耽搁了两天，今日才去的。这事我们都告诉了，姨妈倒也十分愿意，只说蟠儿这时侯不在家，目今他父亲没了，只得和他商量商量再办。”贾母道：“这也是情理的话。既这么样，大家先别提起，等姨太太那边商量定了再说。”<br />
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Lady Xing and Lady Wang exchanged a meaningful smile. A certain rosy' event had been much in the forefront of their minds recently. Xi-feng too could not restrain herself from remarking cryptically: “No doubt this heralds the Big Event. ” “What big event?” asked Bao-yu. “Nothing you would understand,” put in Grandmother Jia promptly. “Now come along. It's been a hectic day for you, and you ought to go and rest, and not waste any more time here telling tall stories. ” Bao-yu stayed a minute or two longer and then returned to the Garden. “Yes Mother, we have,” replied Lady Wang. “Feng has been so busy with little Qiao-jie the last few days, and we just haven't had a chance to go until today. Anyway, my sister seems very happy with the idea, but she says she will have to wait until Pan comes home before saying anything final. She must consult him first, as the eldest man in the family.” “Quite right,” said Grandmother Jia. “We shall have to bide our time until they have had a chance to talk it over. In the meantime, not a word of this to anyone.”<br />
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Lady Xing and Lady Wang exchanged a meaningful smile. A certain rosy' event had been much in the forefront of their minds recently. Sister Phoenix too could not restrain herself from remarking cryptically: “No doubt this heralds the Big Event. ” “What big event?” asked Precious Jade. “Nothing you would understand,” put in Grandma Merchant promptly. “Now come along. It's been a hectic day for you, and you ought to go and rest, and not waste any more time here telling tall stories. ” Precious Jade stayed a minute or two longer and then returned to the Garden. “Yes Mother, we have,” replied Lady Wang. “Feng has been so busy with Sister Ingenious the last few days, and we just haven't had a chance to go until today. Anyway, my sister seems very happy with the idea, but she says she will have to wait until Pan comes home before saying anything final. She must consult him first, as the eldest man in the family.” “Quite right,” said Grandma Merchant. “We shall have to bide our time until they have had a chance to talk it over. In the meantime, not a word of this to anyone.”<br />
--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 02:34, 10 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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不说贾母处谈论亲事。且说宝玉回到自己房中，告诉袭人道：“老太太与凤姐姐方才说话，含含糊糊，不知是什么意思？”袭人想了想，笑了一笑道：“这个，我也猜不着。但只刚才说这些话时，林姑娘在跟前没有？”宝玉道：“林姑娘才病起来，这些时何曾到老太太那边去呢？”正说着，只听外间屋里麝月与秋纹拌嘴。袭人道：“你两个又闹什么？”麝月道：“我们两个斗牌，他赢了我的钱，他拿了去；他输了钱，就不肯拿出来。这也罢了，他倒把我的钱都抢了去了。”宝玉笑道：“几个钱，什么要紧？傻丫头，不许闹了！”<br />
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But no more of their discussion about Precious Jade’s marriage. Precious Jade back in his own quarters told Aroma, "Just now my grandmother and Sister Phoenix were talking so cryptically, I'd no idea what they meant." Aroma reflected, then smiled.“I can't guess either,” she said. “Was Miss Lin there at the time?”“No, she hasn’t been over there recently—she's only just left her bed.”Just then they heard a quarrel break out in the outer room between Musk Deer Month and Autumn Vein.“What are you two scrapping about now?” called Aroma. "We were playing cards," said Musk Deer Month, coming in. “When she won she took my money, but when I won she wouldn’t pay. To make it worse, she grabbed my whole bank too.”“What does a little money matter?” chuckled Precious Jade. “Stop making such a noise, you silly things.”<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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说的两个人都咕嘟着嘴，坐着去了。这里袭人打发宝玉睡下。不提。却说袭人听了宝玉方才的话，也明知是给宝玉提亲的事，因恐宝玉每有痴想，这一提起，不知又招出他多少呆话来，所以故作不知。自己心上，却也是头一件关切的事。夜间躺着，想了个主意：不如去见见紫鹃，看他有什么动静，自然就知道了。次日，一早起来，打发宝玉上了学，自己梳洗了，便慢慢的去到潇湘馆来。只见紫鹃正在那里掐花儿呢，见袭人进来，便笑嘻嘻的道：“姐姐屋里坐着。”袭人道：“坐着，妹妹，掐花儿呢吗？姑娘呢？”紫鹃道：“姑娘才梳洗完了，等着温药呢。”<br />
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They both pouted and went off in high dudgeon,while Xiren helped Baoyu to bed.Now Aroma was sure that the mysterious conversation Bao-yu had referred to in some way concerned his betrothal. She had only feigned ignorance for fear that in his present mood, mention of such a touchy subject might provoke another of his fits.She herself was most anxious to know the latest news,and while she lay, awake that night she decided to go and see Nightingale first thing in the morning. Nightingale would be sure to know, and would be able to tell her what was going on.And so the next day she rose early, and after seeing Bao-yu off to school, completed her own toilet and strolled through the Garden to the Naiad's House.Nightingale was out in the front courtyard picking flowers, and greeted her with a smile:“Hello, Aroma. Do come in and sit down.”“Thank you.Busy with your flowers, Where's your young lady?”“She has lust finished her toilet.She's waiting for her medicine to be warmed up.”<br />
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They both pouted and went off in high dudgeon, while Aroma helped Precious Jade Merchant to bed. Now Aroma was sure that the mysterious conversation Precious Jade Merchant had referred to in some way concerned his betrothal. She had only feigned ignorance for fear that in his present mood, mention of such a touchy subject might provoke another of his fits. She herself was most anxious to know the latest news, and while she lay, awake that night she decided to go and see Nightingale first thing in the morning. Nightingale would be sure to know, and would be able to tell her what was going on. And so the next day she rose early, and after seeing Precious Jade Merchant off to school, completed her own toilet and strolled through the Garden to the Bamboo Lodge. Nightingale was out in the front courtyard picking flowers, and greeted her with a smile:“ Hello, Aroma. Do come in and sit down.”“Thank you. Busy with your flowers? Where's your young lady?”“She has lust finished her toilet. She's waiting for her medicine to be warmed up.”--[[User:Long Hanliang|Long Hanliang]] ([[User talk:Long Hanliang|talk]]) 01:45, 10 May 2022 (UTC)<br />
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==英语笔译 龙翰良 Long Hanliang 202170081589==<br />
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紫鹃一面说着，一面同袭人进来。见了黛玉正在那里拿着一本书看，袭人陪着笑道：“姑娘怨不得劳神，起来就看书。我们宝二爷念书，若能像姑娘这样，岂不好了呢。”黛玉笑着把书放下。雪雁已拿着个小茶盘里托着一钟药，一钟水，小丫头在后面捧着痰盒漱盂进来。原来袭人来时，要探探口气，坐了一回，无处入话。又想着黛玉最是心多，探不成消息，再惹着了他，倒是不好。又坐了坐，搭赸着辞了出来了。将到怡红院门口，只见两个人在那里站着呢，袭人不便往前走。那一个早看见了，连忙跑过来。<br />
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As Nightingale spoke，she entered with Aroma inside, where Mascara Jade Forest was reading. "No wonder you wear yourself out, miss, reading as soon as you get up," said Aroma cheerfully. "I only wish our Master Bao would study as hard as you do!" Mascara Jade Forest smilingly put down her book. By now Snowgoose had brought in a small tray on which were one cup of medicine, another of water, while a young maid behind her was holding a spittoon and rinse-bowl. Aroma had come to size up the situation. But although she sat there for a while she found it impossible to approach the subject; and she did not like to risk upsetting Mascara Jade Forest, sensitive as she was, by fishing for information. So presently she made some excuse to leave. Approaching Happy Red Court, she halted at sight of two people standing outside. One of them, spotting her, hurriedly ran over.<br />
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As Nightingale spoke，she entered with Aroma inside, where Mascara Jade Forest was reading. "No wonder you wear yourself out, miss, reading as soon as you get up," said Aroma cheerfully. "I only wish our Master Bao would study as hard as you do!" Mascara Jade Forest smilingly put down her book. By now Snowgoose had brought in a small tray on which were one cup of medicine, another of water, while a young maid behind her was holding a spittoon and rinse-bowl. Aroma had come to size up the situation. But although she sat there for a while she found it impossible to approach the subject; and she did not like to risk upsetting Mascara Jade Forest, sensitive as she was, by fishing for information. So presently she made some excuse to leave. Approaching Happy Red Court, she halted at sight of two people standing outside. One of them, spotting her, hurriedly ran over.--[[User:Luo Yaolin|Luo Yaolin]] ([[User talk:Luo Yaolin|talk]]) 13:16, 10 May 2022 (UTC)<br />
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==英语笔译 罗姚林 Luo Yaolin 202170081590==<br />
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袭人一看，却是锄药，因问“你作什么？”锄药道：“刚才芸二爷来了，拿了个帖儿，说给咱们宝二爷睄的，在这里候信。”袭人道：“宝二爷天天上学，你难道不知道？还候什么信呢？”锄药笑道：“我告诉他了，他叫告诉姑娘，听姑娘的信呢。”袭人正要说话，只见那一个也慢慢的蹭了过来。细看时，就是贾芸，溜溜湫湫往这边来了。袭人见是贾芸，连忙向锄药道：“你告诉说：知道了，回来给宝二爷瞧罢。”那贾芸原要过来和袭人说话，无非亲近之意，又不敢造次，只得慢慢踱来。相离不远，不想袭人说出这话，自己也不好再往前走，只好站住。Seeing it's ploughboy, Aroma asked her,"What are you doing here?" "Ruta Merchant came with a note just now to Precious Jade Merchant, so I'm here waiting for him." answered Ploughboy. " Precious Jade Merchant goes to seowon everyday," said Aroma," don't you know that? Why are you still staying here?" Ploughboy answered with a smile, "I've told him already, but he asked me to tell you and wait for your answer." Aroma was about to saying something while the other one was walking nearer slowly. Aroma recognized it's Ruta Merchant after a careful look, thus hurried to tell Ploughboy,"you tell him that I've knew it and will send it to Precious Jade Merchant." Ruta Merchant had planned to talk with Aroma, but had to close to her slowly for fear being thought as impolite. Having heard what Aroma said, he had no reason to walk nearer though not far from them.<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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这里袭人已掉背脸往回里去了。贾芸只得怏怏而回，同锄药出去了。晚间，宝玉回房，袭人便回道：“今日廊下小芸二爷来了。”宝玉道：“作什么？”袭人道：“他还有个帖儿呢。”宝玉道：“在那里？拿来我看看。”麝月便走去，在里间屋里书槅子上头拿了来。宝玉接过看时，上面皮儿上写着“叔父大人安禀”。宝玉道：“这孩子怎么又不认我作父亲了？”袭人道：“怎么？”宝玉道：“前年他送我白海棠时，称我作父亲大人，今日这帖子封皮上写着叔父，可不是又不认了么。”袭人道：“他也不害臊，你也不害臊。<br />
Aroma here has turned her head back and went back inside. Rape Merchant had to go back glumly and went out with Ploughboy. In the evening, when Precious Jade returned to his room, Aroma replied, "Master Xiaoyun was here today." Precious Jade asked, "what did he come here for ?" "Left a letter," she said. " Precious Jade asked, "where is it? Bring it to me. " Musk Deer Month went and brought it from the booklet in the inner room. When Precious Jade took it and read it, it read "To My Uncle" on the cover. Precious Jade laughed, "Why doesn't this kid recognize me as a father again?" Aroma said, "what?" Precious Jade said, "when he gave me white begonias the year before last, he called me father. Today, my uncle is written on the cover of this letter. He doesn't recognize me again, does he?" "Neither is he ashamed," Aroma said. "Neither are you.<br />
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Now that Aroma had turned her back and went inside, Weed Merchant had to go back glumly and went out with Ploughboy. In the evening, when Precious Jade returned to his room, Aroma replied, " Master Weed came here today." Precious Jade asked, " What for ?" “ He left you a letter," she said. " Then Precious Jade asked, " Where is it? Bring it to me. " Musk Deer Month went to fetch it from the booklet in the inner room. When Precious Jade took it, he found a sentence on the cover which reads "To My Uncle". Precious Jade laughed, "Why didn’t he recognize me as his father again?" Aroma asked, " What?" Then Precious Jade said, " When he gave me white begonias the year before last, he referred to me as his father. But now, “my uncle” is written on the cover of this letter. That means he doesn't recognize me again, does he?" " Both of you are really unashamed," Aroma said.--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 05:07, 10 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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他那么大了，倒认你这么大儿的作父亲，可不是他不害臊？你正经连个……”刚说到这里，脸一红，微微的一笑。宝玉也觉得了，便道：“这倒难讲。俗语说：‘和尚无儿孝子多着呢。’只是我看着他还伶俐得人心儿，才这么着；他不愿意，我还不希罕呢。”说着一面拆那帖儿。袭人也笑道：“那小芸二爷也有些鬼鬼头头的。什么时候又要看人，什么时侯又躲躲藏藏的，可知也是个心术不正的货。”宝玉只顾拆开看那字儿，也不理会袭人这些话。袭人见他看那帖儿，皱一回眉，又笑一笑儿，又摇摇头儿，后来光景竟大不耐烦起来。袭人等他看完了，问道：“是什么事情？”<br />
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Given that he is much older than you, isn’t it unabashed of him to treat you as his father? You have never experienced that kind of…” Aroma blushed and smiled gently when talking about this. Precious Jade also realized her implications between the lines, so he explained, “ Well, it’s hard to say. Just as the old saying goes,‘The monks don’t have biological sons, but there are many dutiful people striving to be their submissive and obedient sons.’I am willing to be his father is just because he is smart and adorable. If he is unwilling to do that, I don’t care a dime about it.” He was unwinding the invitation card while speaking. Then Aroma smiled, “ Weed Merchant is also a clever and mischievous man who knows when to sneak out to observe and when to hide. He must also be a person harboring evil intentions.” Being so concentrated on opening the card to read the characters on it, Precious Jade paid no attention to her words. Aroma noticed that, when reading the card, he frowned at one time and smiled at another, and sometimes he just shook his head, then he turned quite impatient at it. When he finished his reading, Aroma asked, “ What is it about?”<br />
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Given that he is much older than you, isn’t it unabashed of him to treat you as his father? You have never experienced that kind of…” Aroma blushed and smiled gently when talking about this. Having realized her implications between the lines, thus Precious Jade explained, “ Well, it’s hard to say. Just as the old saying goes,‘The monks don’t have biological sons, but there are many dutiful people striving to be their submissive and obedient sons.’ Just because he is smart and adorable, then I'm willing to be his father. If he is unwilling to do that, I don’t care a dime about it.” He was unwinding the invitation card while speaking. Then Aroma smiled, “ Weed Merchant is also a clever and mischievous man who knows when to sneak out to observe and when to hide. He must also be a person harboring evil intentions.” Being so concentrated on opening the card to read the characters on it, Precious Jade paid no attention to her words. Aroma noticed that, when reading the card, he frowned at one time and smiled at another, and sometimes he just shook his head, then he turned quite impatient at it. When he finished his reading, Aroma asked, “ What is it about?”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 05:17, 10 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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宝玉也不答言，把那帖子已经撕作几断。袭人见这般光景，也不便再问，便问宝玉：“吃了饭还看书不看？”宝玉道：“可笑芸儿这孩子，竟这样的混帐！”袭人见他所答非所问，便微微的笑着问道：“到底是什么事？”宝玉道：“问他作什么，咱们吃饭罢。吃了饭歇着罢，心里闹的怪烦的。”说着，叫小丫头子点了一个火儿来，把那撕的帖儿烧了。一时，小丫头们摆上饭来，宝玉只是怔怔的坐着。袭人连哄带怄，催着，吃了一口儿饭，便搁下了，仍是闷闷的歪在床上。一时间，忽然吊下泪来。此时袭人麝月都摸不着头脑。<br />
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Without any response, Precious Jade just tore that section into pieces. When catching the sight of such a scene, Aroma didn't bother about the reason, and just asked Precious Jade in a soft voice, "Will you read or not after the meal?" "How ridiculous it is that Ruta is such a bastard!" then Precious Jade replied. Knowing that he gave an irrelevant answer, Aroma then asked with a smile, "What's going on then?" "Why would you ask her? Let's just have the meal. And after the meal, just let me have a good rest. I'm just so vexed." responded Precious Jade. While talking, he just ordered some servant-girl to fire up the scattered section. After a while, the dishes were placed on the table, however, Precious Jade was just sitting there in a trance. Under the appeasement and urge of Aroma, he just ate a little bit, then lying on the bed sulkily. For a short while, tears welled up from his eyes, which made Aroma and Musk Deer Month feel at a loss.<br />
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Without any response, Precious Jade just tore that letter into pieces. When catching the sight of such a scene, Aroma didn't bother about the reason, and just asked Precious Jade in a soft voice, "Will you read or not after the meal?" "How ridiculous it is that Ruta is such a bastard!" then Precious Jade replied. Getting an irrelevant answer from him, Aroma then asked with a smile, "What's going on then?" "Why did you ask about him? Let's have the meal. And after the meal, just let me have a good rest. I'm so vexed." responded Precious Jade. While talking, he ordered some servant-girl to lit a fire and then burned the scattered letter. After a while, the dishes were placed on the table, however, Precious Jade was just sitting there in a trance. Under the appeasement and urge of Aroma, he just ate a little bit, then lying on the bed sulkily. For a short while, tears welled up from his eyes, which made Aroma and Musk Deer Month feel at a loss.--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 02:40, 10 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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麝月道：“好好儿的，这又是为什么？都是什么‘芸儿’‘雨儿’的，不知什么事，弄了这么个浪帖子来，惹的这么傻了的是的，哭一会子，笑一会子。要天长日久，闹起这闷葫芦来，可叫人怎么受呢！”说着，竟伤起心来。袭人旁边由不得要笑，便劝道：“好妹妹，你也别怄人了。他一个人就够受了，你又这么着。他那帖子上的事，难道与你相干？”麝月道：“你混说起来了。知道他帖儿上写的是什么混账话，你混往人身上扯。要那么说，他帖儿上只怕倒与你相干呢！”<br />
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"Why are you crying this time with nothing happened?" Musk Deer Month asked, "It's all the fault of some Rape or Rain, who sent you the letter for some business and made you cry and laugh like a fool. If the taciturn boy keeps acting like this, how can we put up with it?" As speaking, she felt very sad. Hearing the words, Aroma can't help laughing by her side and said, "My sister, please do not annoy us anymore. We are overwhelmed by dealing with him, and how could you do that? Or, does that letter have anything to do with you?" "You're talking nonsense!" Musk Deer Month replied, "You don't know what impudent remarks are written in the letter, and how can you connect me with it? According to what you said, then I guess you had something to do with that letter!"<br />
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"Why carry on like this for no reason at all?" Musk Deer Month asked, "It's all the fault of some Rape or Rain, who sent you the letter for some business and made you cry and laugh like a fool. If he goes on bottling up his feelings like this, what are we to do?" As speaking, she felt very sad. Hearing the words, Aroma can't help laughing by her side and said, "My sister, please do not annoy us anymore. We are overwhelmed by dealing with him, and how could you do that? Or, does that letter have anything to do with you?" "You're talking nonsense!" Musk Deer Month replied, "You don't know what impudent remarks are written in the letter, and how can you connect me with it? According to what you said, then I guess you had something to do with that letter!"--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 04:53, 10 May 2022 (UTC)<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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袭人还未答言，只听宝玉在床上“噗哧”的一声笑了，爬起来，抖了抖衣裳，说：“咱们睡觉罢，别闹了。明日我还起早念书呢。”说着便躺下睡了。一宿无话。次日，宝玉起来，梳洗了，便往家塾里去。走出院门，忽然想起，叫焙茗略等，急忙转身回来叫：“麝月姐姐呢？”麝月答应着出来问道：“怎么又回来了？”宝玉道：“今日芸儿要来了，告诉他别在这里闹；再闹，我就回老太太和老爷去了。”麝月答应了。宝玉才转身去了。刚往外走着，只见贾芸慌慌张张往里来。看见宝玉，连忙请安，说：“叔叔大喜了！”<br />
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Before Aroma could answer, Precious Jade burst out laughing and, scrambling off the couch, smoothed out his clothes.“Stop squabbling and let’s sleep now,”he said.“I must get up early tomorrow to go to school.”So they went to bed, passing an uneventful night. The next morning when Precious Jade had dressed, he set off to school. But as he was leaving his compound, struck by a thought he told Tealeaf to wait, then turned to call Musk.“What brings you back?”she asked him, coming out.If Rue Merchant comes again today, tell him not to fool about here.If he does, I’ll tell the old lady and the master.”Musk agreed to this. But Precious Jade had no sooner started off again than he saw Rue Merchant hurrying towards him.At sight of Precious Jade he swept him a bow.“Congratulations, uncle!”<br />
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Before Aroma could reply there was a splutter of laughter from the bed and Precious Jade sat up, gave his clothes a shake and said to them both: “Come on, that's' enough. Let's go to sleep.,”he said.“I must get up early tomorrow to go to school.”So they went to bed, passing an uneventful night. The next morning when Precious Jade had dressed, he set off to school. But as he was leaving his compound, struck by a thought he told Tealeaf to wait, then turned to call Musk.“What brings you back?”she asked him, coming out.If Rue Merchant comes again today, tell him not to fool about here.If he does, I’ll tell the old lady and the master.”Musk agreed to this. But Precious Jade had no sooner started off again than he saw Rue Merchant hurrying towards him.At sight of Precious Jade he swept him a bow.“Congratulations, uncle!”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 09:08, 10 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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那宝玉估量着是昨日那件事，便说道：“你也太冒失了，不管人心里有事没事，只管来搅。”贾芸陪笑道：“叔叔不信，只管瞧去。人都来了，在咱们大门口呢。”宝玉越发急了，说：“这是那里的话！”正说着，只听外边一片声嚷起来。贾芸道：“叔叔听，这不是？”宝玉越发心里狐疑起来，只听一个人嚷道：“你们这些人好没规矩，这是什么地方，你们在这里混嚷！”那人答道：“谁叫老爷升了官呢，怎么不叫我们来吵喜呢？别人家盼着吵还不能呢。”宝玉听了，才知道是贾政升了郎中了，人来报喜的，心中自是甚喜。<br />
You've got a nerve!” Precious Jade retorted, remembering his note of the previous day. Disturbing me when I have other things on my mind.” You can have a look, uncle if you don't believe me. The heralds are already here at the main gate.” More exasperated than ever Precious Jade cried, “What are you talking about?” Just then they heard shouting outside. “Listen, uncle, to that!” This set Precious Jade wondering. “Have you no manners?” they heard someone shout. “How dare you make such a row here?” Another voice answered, “Your master has been promoted! How can you stop us from proclaiming the good news?” Other families would be only too pleased to hear us!” Then Precious Jade realized with delight that they were announcing his father's promotion to be vice-minister.<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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连忙要走时，贾芸赶着说道：“叔叔乐不乐？叔叔的亲事要再成了，不用说，是两层喜了。”宝玉红了脸，啐了一口，道：“呸！没趣儿的东西！还不快走呢。”贾芸把脸红了，道：“这有什么的？我看你老人家就不……”宝玉沉着脸道：“就不什么？”贾芸未及说完，也不敢言语了。宝玉连忙来到家塾中，只见代儒笑着说道：“我才刚听见你老爷升了，你今日还来了么？”宝玉陪笑道：“过来见了太爷，好到老爷那边去。”代儒道：“今日不必来了，放你一天假罢。可不许回园子里顽去。你年纪不小了，虽不能办事，也当跟着你大哥他们学学才是。”<br />
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When he was about to leave, Jia Yun hurriedly said, "Uncle is not happy?" The uncle's marriage is going to be done again, needless to say, it is two jubilant events. Precious Jade blushed, took a bite, and said, "Yuck! Something boring! Don't go fast yet. Jia Yun blushed and said, "What's this?" I don't see your old man..." Precious Jade said with a calm face, "Nothing?" Jia Yun didn't have time to finish speaking, and he didn't dare to speak. Precious Jade hurried to the home school, only to see Dai Ru smile and say, "I just heard that your old master has been promoted, are you still here today?" Bao Yu smiled and said, "Come and see The Master, so I can go to the Old Master's side." Dai Ru said, "You don't have to come today, just let you take a day off." You are not allowed to go back to the garden. You are not young, although you can't do things, you should follow your eldest brother and learn from them. ”<br />
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When he was about to leave, Rue Merchant hurriedly said, "Uncle is not happy?" The uncle's marriage is going to be done again, needless to say, it is two jubilant events. Precious Jade blushed, took a bite, and said, "Yuck! Something boring! Don't go fast yet. Rue Merchant blushed and said, "What's this?" I don't see your old man..." Precious Jade said with a calm face, "Nothing?" Rue Merchant didn't have time to finish speaking, and he didn't dare to speak. Precious Jade hurried to the home school, only to see Mascara Jade smile and say, "I just heard that your old master has been promoted, are you still here today?" Precious Jade smiled and said, "Come and see The Master, so I can go to the Old Master's side." Mascara Jade said, "You don't have to come today, just let you take a day off." You are not allowed to go back to the garden. You are not young, although you can't do things, you should follow your eldest brother and learn from them. ”--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 13:25, 10 May 2022 (UTC)<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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宝玉答应着回来。刚走到二门口，只见李贵走来迎着，旁边站住，笑道：“二爷来了么？奴才才要到学里请去。”宝玉笑道：“谁说的？”李贵道：“老太太才打发人到院里去找二爷，那边的姑娘们说；二爷学里去了。刚才老太太打发人出来，叫奴才去给二爷告几天假，听说还要唱戏贺喜呢。二爷就来了。”说着，宝玉自己进去。进了二门，只见满院里丫头老婆都是笑容满面；见他来了，笑道：“二爷这早晚才来，还不快进去给老太太道喜去呢。”宝玉笑着进了房门，只见黛玉挨着贾母左边坐着呢，右边是湘云。<br />
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Precious Jade promised while going back. Just walked to the second door, only to see Expensive Plum came to meet, standing besides, he smiled and said: "You come. The slave only to go to the school to invite." Precious Jade laughed and said: "Who said that?" The old lady just sent someone to the courtyard to find you, and the girls there said you went to school. Just now the old lady sent someone out, asked the servant to go to school to ask for a few days off for you. I heard that there will be singing to celebrate. Then you are coming." . When Precious Jade entered the second door, he saw that all the maids and wives in the courtyard were full of smiles; when they saw him coming, they laughed and said, "You are late, so why don't you go in to celebrate the old lady?" Precious Jade smiled and entered the room, only to see Mascara Jade sitting next to Mother Merchant's left, right is Fragrant-cloud.<br />
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Precious Jade assented and went home. At the inner gate he met Value Plum coming out.“So here you are, young master!” The steward halted, smiling. “I was just going to the school to fetch you.” “On whose instructions?” “The old lady sent to find you, and your maids said you’d gone to school. So just now she sent again to tell me to ask for a few days’ leave for you — I hear operas will be put on to celebrate. You’ve turned up just in time, Master Jade.” Passing through the gate, Precious Jade observed that all the maids and matrons in the court were beaming. “Why so late, Master?” they cried. “Go in and congratulate the old lady, quick!” Precious Jade entered his grandmother’s room and his face lit up when he saw Mascara Jade sitting on her left, Fragrant Cloud on her right.--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 14:26, 10 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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地下邢王二夫人、探春、惜春、李纨、凤姐、李纹、李绮、邢岫烟一干姐妹，都在屋里，只不见宝钗、宝琴、迎春三人。宝玉此时喜的无话可说，忙给贾母道了喜，又给邢王二夫人道喜，一一见了众姐妹，便向黛玉笑道：“妹妹身体可大好了？”黛玉也微笑道：“大好了。听见说二哥哥身上也欠安，好了么？”宝玉道：“可不是，我那日夜里，忽然心里疼起来，这几天刚好些，就上学去了，也没能过去看妹妹。”黛玉不等他说完，早扭过头和探春说话去了。凤姐在地下站着，笑道：“你两个那里像天天在一处的，倒像是客一般，有这些套话，可是人说的‘相敬如宾’了。”<br />
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By Grandma Merchant’s side stood Lady City, Lady King, Seeking-spring, and the girls as Cherishing-spring, Silk Plum, Splendid Phoenix, Streak Plum, Satin Plum and Cave Cloud. Yet Precious Hairpin, Precious Strings and Spring Pleasure were not present. Precious Jade, now over the moon, hurriedly congratulated his grandmother on his father’s promotion, and extended his wishes to his aunt and mother. After greeting the sisters, he came to Mascara Jade, smiling “How are you these days, sister?” Mascara Jade flashed a quick smile, answering “I’m fully recovered now. How about you, brother? I heard that you fell ill the other day. Do you feel any better now?” Precious Jade said, “Tell me about it! A sudden pang stroke me in the heart the other night. When the pain relieved, I had to go to school and failed to spare some time to pay you a visit.” Before he finished the sentence, Mascara Jade had already turned to Seeking-spring. Seeing this, Splendid Phoenix smiled and said, “You two are behaving like guests, not like inseparables,” she teased. “All these civilities! Well, as the saying goes, ‘you show each other respect as to a guest.’”<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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说的大家一笑。林黛玉满脸飞红，又不好说，又不好不说，迟了一会儿，才说道：“你懂得什么！”众人越发笑了。凤姐一时回过味来，才知道自己出言冒失，正要拿话岔时，只见宝玉忽然向黛玉道：“林妹妹，你睄芸儿这种冒失鬼。”说了一句，方想起来，便不言语了。招的大家又都笑起来，说：“这从那里说起？”黛玉也摸不着头脑，也跟着讪讪的笑。宝玉无可搭赸，因又说道：“可是刚才我听见有人要送戏，说是几儿？”大家都瞅着他笑。凤姐儿道：“你在外头听见，你来告诉我们，你这会子问谁呢？”<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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宝玉得便说道：“我外头再去问问去。”贾母道：“别跑到外头去。头一件，看报喜的笑话；第二件，你老子今日大喜，回来碰见你，又该生气了。”宝玉答应了个“是”，才出来了。这里贾母因问凤姐：“谁说送戏的话？”凤姐道：“说是舅太爷那边说：后儿日子好，送一班新出的小戏儿给老太太、老爷、太太贺喜。”因又笑着说道：“不但日子好，还是好日子呢。”说着这话，却瞅着黛玉笑。黛玉也微笑。王夫人因道：“可是呢，后日还是外甥女儿的好日子呢。”贾母想了一想，也笑道：“可见我如今老了，什么事都糊涂了。<br />
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“I’ll go and find out,” he offered. “Don’t go running around outside,” warned the old lady. “For one thing, the heralds would laugh at you. For another, your father’s in a good humour today, but if he saw you outside he would be angry.” “Yes, madam,” said Precious Jade, then slipped away. The old lady asked Sister Phoenix, “Who’s talked of presenting operas?” “Uncle King. He said that the day after tomorrow, which is an auspicious day, he’ll send over a new company of actresses to congratulate you, madam, as well as the master and mistress.” She added with a twinkle, “It’ll not only be an auspicious day but a happy occasion too. That day...” She winked at Mascara Jade, who smiled back. “Why, of course!” exclaimed Lady King. “It’s our niece’s birthday.” The old lady thought for a second and then said, “It shows I’m growing old, I get so muddled.<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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亏了有我这凤丫头，是我个‘给事中’。既这么着，很好。他舅舅家给他们贺喜，你舅舅家就给你做生日，岂不好呢。”说的大家都笑起来，说道：“老祖宗说句话儿，都是上篇上论的；怎么怨得有这么大福气呢。”说着，宝玉进来，听见这些话，越发乐的手舞足蹈了。一时大家都在贾母这边吃饭，甚热闹，自不必说。饭后，那贾政谢恩回来，给宗祠里磕了头，便来给贾母磕头。站着说了几句话，便出去拜客去了。这里接连着亲戚族中的人，来来去去，闹闹穰穰，车马填门，貂蝉满座，真个是：花到正开蜂蝶闹，月逢十足海天宽。<br />
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==英语笔译 颜媛 Yan Yuan 202170081603==<br />
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如此两日，已是庆贺之期。这日一早，王子腾和亲戚家已送过一班戏来，就在贾母正厅前，搭起行台。外头爷们都穿着公服陪侍。亲戚来贺的约有十余桌酒。里面为着是新戏，又见贾母高兴，便将琉璃戏屏隔在后厦，里面也摆下酒席。上首薛姨妈一桌，是王夫人宝琴陪着；对面老太太一桌，是邢夫人岫烟陪着。下面尚空两桌，贾母叫他们快来。一回儿，只见凤姐领着众丫头，都簇拥着林黛玉来了。黛玉略换了几件新鲜衣服，打扮得宛如嫦娥下界，含羞带笑的，出来见了众人。湘云、李纹、李纨都让他上首座，黛玉只是不肯。<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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贾母笑道：“今日你坐了罢。”薛姨妈站起来问道：“今日林姑娘也有喜事么？”贾母笑道：“是他的生日。”薛姨妈道：“咳，我倒忘了。”走过来说道：“恕我健忘，回来叫宝琴过来拜姐姐的寿。”黛玉笑说“不敢”。大家坐了。那黛玉留神一看，独不见宝钗，便问道：“宝姐姐可好么？为什么不过来？”薛姨妈道：“他原该来的，只因无人看家，所以不来。”黛玉红着脸，微笑道：“姨妈那里又添了大嫂子，怎么倒用宝姐姐看起家来？大约是他怕人多热闹，懒待来罢。我倒怪想他的。”薛姨妈笑道：“难得你惦记他。他也常想你们姐妹们，过一天，我叫他来大家叙叙。”<br />
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Grandma Merchant smiled and said, "Today you sit down." Aunt Marshgrass stood up and asked, "Does Miss Lin also have a happy occasion today?" Jia mother laughed and said, "It's his birthday." Aunt Marshgrass said, "Ahem, I forgot about that." She came over and said, "Forgive my forgetfulness, but come back and ask Baoqin to come over to pay respect to your sister's birthday." Daiyu smiled and said, "I wouldn't dare." Everyone sat down. She asked, "How is sister Bao? Why isn't she coming?" Aunt Marshgrass said, "He should have come, but he didn't come because there was no one to look after him." The first time I saw you, I was so happy. It's probably because he was afraid of the crowds and didn't want to come. I do miss him." Aunt Marshgrass laughed and said, "It's rare that you miss him. He often misses you sisters too, so I'll ask him to come over one day to catch up."<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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说着，丫头们下来斟酒上菜，外面已开戏了。出场自然是一两出吉庆戏文。乃至第三出，只见金童玉女，旗幡宝幢，引着一个霓裳羽衣的小旦，头上披着一条黑帕，唱了一回儿进去了。众皆不识，听见外面人说：“这是新打的《蕊珠记》里的‘冥升’。小旦扮的是嫦娥，前因堕落人寰，几乎给人为配；幸亏观音点化，他就未嫁而逝。此时升引月宫。不听见曲里头唱的：‘人间只道风情好，那知道秋月春花容易抛，几乎不把广寒宫忘却了！’“第四出是“吃糠”。第五出是达摩带着徒弟过江回去。正扮出些海市蜃楼，好不热闹。<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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众人正在高兴时，忽见薛家的人满头汗闯进来，向薛蝌说道：“二爷快回去！并里头回明太太，也请速回去，家中有要紧事。”薛蝌道：“什么事？”家人道：“家去说罢。”薛蝌也不及告辞，就走了。薛姨妈见里头丫头传进话去，更骇得面如土色，即忙起身，带着宝琴，别了一声，即刻上车回去了。弄得内外愕然。贾母道：“咱们这里打发人跟过去听听，到底是什么事，大家都关切的。”众人答应了个“是”。不说贾府依旧唱戏，单说薛姨妈回去，只见有两个衙役站在二门口，几个当铺里伙计陪着，说：“太太回来，自有道理。”<br />
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At that time, as everyone was happy, one of the Marshgrass family’s servants burst into the yard, with his face dripping with sweat, and hurried over to Tadpole Marshgrass’s table. “Master Marshgrass, please go home quickly!And give this message to Madame that she must go home too. It is very urgent!” he said. “What happened?” asked Tadpole Marshgrass. The servant said: “I will tell you when we get home, sir.” Without stopping to thank his hosts, Tadpole Marshgrass followed the servant out of the yard, sending a young maid to deliver the message to Aunt Marshgrass. When Aunt Marshgrass heard the news, her face went pale. Taking Precious Strings with her, she made a distracted farewell and went straight out to her carriage, leaving others in a state of high alarm. Grandma Merchant said: “We had better send someone over with them. We are all anxious to learn what this is all about.” They all agreed. Those performers continued with their programme. Now let us talk about Aunt Marshgrass. She arrived at home and saw two yamen runners waiting in the inner gate. Some employees from the family pawnshop were with them. They said: “When lady Marshgrass arrives, she will be able to explain everything.”<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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正说着，薛姨妈已进来了。那衙役们见跟从着许多男妇，簇拥着一位老太太，便知是薛蟠之母。看见这个势派，也不敢怎么，只得垂手侍立，让薛姨妈进去了。那薛姨妈走到厅房后面，早听见有人大哭，却是金桂。薛姨妈赶忙走来，只见宝钗迎出来，满面泪痕，见了薛姨妈，便道：“妈妈听了，先别着急，办事要紧。”薛姨妈同着宝钗进了屋子，因为头里进门时，已经走着听见家人说了，吓的战战兢兢的了，一面哭着，因问：“到底是合谁？”只见家人回道：“太太此时且不必问那些底细。凭他是谁，打死了总是要偿命的，且商量怎么办才好。”<br />
The runners, at the arrival of an old lady attended by so many servants, knew that this must be Dragon Marshgrass’s mother. And as she looked someone of consequence they kept themselves in check, standing at attention to let her pass. She went to the back from whence came sounds of wailing, and discovered Jingui there. As she hurried forward Precious Hairpin came out to meet her, her face wet with tears. “So you’ve heard the news, mother,” she said. “Don’t worry. We must find some way to square things!” Aunt Marshgrass went inside with her daughter, trembling with fright after having heard from the servants in the court what her son had done. “Whom had he been quarrelling with?” she asked tearfully. “Don’t try to get to the bottom of it now, madam,” they urged her. “Taking a life is a capital offence regardless of persons. We had better discuss what to do.”<br />
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Aunt Marshgrass arrived as the conversations were going on. The runners, at the arrival of an old lady attended by so many servants, knew that this must be Dragon Marshgrass’s mother. And as she looked someone of consequence they kept themselves in check, standing at attention to let her pass. She went to the back from whence came sounds of wailing, and discovered Goldish Osmanthus there. As she hurried forward Precious Hairpin came out to meet her, her face wet with tears. “So you’ve heard the news, mother,” she said. “Don’t worry. We must find some way to settle things!” Aunt Marshgrass went inside with her daughter, trembling with fright after having heard from the servants in the court what her son had done. “Whom had he been quarrelling with?” she asked tearfully. “Don’t try to get to the bottom of it now, madam,” they urged her. “Taking a life is a capital offence regardless of persons. We had better discuss what to do.”--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 02:21, 10 May 2022 (UTC)<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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薛姨妈哭着出来道：“还有什么商议？”家人道：“依小的们的主见，今夜打点银两，同着二爷赶去，和大爷见了面，就在那里访一个有斟酌的刀笔先生，许他些银子，先把死罪撕掳开，回来再求贾府去上司衙门说情。还有外面的衙役，太太先拿出几两银子来打发了他们，我们好赶着办事。”薛姨妈道：“你们找着那家子，许他发送银子，再给他些养济银子。原告不追，事情就缓了。”宝钗在帘内说道：“妈妈，使不得。这些事，越给钱越闹的凶，倒是刚才小厮说的话是。”薛姨妈又哭道：“我也不要命了，赶到那里见他一面，同他死在一处就完了。”<br />
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Aunt Marshgrass came out crying, "What else is there to discuss?" The family servants said, "According to our opinion, tonight we should just give some silver. Contact with the second master and the great master to visit a deliberate judge. We promise to offer him some silver, asking him to get rid of the capital crime first, and then ask the Merchant Family to intercede for us. There were also servants outside, and the Lady should first took out a few pieces of silver to send them off, so it is convenient to do our business." Aunt Marshgrass said, "You go and look for the family, promise to compensade them silver, and give him some extra money. If the plaintiff would not pursue, the matter is much easier to deal with." Precious Hairpin said inside the curtain, "Mother, I don't think so. As for these things, the more money is given, the more fierce it would be. What the servant said was rather reasonable." Aunt Marshgrass cried again, "I don't want to live. I would just rush there to see him and die with him there." ”<br />
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Aunt Marshgrass came out crying, "What else is there to discuss?" The family servants said, "According to our opinion, tonight we should just give some silver. Contact with the second master and the great master to visit a deliberate judge. We promise to offer him some silver, asking him to get rid of the capital crime first, and then ask the Merchant Family to intercede for us. There were also servants outside, and the Lady should first took out a few pieces of silver to send them off, so it is convenient to do our business." Aunt Marshgrass said, "You go and look for the family, promise to compensate them silver, and give some extra money. If the plaintiff would not pursue, the matter is much easier to deal with." Precious Hairpin said behind the curtain, "Mother, I don't think so. As for these things, the more money is given, the more fierce it would be. What the servant said was rather reasonable." Aunt Marshgrass cried again, "I don't want to live. I would just rush there to see him and die with him there." --[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 11:43, 10 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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宝钗急的一面劝，一面在帘子里叫人：“快同二爷办去罢。”丫头们搀进薛姨妈来。薛蝌才往外走，宝钗道：“有什么信，打发人即刻寄了来，你们只管在外头照料。”薛蝌答应着去了。这宝钗方劝薛姨妈，那里金桂趁空儿抓住香菱，又和他嚷道：“平常你们只管夸他们家里打死了人，一点事也没有，就进京来了的；如今撺掇的真打死人了。平日里只讲有钱，有势，有好亲戚，这时侯我看着也是吓的慌手慌脚的了。大爷明儿有个好歹儿不能回来时，你们各自干你们的去了，撂下我一个人受罪！”说着，又大哭起来。这里薛姨妈听见，越发气的发昏。宝钗急的没法。<br />
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Precious Hairpin persuaded her urgently, calling someone outside the curtain, "Hurry up and go with your Second Master." Then The girls helped Aunt Marshgrass walk in. Tadpole Marshgrass was about to go out when Precious Hairpin said to him, "If there are any letters, send them to me at once and you guys should be on your duty outside." Tadpole Marshgrass agreed and went away. Precious Hairpin was trying to persuade Aunt Marshgrass when Dragon Marshgrass seized the opportunity to grasp Wiselotus Potterymaker's hand and shouted to her: "Usually you just boast that they have killed someone in their family, and then come to Beijing without any trouble. Now it is real that a person was killed. Usually you only talk about money, power and good relatives, then I looked that you are also scared and flurried. When the First Master can not return tomorrow, you go about your own business and leave me to suffer alone!" Then she burst into tears again. Aunt Marshgrass heard this, and became angrier to even faint. Precious Hairpin was also anxious but unable to do anything.<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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正闹着，只见贾府中王夫人早打发大丫头过来打听来了。宝钗虽心知自己是贾府的人了，一则尚未提明，二则事急之时，只得向那大丫头道：“此时事情头尾尚未明白，就只听见说我哥哥在外头打死了人，被县里拿了去了，也不知怎么定罪呢。刚才二爷才去打听去了。一半日得了准信，赶着就给那边太太送信去。你先回去道谢太太惦记着，底下我们还有多少仰仗那边爷们的地方呢。”那丫头答应着去了。薛姨妈和宝钗在家，抓摸不着。过了两日，只见小厮回来，拿了一封书，交给小丫头拿进来。宝钗拆开看时，书内写着：大哥人命是误伤，不是故杀。<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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今早用蝌出名，补了一张呈纸进去，尚未批出。大哥前头口供甚是不好。待此纸批准后，再录一堂，能彀翻供得好，便可得生了。快向当铺内再取银五百两来使用。千万莫迟！并请太太放心。余事问小厮。宝钗看了，一一念给薛姨妈听了。薛姨妈拭着眼泪说道：“这么看起来，竟是死活不定了。”宝钗道：“妈妈先别伤心，等着叫进小厮来问明了再说。”一面打发小丫头把小厮叫进来。薛姨妈便问小厮道：“你把大爷的事细说与我听听。”小厮道：“我那一天晚上，听见大爷和二爷说的，把我唬糊涂了。” <br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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话说薛姨妈听了薛蝌的来书，因叫进小厮,问道：“你听见你大爷说，到底是怎么就把人打死了呢？”小厮道：“小的也没听真切。那一日，大爷告诉二爷说……”说着回头看了一看，见无人，才说道：“大爷说：自从家里闹的特利害，大爷也没心肠了，所以要到南边置货去。这日想着约一个人同行，这人在咱们这城南二百多地住。大爷找他去了，遇见在先和大爷好的那个蒋玉菡，带着些小戏子进城，大爷同他在个铺子里吃饭喝酒。因为这当槽儿的尽着拿眼瞟蒋玉菡，大爷就有了气了。后来蒋玉菡走了。第二天，大爷就请找的那个人喝酒。<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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酒后想起头一天的事来，叫那当槽儿的换酒，那当槽儿的来迟了，大爷就骂起来了。那个人不依，大爷就拿起酒碗照他打去。谁知那个人也是个泼皮，便把头伸过来叫大爷打。大爷拿碗就砸他的脑袋，一下他就冒了血了，躺在地下。头里还骂，后头就不言语了。”薛姨妈道：“怎么也没人劝劝吗？”那小厮道：“这个没听见大爷说，小的不敢妄言。”薛姨妈道：“你先去歇歇罢。”小厮答应出来。这里薛姨妈自来见王夫人，托王夫人转求贾政。贾政问了前后，也只好含糊应了，只说等薛蝌递了呈子，看他本县怎么批了，再作道理。<br />
"The next day, while drinking with the waiter, Dragon Marshgrass remembered what had happened the day before and, when the waiter was slow in bringing fresh wine, he started cursing him. When the fellow answered back, he threatened him with his wine bowl. The rogue craned his neck, daring our master to hit him. Then Dragon Marshgrass brought the bowl down on his head. Blood spurted out and he dropped to the ground swearing — but very soon he fell silent." "Why did no one stop him? "scolded Aunt Marshgrass. "That, Dragon Marshgrass didn't say and I dare not make anything up." "You go and rest now." "Yes, madam." When the page had gone Aunt Marshgrass went to see Lady King, to enlist her husband's help. Learning what had happened, Master Merchant hedged. They must wait to see the magistrate's response to Dragon Marshgrass's petition, he said, before deciding on a course of action.<br />
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"The next day, while drinking with the waiter, Dragon Marshgrass remembered what had happened the day before and, when the waiter was slow in bringing fresh wine, he started cursing him. When the fellow answered back, he threatened him with his wine bowl. The rogue craned his neck, daring our master to hit him. Then Dragon Marshgrass brought the bowl down on his head. Blood spurted out and he dropped to the ground swearing — but very soon he fell silent." "Why did no one stop him? "scolded Aunt Marshgrass. "That, Dragon Marshgrass didn't say and I dare not make anything up." "You go and rest now." "Yes, madam." When the page had gone Aunt Marshgrass went to see Lady King, to enlist her husband's help. Learning what had happened, Master Merchant hedged. They must wait to see the magistrate's response to Dragon Marshgrass's petition, he said, before deciding on a course of action.--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 12:10, 10 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
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这里薛姨妈又在当铺里兑了银子，叫小厮赶着去了。三日后，果有回信，薛姨妈接着了，即叫小丫头告诉宝钗，连忙过来看了。只见书上写道：带去银两做了衙门上下使费。哥哥在监，也不大吃苦，请太太放心。独是这里的人狠刁，尸亲见证都不依，连哥哥请的那个朋友也帮着他们。我与李祥两个俱系生地生人，幸找着一个好先生，许他银子，才讨个主意，说是：须得拉扯着同哥哥喝酒的吴良，弄人保出他来，许他银两，叫他撕掳。他若不依，便说张三是他打死，明推在异乡人身上。他吃不住，就好办了。我依着他，果然吴良出来。<br />
Aunt Marshgrass sent the page back with more money from the pawnshop, and three days later received another letter. She sent to tell Precious Hairpin Marshgrass, who came at once and read it out as follows: <br />
With the money you sent we have squared the yamen officers. Dragon Marshgrass is not being ill-treated in jail; don't worry. Only the local people arecutting up rough. The dead man's family and the witnesses are holding out, and even that friend invited by Dragon Marshgrass is taking their side. l and Li Xiang are strangers here, but luckily we found a good pettifog-ger, and after his palm was greased he came up with a plan. He advised us to get hold of Wu Liang who was drinking with Dragon Marshgrass and bail him out, then offer him money to enlist his help. If he wouldn't agree, we could say he was the one who killed Zhang San then laid the blame on an outsider. If that scared him, then it should be easy to handle. l took his advice and got Wu Liang out.<br />
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Aunt Marshgrass sent the page back with more money from the pawnshop,and three days later received another letter. She sent to tell Precious Hairpin Marshgrass, who came at once and read it out as follows: <br />
With the money you sent we have squared the yamen officers. Dragon Marshgrass is not being ill-treated in jail; don't worry. Only the local people arecutting up rough. The dead man's family and the witnesses are holding out,and even that friend invited by Dragon Marshgrass is taking their side. I and Li Xiang are strangers here, but luckily we found a good pettifogger,and after his palm was greased he came up with a plan. He advised us to get hold of Wu Liang who was drinking with Dragon Marshgrass and bail him out,then offer him money to enlist his help. If he wouldn't agree,we could say he was the one who killed Zhang San then laid the blame on an outsider. If that scared him,then it should be easy to handle. I took his advice and got Wu Liang out.--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 17:10, 10 May 2022 (UTC)<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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现在买嘱尸亲见证，又做了一张呈子，前日递的，今日批来，请看呈底便知。因又念呈底道：“具呈人某，呈为兄遭飞祸、代伸冤抑事：窃生胞兄薛蟠，本籍南京，寄寓西京，于某年月日，备本往南贸易。去未数日，家奴送信回家，说遭人命。生即奔宪治，知兄误伤张姓，及至囹圄，据兄泣告，实与张姓素不相认，并无仇隙。偶因换酒角口，生兄将酒泼地，恰值张三低头拾物，一时失手，酒碗误碰囟门身死。蒙恩拘讯，兄惧受刑，承认斗殴致死。仰蒙宪天仁慈，知有冤抑，尚未定案。生兄在禁，具呈诉辩，有干例禁；生念手足，冒死代呈。<br />
then we bribed the dead man's relatives and the witnesses;and the day before yesterday I sent in an other petition. Today the answer has come,and I enclose a copy for you to see. Precious Hairpin next read out the petition: <br />
Petitioner.... <br />
Petition on behalf of his brother,a victim of foul play who has been unjustly accused. My elder brother Dragon MArshgrass,a native of Nanjing now resident in the capital set off on such and such a day to go south on business. A few days after he left home,a family servant brought the news that he had been involved in manslaughter. I came immediately to Your Honour's county and learned that he had accidentally injured a man named Zhang. When went to the jail,he told me with tears that this Zhang was a stranger to him and there had been no enmity between them. An accidental quarrel had broken out when my brother asking for wine,spilt some on the ground. Zhang San happened to be stooping to pick something up and my brother, whose hand slipped struck the top of his head with the wine bowl and killed him. During interrogation,for fear of torture,he confessed that he had killed the man in a fight. But Your Honour,in your infinite goodness,realized that this could not have been the case and deferred giving a verdict. As my brother in jail is forbidden to send in a plea,on account of our close relationship I am venturing to intercede for him.<br />
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==英语口译 方楚晗 Fang Chuhan 202170081616==<br />
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伏乞宪慈恩准提证质讯，开恩莫大，生等举家仰戴鸿仁，永永无既矣！激切上呈。”批的是：“尸场检验，证据确凿。且并未用刑，尔兄自认斗杀，招供在案。今尔远来，并非目睹，何得捏词妄控。理应治罪；姑念为兄情切，且恕。不准。”薛姨妈听到那里，说道：“这不是救不过来了么。这怎么好呢？”宝钗道：“二哥的书还没看完，后面还有呢。”因又念道：“有要紧的，问来使便知。”薛姨妈便问来人。因说道：“县里早知我们的家当充足。须得在京里谋干得大情，再送一分大礼，还可以复审，从轻定案。太太此时，必得快办，再迟了就怕大爷要受苦了。”<br />
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The appellant has therefore been emboldened by considerations of family loyalty to act on his behalf, most humbly and earnestly beseeching Your Honour to reopen the case and subject all parties concerned to a second examination. This would be a magnanimous course of action, and one that would earn the never-ending gratitude and lifelong devotion of the appellant and his entire family. Bao-chai now came to the judge’s rescript, which read as follows:<br />
RESCRIPT<br />
An inquest was held at the scene of the crime, and the evidence heard was conclusive. No torture of any kind was applied to the defendant, who freely admitted the charge, viz. Homicide by Blows. His admission of guilt has now been officially entered in the records. You, the appellant, an outsider with no first-hand knowledge of the case, in presuming to fabricate this unfounded appeal are guilty of contempt of court. In view of the mitigating circumstances of family loyalty, your offence will be overlooked in this instance.<br />
APPEAL REJECTED‘There’s no hope left then!’ cried Aunt Xue. ‘What can we do now?’‘That isn’t all,’ said Bao-chai. ‘There’s a P.S.’ She read on:‘For confidential instructions, ask the boy - urgent.’<br />
Aunt Xue immediately questioned the boy, who supplied the following information: ‘The people at the yamen know how rich we are, ma’am, and Master Ke says we’ll have to use family connections here in the capital, and send another large bribe, if we’re to get a rehearing and a lighter sentence. He says you must act quickly, ma’am, as delay now could mean hardship for Mr Pan.’ <br />
<br />
<br />
<br />
The appellant has therefore been emboldened by considerations of family loyalty to act on his behalf, most humbly and earnestly beseeching Your Honour to reopen the case and subject all parties concerned to a second examination. This would be a magnanimous course of action, and one that would earn the never-ending gratitude and lifelong devotion of the appellant and his entire family. Bao-chai now came to the judge’s rescript, which read as follows:<br />
RESCRIPT<br />
An inquest was held at the scene of the crime, and the evidence heard was conclusive. No torture of any kind was applied to the defendant, who freely admitted the charge, viz. Homicide by Blows. His admission of guilt has now been officially entered in the records. You, the appellant, an outsider with no first-hand knowledge of the case, in presuming to fabricate this unfounded appeal are guilty of contempt of court. In view of the mitigating circumstances of family loyalty, your offence will be overlooked in this instance.<br />
APPEAL REJECTED‘There’s no hope left then!’ cried Aunt Xue. ‘What can we do now?’‘That isn’t all,’ said Bao-chai. ‘There’s a P.S.’ She read on:‘For confidential instructions, ask the boy - urgent.’<br />
Aunt Xue immediately questioned the boy, who supplied the following information: ‘The people at the yamen know how rich we are, ma’am, and Master Ke says we’ll have to use family connections here in the capital city, and send another large bribe, if we’re to get a rehearing and a lighter sentence. He says you must act quickly, ma’am, as delay now could mean hardship for Mr Pan.’ --[[User:Hu Wenwen|Hu Wenwen]] ([[User talk:Hu Wenwen|talk]]) 12:12, 10 May 2022 (UTC)<br />
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==英语口译 胡雯雯 Hu Wenwen 202170081617==<br />
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薛姨妈听了，叫小厮自去，即刻又到贾府与王夫人说明原故，恳求贾政。贾政只肯托人与知县说情，不肯提及银物。薛姨妈恐不中用，求凤姐与贾琏说了，花上几千银子，才把知县买通，薛蝌那里也便弄通了。然后知县挂牌坐堂，传齐了一干邻保、证见、尸亲人等，监里提出薛蟠，刑房书吏俱一一点名。知县便叫地保对明初供，又叫尸亲张王氏并尸叔张二问话。张王氏哭禀道：“小的的男人是张大，南乡里住，十八年前死了。大儿子、二儿子，也都死了，光留下这个死的儿子，叫张三，今年二十三岁，还没有娶女人呢。为小人家里穷，没得养活，在李家店里做当槽儿的。<br />
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<br />
Aunt Xue dismissed the boy and went at once to see her sister again. Lady Wang pleaded strenuously with Jia Zheng, but the most he was prepared to do was send someone to ‘have a word’ with the judge. He refused to contemplate the use of ‘pecuniary considerations’. Aunt Xue, fearing that this gesture would prove ineffective, begged Xi-feng to speak to Jia Lian. The judge’s price was high - the figure ran into several thousands of taels; but in the end an agreement was reached, and the way was clear for Xue Ke to proceed with his plan. The case was officially re-opened, and all the parties concerned were summoned once more to the district yamen - the beadle, eye-witnesses, relatives of the deceased, etc. Xue Pan was brought out from the cells. The clerk of the court called the roll, and the judge ordered the chief beadle to verify the original depositions. Then Mrs Zhang (nee Wang) and Zhang Er, the deceased’s mother and uncle, were called to give evidence.‘May’t please Yeronner,’ began Mrs Zhang, punctuating her delivery with sobs, ‘we Zhangs are country folk and live to the south of town. Papa Zhang’s been gone these eighteen years. We had the three boys, but our eldest and second have both passed away. The only one as I had left was our third, and now he’s gone too!’ (More sobs.)‘Twenty-three this year he’d’ve been, anitplease Yeronner, and still a single lad. He’d took this job at Li’s Bar trying to help me out, as we’d so little coming in.<br />
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==英语口译 黄天琪 Huang Tianqi 202170081618==<br />
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那一天晌午，李家店里打发人来叫俺，说‘你儿子叫人打死了。’我的青天老爷！小的就唬死了。跑到那里，看见我儿子头破血出的躺在地下喘气儿，问他话也说不出来，不多一会儿，就死了。小人就要揪住这个小杂种拼命。”众衙役吆喝一声，张王氏便磕头道：“求青天老爷伸冤，小人就只这一个儿子了。”知县便叫：“下去。”又叫李家店的人问道：“那张三是在你店内佣工的么？”那李二回道：“不是佣工，是做当槽儿的。”知县道：“那日尸场上，你说张三是薛蟠将碗砸死的，你亲眼见的么？”<br />
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==英语口译 李丹 Li Dan 202170081620==<br />
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李二说道：“小的在柜上，听见说客房里要酒，不多一回，便听见说‘不好了，打伤了！’小的跑进去，只见张三躺在地下，也不能言语。小的便喊禀地保，一面报他母亲去了。他们到底怎样打的，实在不知道，求太爷问那喝酒的便知道了。”知县喝道：“初审口供你是亲见的，怎么如今说没有见？”李二道：“小的前日唬昏了乱说。”衙役又吆喝了一声。知县便叫吴良问道：“你是同在一处喝酒的么？薛蟠怎么打的？据实供来。” 吴良说：“小的那日在家，这个薛大爷叫我喝酒。他嫌酒不好，要换，张三不肯。薛大爷生气，把酒向他脸上泼去，不晓得怎么样，就碰在那脑袋上了。这是亲眼见的。”<br />
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(李立飞)Revision:<br />
Li Er said, "the little one was on the cabinet. He heard that he wanted wine in the guest room. Not one more time, he heard that he said, 'it's bad, I'm hurt!'. The little one ran in and saw Zhang San lying on the ground, but he couldn't speak. The little one shouted to the local security guard and told his mother that he had gone. They really didn't know how to fight. Ask the Lord to ask the drinker." The magistrate shouted, "you saw the confession in the first instance. How can you say you didn't see it now?" Li Er said, "little bluffed and talked nonsense the day before yesterday." The Yamen servant shouted again. The county magistrate called Wu Liang and asked, "are you drinking at the same place? How did Xue pan fight? Tell the truth." Wu Liang said, "when I was at home that day, uncle Xue asked me to drink. He didn't think the wine was good and wanted to change it, but Zhang San refused. Uncle Xue was angry and threw the wine on his face. I didn't know what to do, so he touched it on his head. I saw it with my own eyes."<br />
--[[User:Li Lifei|Li Lifei]] ([[User talk:Li Lifei|talk]]) 03:19, 10 May 2022 (UTC)<br />
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==英语口译 李立飞 Li Lifei 202170081621==<br />
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知县道：“胡说！前日尸场上，薛蟠自己认拿碗砸死的，你说你亲眼见的，怎么今日的供不对？掌嘴！”衙役答应着要打，吴良求着说：“薛蟠实没有与张三打架，酒碗失手，碰在脑袋上的。求老爷问薛蟠，便是恩典了。”知县叫提薛蟠，问道：“你与张三到底有什么仇隙？毕竟是如何死的，实供上来。”薛蟠道：“求太老爷开恩，小的实没有打他。为他不肯换酒，故拿酒泼他。不想一时失手，酒碗误碰在他的脑袋上。小的即忙掩他的血，那里知道再掩不住，血淌多了，过一回就死了。前日尸场上，怕太老爷要打，所以说是拿碗砸他的。只求太爷开恩。”<br />
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The county magistrate said, "nonsense! Xue pan admitted that he was killed with a bowl in the corpse yard the day before yesterday. You said you saw it with your own eyes. Why is today's confession wrong? Palm mouth!" The Yamen servant promised to fight. Wu Liang begged and said, "Xue Panshi didn't fight with Zhang San. The wine bowl missed and hit his head. It's grace to ask Xue pan." The county magistrate, named tixue pan, asked, "what exactly is the feud between you and Zhang San? After all, how did you die? Come on." Xue Pan said, "please forgive me, but I didn't beat him. I didn't want to change the wine for him, so I spilled it on him. I didn't want to miss it and the wine bowl hit his head by mistake. The little one was busy covering his blood. I knew it couldn't be covered again. There was too much blood, and I died after one time. I was afraid that I would hit him in the corpse yard the day before yesterday, so I said I hit him with a bowl. Just ask me for mercy."<br />
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The county magistrate said, "nonsense! Xue Pan admitted that he was killed with a bowl in the corpse yard the day before yesterday. You said you saw it with your own eyes. This is perjury! Slap his face!" the punishment was about to be administered. Wu Liang begged and said, "Xue Pan didn't fight with Zhang San. The wine bowl missed and hit his head. It's grace to ask Xue Pan." The county magistrate summoned Xue Pan and asked him: "what exactly is the feud between you and Zhang San? After all, how did you die? Come on." Xue Pan said, "please forgive me, but I didn't beat him. I didn't want to change the wine for him, so I spilled it on him. I didn't want to miss it and the wine bowl hit his head by mistake. I did all I could to staunch the wound, but it was hopeless. The loss of blood was so great that he died in a matter of minutes. At the Inquest I was in such fear of torture that I made a false confession of assault. I beg Your Honour to show mercy accordingly!"--[[User:Mo Yuting|Mo Yuting]] ([[User talk:Mo Yuting|talk]]) 12:48, 10 May 2022 (UTC)<br />
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==英语口译 莫雨婷 Mo Yuting 202170081622==<br />
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知县便喝道：“好个糊涂东西！本县问你怎么砸他的，你便供说恼他不换酒，才砸的，今日又供是失手碰的。”知县假作声势，要打要夹。薛蟠一口咬定。知县叫仵作：“将前日尸场填写伤痕，据实报来。”仵作禀报说：“前日验得张三尸身无伤，惟囟门有磁器伤，长一寸七分，深五分，皮开，囟门骨脆，裂破三分。实系磕碰伤。”知县查对尸格相符，早知书吏改轻，也不驳诘，胡乱便叫画供。张王氏哭喊道：“青天老爷！前日听见还有多少伤，怎么今日都没有了？”知县道：“这妇人胡说！现有尸格，你不知道么。”<br />
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“Miserable wretch!" bellowed the judge. "You have already pleaded guilty to intentional assault. Are you now trying to say that it was no more than an accidental collision?” He went on in this fashion, making a series of suitably august noises, threatening Pan with the rod one minute and the rack the next, if he would not confess. This time, however, Pan persisted in his denial. The coroner was now called upon to make public the results of his post-mortem. “May it please Your Honour, I have duly examined the corpse of Zhang San, and find no trace of injury but a single scalp-wound, caused by a porcelain artifact. The wound is approximately one and three-quarter inches in length, penetrating to a depth of half an inch. The bregmatic bone has sustained a fracture approximately one third of an inch in length. The type of wound points unmistakably to a collision of an accidental nature.” The judge checked the coroner’s certificate, which (as he knew quite well) had been altered by his clerk, and without raising any objections casually asked all concerned to sign their statements. “But Yeronner!” wailed Mrs Zhang. “What about all them other wounds? Ever so many there was! Coronary said so himself last time, I remember! Where’ve they all got to now?” “Foolish woman!” exclaimed the judge. “Here is the certificate, duly signed，see for yourself.”<br />
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==英语口译 彭慧璇 Peng Huixuan 202170081623==<br />
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叫尸叔张二，便问道：“你侄儿身死，你知道有几处伤？”张二忙供道：“脑袋上一伤。”知县道：“可又来。”叫书吏将尸格给张王氏瞧去，并叫地保、尸叔指明与他瞧：现有尸场亲押、证见，俱供并未打架，不为斗殴，只依误伤，吩咐画供，将薛蟠监禁候详，余令原保领出，退堂。张王氏哭着乱嚷，知县叫众衙役：“撵他出去！”张二也劝张王氏道：“实在误伤，怎么赖人？现在太老爷断明，不要胡闹了。”薛蝌在外打听明白，心内喜欢，便差人回家送信，等批详回来，便好打点赎罪，且住着等信。只听路上三三两两传说：“有个贵妃薨了，皇上辍朝三日。”<br />
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==英语口译 时友洁 Shi Youjie 202170081624==<br />
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这里离陵寝不远，知县办差垫道，一时料着不得闲，住在这里无益，不如到监，告诉哥哥：“安心等着，我回家去，过几日再来。”薛蟠也怕母亲痛苦，带信说：“我无事，必须衙门再使费几次，便可回家了，只是不要可惜银钱。”薛蝌留下李祥在此照料，一径回家，见了薛姨妈，陈说知县怎样徇情，怎样审断，终定了误伤：“将来尸亲那里再花些银子，一准赎罪，便没事了。”薛姨妈听说，暂且放心，说：“正盼你来家中照应。贾府里本该谢去，况且周贵妃薨了，他们天天进去，家里空落落的。我想着要去替姨太太那边照应照应，作伴儿，只是咱们家又没人，你这来的正好。”<br />
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==英语口译 伍佳惠 Wu Jiahui 202170081625==<br />
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薛蝌道：“我在外头，原听见说是贾妃薨了，这么才赶回来的。我们元妃好好儿的，怎么说死了？”薛姨妈道：“上年原病过一次，也就好了。这回又没听见元妃有什么病，只闻那府里头几天老太太不大受用，合上眼便看见元妃娘娘，众人都不放心，直至打听起来，又没有什么事。到了大前儿晚上，老太太亲口说是‘怎么元妃独自一个人到我这里？’众人只道是病中想的话，总不信。老太太又说：‘你们不信，元妃还与我说是：“荣华易尽，须要退步抽身。”’众人都说：‘谁不想到？这是有年纪的人思前想后的心事。’所以也不当件事。<br />
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==英语口译 夏晶 Xia Jing 202170081626==<br />
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恰好第二天早起，里头吵嚷出来，说娘娘病重，宣各诰命进去请安。他们就惊疑的了不得，赶着进去。他们还没有出来，我们家里已听见周贵妃薨逝了。你想外头的讹言，家里的疑心，恰碰在一处，可奇不奇！”宝钗道：“不但是外头的讹言舛错，便在家里的，一听见‘娘娘’两个字，也就都忙了，过后才明白。这两天那府里这些丫头婆子来说，他们早知道不是咱们家的娘娘。我说：‘你们那里拿得定呢？’他说道：‘前几年正月，外省荐了一个算命的，说是很准。那老太太叫人将元妃八字夹在丫头们八字里头，送出去叫他推算，<br />
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But the very next morning, word came from the Palace that the Imperial Consort was mortally ill and all ladies of rank were to go to pay their respects. That threw them into a fluster, and they hurried to the Palace. Before their return, though, word reached us here that it was Imperial Concubine Zhou who died. Just fancy, isn’t it remarkable the way these rumours outside and our suspi¬cions at home coincided!” Precious Hairpin Marshgrass put in, “It wasn’t just the rumours outside that misled us, but the mere words ‘Her Highness’ set her family in a tizzy, and only after-wards did they find out the truth. The last couple of days their maids have come and told us that they knew earlier on it couldn’t be their Royal Highness. “How can you be sure?’ I asked. The answer was that a few years ago at New Year, someone in the provinces introduced to us a fortune-teller, said to be infallible. The old lady told us to put Her Highness’ horoscope in with the maids’ for him to work out.<br />
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Revision: But the very next morning, word came from the Palace that the Imperial Consort was mortally ill and all ladies of rank were to go to pay their respects. That threw them into a fluster, and they hurried to the Palace. Before their return, though, word reached us here that it was Imperial Concubine Zhou who died. Just fancy, isn’t it remarkable the way these rumours outside and our suspi¬cions at home coincided!” Precious Hairpin Marshgrass put in, “It wasn’t just the rumours outside that misled us, but the mere words ‘Her Highness’ set her family in a tizzy, and only after-wards did they find out the truth. The last couple of days their maids have come and told us that they knew earlier on it couldn’t be their Royal Highness. “How can you be sure?’ I asked. The answer was that a few years ago at New Year, someone in the provinces introduced to us a fortune-teller, said to be infallible. The old lady told us to put Her Highness’ horoscope in with the maids’ for him to work out.--[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 13:49, 10 May 2022 (UTC)<br />
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==英语口译 向师琦 Xiang Shiqi 202170081627==<br />
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他独说这正月初一日生日的那位姑娘，只怕时辰错了，不然，真是个贵人，也不能在这府中。老爷和众人说，不管他错不错，照八字算去。那先生便说，甲申年，正月丙寅，这四个字内，有“伤官”“败财”。惟“申”字内有“正官”“禄马”，这就是家里养不住的，也不见什么好。这日子是乙卯，初春木旺，虽是“比肩”，那里知道愈“比”愈好，就像那个好木料，愈经斫削，才成大器。”独喜得时上什么辛金为贵，什么巳中“正官”“禄马”独旺：这叫作“飞天禄马格”。又说什么“日禄归时”，贵重的狠。天月二德坐本命，贵受椒房之宠。<br />
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He said, ‘There must be some mistake in the hour of birth of that girl born on the first of the first month. Otherwise, she must be of high degree — she couldn’t be in this house.’ Lord Zheng said, ‘Never mind whether there’s a mistake or not. Just predict her fortune.’‘She was born in the year Jiashen, the month bin gym,’ he said. ‘Three of these characters signify ‘demotion’ and ‘bankruptcy.’ Only shen augurs well for officialdom and wealth; still that doesn’t hold good for a girl who has to leave home. The day of her birth is yimao. In early spring the ‘wood’ element is in the ascendant. Although the two signs clash, the bigger the clash the better, just as in the case of good wood — the more you polish it, the greater its value. But most auspicious of all is the hour sign xinshi, xin meaning precious as gold, shi high rank and wealth. Combined, they make up the ‘winged horse’ sign, and the day in this combination is so exceptionally auspicious that she should soar up like the moon in the sky and rank high in the Emperor’s favour.<br />
<br />
He said, ‘There must be some mistake in the hour of birth of that girl born on the first of the first month. Otherwise, she must be of high degree — she couldn’t be in this house.’ Lord Zheng said, ‘Never mind whether there’s a mistake or not. Just predict her fortune.’‘She was born in the year Jiashen, the month bin gym,’ he said. ‘Three of these characters signify ‘demotion’ and ‘bankruptcy.’ Only shen augurs well for officialdom and wealth; still that doesn’t hold good for a girl who has to leave home. The day of her birth is yimao. In early spring the ‘wood’ element is in the ascendant. Although the two signs clash, the bigger the clash the better, just as in the case of good wood — the more you polish it, the greater its value. But most auspicious of all is the hour sign xinshi, xin meaning precious as gold, shi high rank and wealth. Combined, they make up the ‘winged horse’ sign, and the day in this combination is so exceptionally auspicious that she should soar up like the moon in the sky and rank high in the Emperor’s favour.--[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 03:40, 10 May 2022 (UTC)<br />
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==英语口译 向望 Xiang Wang 202170081628==<br />
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这位姑娘，若是时辰准了，定是一位主子娘娘。这不是算准了么！我们还记得说，可惜荣华不久；只怕遇着寅年卯月，这就是“比而又比，劫而又劫”，譬如好木，太要做玲珑剔透，本质就不坚了。’他们把这些话都忘记了，只管瞎忙。我才想起来，告诉我们大奶奶，今年那里是寅年卯月呢。”宝钗尚未说完，薛蝌急道：“且不要管人家的事，既有这样个神仙算命的，我想哥哥今年什么恶星照命，遭这么横祸？快开八字与我，给他算去，看有妨碍么。”宝钗道：“他是外省来的，不知如今在京不在了。”说着，便打点薛姨妈往贾府去。<br />
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If the hour of her birth is correct, she must be a sovereign lady.’“‘Wasn’t that an accurate forecast?’ said the maids. ‘We also remember his saying that unluckily her splendour would be short-lived. If a mao month happened to fall in a yin year, there would be a double clash and that would undermine her strength, just as in the case of good wood if it’s carved too intricately. They forgot all those predictions and got worked up over nothing. But we remembered the other day and told our mistress. This isn’t the yin year nor the mao month, is it?”’Before Baochai could finish, Xue Ke said excitedly, “Never mind about other people. If you know of such a miraculous fortune-teller, quickly give me Xue Pan’s horoscope — I’m sure he’s under some evil star this year to have such a bad stroke of luck — and I’ll get him to work out what’s going to happen.”“That man came from the provinces,” said Baochai. “We don’t know whether he’s still in the capital this year or not.”Baochai then helped her mother get ready to go to the Jia Mansion.<br />
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==英语口译 徐舞 Xu Wu 202170081629==<br />
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到了那里，只有李纨探春等在家接着，便问道：“大爷的事，怎么样了？”薛姨妈道：“等详上司才定，看来也到不了死罪了。”这才大家放心。探春便道：“昨晚太太想着说：‘上回家里有事，全仗姨太太照应；如今自己有事，也难提了。’心里只是不放心。”薛姨妈道：“我在家里也是难过。只是你大哥遭了事，你二兄弟又办事去了，家里你姐姐一个人，中什么用？况且我们媳妇儿又是个不大晓事的，所以不能脱身过来。目今那里知县也正为预备周贵妃的差事，不得了结案件，所以你二兄弟回来了，我才得过来看看。” <br />
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==英语口译 张静芝 Zhang Jingzhi 202170081630==<br />
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李纨便道：“请姨太太这里住几天更好。” 薛姨妈点头道：“我也要在这边给你们姐妹们作作伴儿，就只你宝妹妹冷静些。”惜春道：“姨妈要惦着，为什么不把宝姐姐也请过来？”薛姨妈笑着说道：“使不得。”惜春道：“怎么使不得？他先怎么住着来呢？”李纨道：“你不懂的。人家家里如今有事，怎么来呢？”惜春也信以为实，不便再问。正说着，贾母等回来，见了薛姨妈，也顾不得问好，便问薛蟠的事。薛姨妈细述了一遍。宝玉在旁听见什么蒋玉菡一段，当着众人不问，心里打量是“他既回了京，怎么不来瞧我？”<br />
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==日语笔译 曹梦然 Cao Mengran 202170081632==<br />
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又见宝钗也不过来，不知是怎么个原故，心内正自呆呆的想呢，恰好黛玉也来请安，宝玉稍觉心里喜欢，便把想宝钗来的念头打断，同着姊妹们在老太太那里吃了晚饭。大家散了，薛姨妈将就住在老太太的套间屋里。宝玉回到自己房中，换了衣服，忽然想起蒋玉菡给的汗巾，便向袭人道：“你那一年没有系的那条红汗巾子，还有没有？”袭人道：“我搁着呢，问他做什么？”宝玉道：“我白问问。”袭人道：“你没有听见薛大爷相与这些混帐人，所以闹到人命关天。你还提那些作什么？有这样白操心，倒不如静静儿的念念书，把这些个没要紧的事撂开了也好。”<br />
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==日语笔译 胡梦琪 Hu Mengqi 202170081633==<br />
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宝玉道：“我并不闹什么，偶然想起，有也罢，没也罢，我白问一声，你们就有这些话。”袭人笑道：“并不是我多话。一个人知书达理，就该往上巴结才是。就是心爱的人来了，也叫他瞧着喜欢尊敬啊。”宝玉被袭人一提，便说：“了不得，方才我在老太太那边，看见人多，没有与林妹妹说话。他也不曾理我，散的时候，他先走了。此时必在屋里。我去就来。”说着就走。袭人道：“快些回来罢，这都是我提头儿，倒招起你的高兴来了。”宝玉也不答言，低着头，一径走到潇湘馆来。只见黛玉靠在桌上看书。宝玉走到跟前，笑说道：“妹妹早回来了？”<br />
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“I’m not doing anything wrong, am I?” lie demanded. “It just hap¬pened to cross my mind. What does it matter whether you have it or not? I ask one little question, and listen to the way you run on!”<br />
“I didn’t mean to nag.” She smiled. “But someone who studies the classics and knows the rules of propriety ought to aim high. Then, when the one you love comes, she’ll be pleased and respect you.<br />
This reminded Precious Jade of something.<br />
“Botheration!” he exclaimed. “There was such a crowd with the old lady just now that I wasn’t able to talk with Cousin Lin. She paid me no attention either. By the time I left, she’d already gone. She must be in her place now. I’ll drop in to see her.” With that he started out.<br />
“Don’t be too long,” said Aroma. “I shouldn’t have said that, getting you all worked up.<br />
Precious Jade made no reply but went off with lowered head to Bamboo Lodge where Mascara Jade, bending over her desk, was reading. He approached her with a smile.<br />
“Have you been back long?”<br />
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“I’m not doing anything wrong, am I?” lie demanded. “It just happened to cross my mind. What does it matter whether you have it or not? I ask one little question, and listen to the way you run on!”<br />
“I didn’t mean to nag.” She smiled. “But someone who studies the classics and knows the rules of propriety ought to aim high. Then, when the one you love comes, she’ll be pleased and respect you.”<br />
This reminded Precious Jade of something.<br />
“Botheration!” he exclaimed. “There was such a crowd with the old lady just now that I wasn’t able to talk with Cousin Lin. She paid me no attention either. By the time I left, she’d already gone. She must be in her place now. I’ll drop in to see her.” With that he started out.<br />
“Don’t be too long,” said Aroma. “I shouldn’t have said that, getting you all worked up.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 02:47, 10 May 2022 (UTC)<br />
Precious Jade made no reply but went off with lowered head to Bamboo Lodge where Mascara Jade, bending over her desk, was reading. He approached her with a smile.<br />
“Have you been back long?”<br />
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==日语笔译 张白鹭 Zhang Bailu 202170081634==<br />
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黛玉也笑道：“你不理我，我还在那里做什么？”宝玉一面笑说：“他们人多说话，我插不下嘴去，所以没有和你说话。”一面瞧着黛玉看的那本书。书上的字一个也不认得，有的像“芍”字；有的像“茫”字；也有一个“大”字旁边“九”字加上一勾，中间又添个“五”字；也有上头“五”字“六”字又添一个“木”字，底下又是一个“五”字：看着又奇怪，又纳闷，便说：“妹妹近日愈发进了，看起天书来了。”黛玉“嗤”的一声笑道：“好个念书的人，连个琴谱都没有见过？”宝玉道：“琴谱怎么不知道？为什么上头的字一个也不认得？妹妹你认得么？”<br />
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“You cut me, so why should I stay there?” She asked archly.<br />
“There were so many people talking, I couldn’t get a word in. That’s why I didn’t speak to you.”<br />
He had been eyeingMascara Jade Forest’s book, but could not recognize the characters in it. Some looked familiar, others were combinations of various radicals and numerals.<br />
In puzzled surprise he observed, “You’re getting more erudite, cousin, all the time, reading something so esoteric!” Mascara Jade Forest burst out laughing.<br />
“What a scholar!” she teased. “Have you never seen a lute score before?”<br />
“Of course I have. But how come I don’t know any of those characters there? Do you understand them, cousin?”<br />
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==朝鲜语笔译 刘安莉 Liu Anli 202170081635==<br />
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黛玉道：“不认得瞧他做什么？”宝玉道：“我不信，从没有听见你会抚琴。我们书房里挂着好几张，前年来了一个清客先生，叫做什么嵇好古，老爷烦他抚了一曲。他取下琴来，说都使不得，还说：‘老先生若高兴，改日携琴来请教。’想是我们老爷也不懂，他便不来了。怎么你有本事藏着？”黛玉道：“我何尝真会呢？前日身上略觉舒服，在大书架上翻书，看有一套琴谱，甚有雅趣，上头讲的琴理甚通，手法说的也明白，真是古人静心养性的工夫。我在扬州，也听得讲究过，也曾学过，只是不弄了，就没有了。这果真是‘三日不弹，手生荆棘。’<br />
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Mascara Jade said:"Would I read it if I don't understand them?""I don't believe you.I have never seen you playing a lute.We have several hanging in our study.The other year a scholar called,Chi Hao-ku I think his name was.My father asked him to play,but when he tok the lutes down he said none of them was any good and proposed,'If you like,sir,I'll bring my own lute some day to play for you.'But he never turned up again,probably because my father's no connoisseur.Why have you been hiding this accomplishment from me?"Precious Jade said."I'm not good at it really,the other day ,feeling a bit better,I rummaged through the books on the big bookcase and found a set of lute scores which looked intriguing.It gives a lucid account of musical theory and clear instructions for playing. Luting was truly an art the men of old cultivated to achieve tranquility and integrity.In Yangzhou,I heard it explained and learned to play,but then I gave up and that was the end of that.As the saying goes,'Three days without playing,and fingers become thumbs.'<br />
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Mascara Jade said:"Would I read it if I don't understand them?""I don't believe you.I have never seen you playing a lute.We have several hanging in our study.The other year a scholar called,Chi Hao-ku .My father asked him to play it,but when he took the lutes down he said none of them was any good and proposed,'If you like,sir,I'll bring my own lute some day to play for you.'But he never turned up again,probably because my father's no connoisseur.Why have you been hiding this accomplishment from me?"Precious Jade said."I'm not good at it really,the other day ,feeling a bit better,I rummaged through the books on the big bookcase and found a set of lute scores which looked intriguing.It gives a lucid account of musical theory and clear instructions for playing. Luting was truly an art the men of old cultivated to achieve tranquility and integrity.In Yangzhou,I heard it explained and learned to play,but then I gave up and that was the end of that.As the saying goes,'Three days without playing,and fingers become thumbs.' --[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 10:33, 10 May 2022 (UTC)<br />
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==朝鲜语笔译 王思佳 Wang Sijia 202170081636==<br />
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前日看这几篇，没有曲文，只有操名，我又到别处找了一本有曲文的来看着，才有意思。究竟怎么弹得好，实在也难。书上说的：师旷鼓琴，能来风雷龙凤。孔圣人尚学琴于师襄，一操便知其为文王。高山流水，得遇知音。”说到这里，眼皮儿微微一动，慢慢的低下头去。宝玉正听得高兴，便道：“好妹妹，你才说的实在有趣，只是我才见上头的字，都不认得，你教我几个呢。”黛玉道：“不用教的，一说便可以知道的。”宝玉道：“我是个糊涂人，得教我那个‘大’字加一勾，中间一个‘五’字的。”<br />
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The day before yesterday, I read these articles, there is no song text, only the name, I went elsewhere to find a book with a song to look at, it is interesting. How to play well, it is really difficult. The book says: Shi Kuang drums and pianos, can come to the wind thunder dragon phoenix. Kong Shengren Shang learned to play the piano in Shi Xiang, and he knew that he was king of Wen. Mountains and flowing water, you have to meet the sound. Speaking of this, his eyelids moved slightly, and he slowly lowered his head. Precious Jade Merchantzheng was very happy to hear this, so he said, "Good sister, what you said is really interesting, but I only saw the words on the top, and I don't recognize them, so you teach me a few." Mascara Jade Forest said, "You don't need to teach it, you can know it as soon as you say it." Precious Jade Merchant said, "I am a confused person, and I have to be taught the 'big' word plus a tick, and the middle one 'five' word." ”<br />
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The day before yesterday, I read these articles, there is no song text, only the name, I went elsewhere to find a book with a song to look at, it is interesting. How to play well, it is really difficult. The book says: Shi Kuang drums and pianos, can come to the wind thunder dragon phoenix. Kong Shengren Shang learned to play the piano in Shi Xiang, and he knew that he was king of Wen. Mountains and flowing water, you have to meet the sound. Speaking of this, her eyelids moved slightly, and she slowly lowered her head. Precious Jade Merchant was very happy to hear this, so he said, "Good sister, what you said is really interesting, but I only saw the words on the top, and I don't recognize them, so you teach me a few." Mascara Jade Forest said, "You don't need to teach it, you can know it as soon as you say it." Precious Jade Merchant said, "I am a confused person, and I have to be taught the 'big' word plus a tick, and the middle one 'five' word." ”--[[User:Xu Gai|Xu Gai]] ([[User talk:Xu Gai|talk]]) 12:27, 10 May 2022 (UTC)<br />
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==朝鲜语笔译 徐盖 Xu Gai 202170081638==<br />
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黛玉笑道：“这‘大’字‘九’字是用左手大拇指按琴上的‘九徽’，这一勾加‘五’字是右手钩‘五弦’，并不是一个字，乃是一声，是极容易的。还有吟、揉、绰、注、撞、走、飞、推等法，是讲究手法的。”宝玉乐得手舞足蹈的说：“好妹妹，你既明琴理，我们何不学起来？”黛玉道：“琴者，禁也。古人制下，原以治身，涵养性情，抑其淫荡，去其奢侈。若要抚琴，必择静室高斋，或在层楼的上头，在林石的里面，或是山巅上，或是水涯上。再遇着那天地清和的时候，风清月朗，焚香静坐，心不外想，气血和平，才能与神合灵，与道合妙。<br />
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Mascara jade forest said with a smile: "the word 'big' and 'nine' is to press the 'nine emblem' on the piano with the thumb of the left hand. The word 'five' is to hook the 'five strings' with the right hand. It is not a word, but a sound, which is very easy. There are also chanting, kneading, chuckle, note, collision, walking, flying, pushing and other methods, which pay attention to techniques." Jade merchant danced happily and said, "good sister, since you know the piano theory, why don't we learn it?" Mascara jade forest said, "the zither player is forbidden. Under the ancient system, it was originally used to cure the body, cultivate the temperament, curb its debauchery and eliminate its luxury. If you want to play the zither, you must choose a quiet room and high Zhai, or on the top of the floor, in the forest and stone, on the top of the mountain or on the edge of the water. When the land is clear and peaceful on that day, the wind is clear and the moon is clear, the incense is burned and you sit quietly, thinking nothing but peace of Qi and blood, so that you can be in harmony with God and the Tao.<br />
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==朝鲜语笔译 徐文慧 Xu Wenhui 202170081639==<br />
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所以古人说‘知音难遇。’若无知音，宁可独对着那清风明月，苍松怪石，野猿老鹤，抚弄一番，以寄兴趣，方为不负了这琴。还有一层，又要指法好，取音好。若必要抚琴，先须衣冠整齐，或鹤氅，或深衣，要知古人的象表，那才能称圣人之器，然后盥了手，焚上香，方才将身就在榻边，把琴放在案上，坐在第五徽的地方儿，对着自己的当心，两手方从容抬起：这才心身俱正。还要知道轻重疾徐，卷舒自若，体态尊重方好。”宝玉道：“我们学着顽，若这么讲究起来，那就难了。”两个人正说着，只见紫鹃进来，看见宝玉笑说道：“宝二爷，今日这样高兴。”<br />
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That's why the ancients said, 'A bosom friend is hard to meet.' If there is no bosom friend, would rather alone to the wind moon, pines and rocks, wild apes old crane, fondle, to send interest, to live up to the piano. There is a layer, and good fingering, take good. If necessary aficionado, first must be nice, or crane to ride, or deep clothes, want to know the ancients like table, that can be said of the saints, and then washing their hands, burning shakily, just put the body at the edge of the bed, put the piano on the case, sitting in the fifth emblem of place, to his own careful, two hands calmly raised: This just psychosomatic is. You have to know that the severity of the disease, the volume of ease, the posture of respect is good. "Jade Merchant said: "We are learning to be stubborn, but if we are so particular, it will be difficult." As the two were talking, Nightingale came in and saw Jade Merchant. She smiled and said, "Second Master Bao, I'm so happy today."<br />
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==比较文学与跨文化研究 Mahzad Heydarian 202021080004==<br />
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宝玉笑道：“听见妹妹讲究的，叫人顿开茅塞，所以越听越爱听。”紫鹃道：“不是这个高兴，说的是二爷到我们这边来的话。”宝玉道：“先时妹妹身上不舒服，我怕闹的他烦。再者，我又上学，因此显着就疏远了是的。”紫鹃不等说完，便道：“姑娘也是才好。二爷既这么说，坐坐也该让姑娘歇歇儿了，别叫姑娘只是讲究劳神了。”宝玉笑道：“可是我只顾爱听，也就忘了妹妹劳神了。”黛玉笑道：“说这些倒也开心，也没有什么劳神的。只是怕我只管说，你只管不懂呢。”宝玉道：“横竖慢慢的自然明白了。”<br />
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==外国语言文学 Akira 202121080009==<br />
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说着，便站起来，道：“当真的妹妹歇歇儿罢。明儿我告诉三妹妹和四妹妹去，叫他们都学起来，让我听。”黛玉笑道：“你也太。受用了。即如大家学会了抚起来，你不懂，可不是对。”黛玉说到那里，想起心上的事，便缩住口，不肯往下说了。宝玉便笑道：“只要你们能弹，我便爱听，也不管‘牛’不‘牛’的了。”黛玉红了脸一笑，紫鹃雪雁也都笑了。于是走出门来。只见秋纹带着小丫头，捧着一小盆兰花来，说：“太太那边有人送了四盆兰花来，因里头有事，没有空儿顽他，叫给二爷一盆，林姑娘一盆。”<br />
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==英语语言文学 Mariam Tourse 2020GBJ002301==<br />
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黛玉看时，却有几枝双朵儿的，心中忽然一动，也不知是喜是悲，便呆呆的呆看。那宝玉此时却一心只在琴上，便说：“妹妹有了兰花，就可以做《猗兰操》了。”黛玉听了，心里反不舒服。回到房中，看着花，想到“草木当春，花鲜叶茂，想我年纪尚小，便像三秋蒲柳。若是果能随愿，或者渐渐的好来；不然，只恐似那花柳残春，怎禁得风催雨送！”想到那里，不禁又滴下泪来。紫鹃在旁看见这般光景，却想不出原故来：“方才宝玉在这里，那么高兴；如今好好的看花，怎么又伤起心来？”正愁着没法儿解，只见宝钗那边打发人来。</div>Li Yuanhttps://bou.de/u/index.php?title=20220505_culture&diff=14239620220505 culture2022-05-11T01:54:44Z<p>Li Yuan: /* 英语笔译 李媛 Li Yuan 202170081579 */</p>
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<div>Quicklinks:[[Chinese Language and Culture 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Joint_translation_terms]]<br />
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[[20220505_culture|culture of session 11 for session 12 May 5]]<br />
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'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is <br />
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26 Chinese Writing: Chinese Characters 54% 李丹 Li Dan<br />
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36 Chinese Writing: Calligraphy 53% 崔晓凡 Cui Xiao fan<br />
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33 Traditional Festivals: Spring Festival Couplets 53% 刘珍 Liu Zhen 徐盖 Xu Gai<br />
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'''Assignment 2''': '''Click here''' to answer the questions of the topics below <br />
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26 Chinese Writing: Chinese Characters 54% <br />
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36 Chinese Writing: Calligraphy 53% <br />
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33 Traditional Festivals: Spring Festival Couplets 53% <br />
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Due before 4:30 pm May. 12<br />
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'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.<br />
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Due before 6:00 pm May. 11<br />
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IN PREPARATION<br />
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=Please write your homework directly down here=<br />
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line. <br />
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==英语笔译 卞王倩 Bian Wangqian 202170081563==<br />
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宝玉头里已经听烦了，推故要走，及听见这话，又坐了呆呆的往下听。薛姨妈道：“不中用。他虽好，到底是女孩儿家。养了蟠儿这个糊涂孩子，真真叫我不放心。只怕在外头喝点子酒，闹出事来。幸亏老太太这里的大爷二爷常和他在一块儿，我还放点儿心。”宝玉听到这里，便接口道：“姨妈更不用悬心。薛大哥相好的都是些正经买卖大客人，都是有体面的，那里就闹出事来？”薛姨妈笑道：“依你这样说，我敢只不用操心了。”说话间，饭已吃完。宝玉先告辞了：“晚间还要看书。”便各自去了。<br />
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==英语笔译 曹姣 Cao Jiao 202170081564==<br />
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这里丫头们刚捧上茶来，只见琥珀走过来向贾母耳朵旁边说了几句，贾母便向凤姐儿道：“你快去罢，瞧瞧巧姐儿去罢。”凤姐听了，还不知何故。大家也怔了。琥珀遂过来向凤姐道：“刚才平儿打发小丫头子来回二奶奶，说：‘巧姐儿身上不大好，请二奶奶忙着些过来才好呢。’”贾母因说道：“你快去罢，姨太太也不是外人。”凤姐连忙答应，在薛姨妈跟前告了辞。又见王夫人说道：“你先过去，我就去。小孩子家魂儿还不全呢，别叫丫头们大惊小怪的，屋里的猫儿狗儿，也叫他们留点神儿。尽着孩子贵气，偏有这些琐碎。”凤姐答应了，然后带了小丫头回房去了。<br />
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Here the maids just served tea, only to see Amber came over to Grandma Merchant’s ears and said a few words. Then Grandma Merchant said to Sister Phoenix: “You go quickly to see Sister Ingenious.” Sister Phoenix was confused to hear this and so was everyone present. Amber came over to Sister Phoenix and said, “Just now Patience sent a little girl to find you, saying: ‘Sister Ingenious is not feeling well now, please come to see her, my Second Mistress.’” Grandma Merchant said: “Hurry up, since Aunt Marshgrass is not an outsider.” Sister Phoenix hurriedly responded and apologized to Aunt Marshgrass. Then Lady King said to her, “You go first and I will come later. The kid’s soul is still incomplete. Ask the maids not to make a fuss and to pay attention to the cats and dogs in the room. The kid’s health is not as much as the trivial.” Sister Phoenix agreed, and then went back to her room followed by her maids.<br />
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==英语笔译 陈路瑶 Chen Luyao 202170081565==<br />
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这里薛姨妈又问了一回黛玉的病。贾母道：“林丫头那孩子倒罢了，只是心重些，所以身子就不大狠结实了。要赌灵性儿，也和宝丫头不差什么；要赌宽厚待人里头，却不济他宝姐姐有耽待、有尽让了。”薛姨妈又说了两句闲话儿，便道：“老太太歇着罢。我也要到家里去看看，只剩下宝丫头和香菱了。打那么同着姨太太看看巧姐儿。”贾母道：“正是。姨太太上年纪的人，看看是怎么不好，说给他们，也得点主意儿。”薛姨妈便告辞，同着王夫人出来，往凤姐院里去了。却说贾政试了宝玉一番，心里却也喜欢，走向外面和那些门客闲谈，说起方才的话来。<br />
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Aunt Marshgrass asked about Mascara Jade’s illness again.“She is a good child, but too sensitive,” said Grandma Merchant. “That is undermined her health. As far as intelligence goes, she is a match for Precious Hairpin; But regarding consideration for other people, she has not her thoughtfulness and unselfishness.”After a little more small talk Aunt Marshgrass said, “You should rest now, madam, and I must get back to see how things are doing, as there are only Precious Hairpin and Wiselotus Potterymake at home. And from there I must go with my sister to see Sister Ingenious.”“That is right. You have had a great deal of experience. Tell them if you notice anything missed, so that they will know what to do.”Aunt Marshgrass took her leave, accompanying Lady King to Splendid Phoenix’s quarters.Master Merchant, pleased by the results of Precious Jade’s test, brought the subject up when he went out to chat with his secretaries.<br />
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Aunt Marshgrass asked about Mascara Jade’s illness again.“She is a good child, but too sensitive,” said Grandma Merchant. “That is undermined her health. As far as intelligence goes, she is a match for Precious Hairpin; But regarding consideration for other people, she has not her thoughtfulness and unselfishness.”After a little more small talk Aunt Marshgrass said, “You should rest now, madam, and I must get back to see how things are doing, as there are only Precious Hairpin and Wiselotus Potterymake at home. And from there I must go with my sister to see Sister Ingenious.”“That is right. You have had a great deal of experience. Tell them if you notice anything missed, so that they will know what to do.”Aunt Marshgrass took her leave, accompanying Lady King to Splendid Phoenix’s quarters.Master Merchant, pleased by the results of Precious Jade’s test, brought the subject up when he went out to chat with his secretaries.--[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 05:29, 10 May 2022 (UTC)<br />
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==英语笔译 崔晓凡 Cui Xiaofan 202170081566==<br />
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便有新近到来最善大棋的一个王尔调，名作梅的，说道：“据我们看来，宝二爷的学问已是大进了。”贾政道：“那有进益，不过略懂得些罢咧。‘学问’两个字，早得很呢。”詹光道：“这是老世翁过谦的话。不但王大兄这般说，就是我们看，宝二爷必定要高发的。”贾政笑道：“这也是诸位过爱的意思。”那王尔调又道：“晚生还有一句话，不揣冒昧，合老世翁商议。”贾政道：“什么事？”王尔调陪笑道：“也是晚生的相与，做过南韶道的张大老爷家，有一位小姐，说是生得德容功貌俱全，此时尚未受聘。<br />
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One of them was the relative newcomer Ertiao King, a good chess-player whose courtesy name was Zuomei. “We can see that Master Precious Jade has made great progress in learning.” he observed. “Progress? No,” said Master Merchant. “He’s only just making a start. And it’s too early to talk of ‘learning.<br />
Light Zhan demurred, “You are too modest, sir. This is the opinion of us all, not only Mr.King. Precious Jade is sure to distinguish himself in the examinations.”<br />
“You are too partial to him, gentlemen.” “I have a proposal to make, sir,” added Ertiao King, “If you don’t think it presumptuous.” “What is it?” With a deferential smile King answered, “Some acquaintances of mine, the family of Old Mr. Zhang the former Governor of Nanshao, have a daughter who is said to be a paragon of virtue and a beauty, and she is not yet bespoken.<br />
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==英语笔译 邓阳林 Deng Yanglin 202170081567==<br />
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他又没有儿子，家资巨万，但是要富贵双全的人家，女婿又要出众，才肯作亲。晚生来了两个月，瞧着宝二爷的人品学业，都是必要大成的。老世翁这样门楣，还有何说！若晚生过去，包管一说成。”贾政道：“宝玉说亲，却也是年纪了，并且老太太常说起。但只张大老爷素来尚未深悉。”詹光道：“王兄所提张家，晚生却也知道。况和大老爷那边是旧亲，老世翁一问便知。”贾政想了一回，道：“大老爷那边，不曾听得这门亲戚。”詹光道：“老世翁原来不知：这张府上原和邢舅太爷那边有亲的。”贾政听了，方知是邢夫人的亲戚。<br />
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==英语笔译 高智慧 Gao Zhihui 202170081568==<br />
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坐了一回，进来了，便要同王夫人说知，转问邢夫人去。谁知王夫人陪了薛姨妈到凤姐那边看巧姐儿去了。那天已经掌灯时候，薛姨妈去了，王夫人才过来了。贾政告诉了王尔调和詹光的话，又问：“巧姐儿怎么了？”王夫人道：“怕是惊风的光景。”贾政道：“不甚利害呀？”王夫人道：“看着是搐风的来头，只还没搐出来呢。”贾政听了，便不言语，各自安歇一宿晚景不提。却说次日邢夫人过贾母这边来请安，王夫人便提起张家的事，一面回贾母，一面问邢夫人。邢夫人道：“张家虽系老亲，但近年来久已不通音信，不知他家的姑娘是怎么样的。<br />
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A little later he went in, with the intention of talking this new proposal over with Lady King and asking her to sound out Lady Xing about the Zhang family. He found, however, that his wife was out, visiting Sister Ingenious with Aunt Marshgrass . At lighting-up time, when Aunt Marshgrass went home and Lady King returned, Master Merchant discussed the proposal with her. He also asked after Sister Ingenious. “We think it’s convulsions,” she said. “Nothing serious, I hope?” “It’s too early to tell. The fits have still not passed.” Master Merchant sighed but said no more, and they retired for the night. Next day, when Lady Xing came to pay her morning respects to Grandma Merchant, Lady King mentioned the marriage proposal and took the opportunity of asking Lady Xing about the Zhang family. “Yes, they are relations of ours,” divulged Lady Xing. “But we’ve had no contact with them for years now, so I’ve no notion what this Miss Zhang is like.<br />
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A little later he went in, with the intention of talking this new proposal over with Lady King and asking her to sound out Lady City about the Open's family. He found, however, that his wife was out, visiting Sister Ingenious with Aunt Marshgrass . At lighting-up time, when Aunt Marshgrass went home and Lady King returned, Master Merchant discussed the proposal with her. He also asked after Sister Ingenious. “We think it’s convulsions,” she said. “Nothing serious, I hope?” “It’s too early to tell. The fits have still not passed.” Master Merchant sighed but said no more, and they retired for the night. Next day, when Lady City came to pay her morning respects to Grandma Merchant, Lady King mentioned the marriage proposal and took the opportunity of asking Lady City about the Open's family. “Yes, they are relations of ours,” divulged Lady City. “But we’ve had no contact with them for years now, so I’ve no notion what this Miss Open is like.<br />
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 15:44, 9 May 2022 (UTC)<br />
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==英语笔译 何丽娜 He Lina 202170081569==<br />
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倒是前日孙亲家太太打发老婆子来问安，却说起张家的事，说他家有个姑娘，托孙亲家那边有对劲的提一提。听见说，只这一个女孩儿，十分娇养，也识得几个字，见不得大阵仗儿，常在房中不出来的。张大老爷又说：只有这一个女孩儿，不肯嫁出去，怕人家公婆严，姑娘受不得委屈。必要女婿过门，赘在他家，给他料理些家事。”贾母听到这里，不等说完，便道：“这个使不得。我们宝玉，别人伏侍他还不彀呢，倒给人家当家去！”邢夫人道：“正是老太太这个话。”贾母因向王夫人道：“你回来告诉你老爷，就说我的话，这张家的亲事是作不得的。”<br />
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The other day, however,Spring Pleasure’s mother-in-law Mrs. Sun sent her old servant to inquire after our health. She said that there was a family surnamed Open which wanted Mr.Sun to find a husband for their daughter. It is said that they only have a daughter who is very pampered, and also read some books. But she was too shy to be in public and often stay in the room. The elder Mr.Open said he didn't want her to leave their family to get married for he only had one girl and he was afraid that her parents-in-law would be so strict that she would be wronged. He wanted a son-in-law to come and stay at his house and to take care of his household affairs." When Grandma Merchant heard this, she said before the words were finished, "You can't do that. Our Precious Jade needs to be looked after by others, how should he take care of the household business of others!" Lady City agreed, "You are right." Grandma Merchant said to Lady King, "When you go back and tell your master what I say, the marriage with the Open's family is impossible."<br />
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The other day, however,Spring Pleasure’s mother-in-law Mrs. Sun sent her old servant to pay her respects. She said that there was a family surnamed Open which wanted Mr.Sun to find a husband for their daughter. It is said that they only have a daughter who is very pampered, and also literate. But she was too shy to be in public and often stay in the room. The elder Mr.Open said he didn't want her to leave their family to get married for he only had one girl and he was afraid that her parents-in-law would be so strict that she would be wronged. He wanted a son-in-law to come and stay at his house and to take care of his household affairs." When Grandma Merchant heard this, she said before the words were finished, "You can't do that. Our Precious Jade needs to be looked after by others, how should he take care of the household business of others!" Lady City agreed, "You are right." Grandma Merchant said to Lady King, "When you go back and tell your master what I say, the marriage with the Open's family is impossible."--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 02:17, 10 May 2022 (UTC)<br />
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==英语笔译 胡良明 Hu Liangming 202170081570==<br />
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王夫人答应了。贾母便问：“你们昨日看巧姐儿怎么样？头里平儿来回我，说狠不大好，我也要过去看看呢。”邢王二夫人道：“老太太虽疼他，他那里耽的住？”贾母道：“却也不止为他，我也要走动走动，活活筋骨儿。”说着，便吩咐：“你们吃饭去罢，回来同我过去。”邢王二夫人答应着出来，各自去了。一时，吃了饭，都来陪贾母到凤姐房中。凤姐连忙出来，接了进去。贾母便问：“巧姐儿到底怎么样？”。凤姐儿道：“只怕是搐风的来头。”贾母道：“这么着还不请人赶着瞧？”凤姐道：“已经请去了。”贾母因同邢王二夫人进房来看。<br />
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Lady King agreed. Grandma Merchant asked, "When you came to visit Sister Ingenious yesterday, is everything ok? Patience told me it wasn't good, and I'd like to go and have a look." Lady King and Lady City said, "Although the old lady adores her, how could her hold that?" "But it's not just for her" Grandma Merchant said. "I want to walk around, too." Then she said, "Go and eat, and come back and come over with me." Lady King and Lady City promised to come out, respectively. After dinner, they all came to accompany Grandma Merchant to Sister Phoenix's room. Sister Phoenix hurriedly came out and took them in. Grandma Merchant then asked: "What on earth happened to Sister Ingenious?" . "I'm afraid it's the cause of stroke," said Sister Phoenix. Grandma Merchant said, "So why don't you ask doctor to have a check?" Sister Phoenix replied: "I’ve already sent someone to bring a doctor." Grandma Merchant with King and City two ladies walked into the room to have a look.<br />
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Lady King agreed. Grandma Merchant asked, "When you came to visit Sister Ingenious yesterday, is everything ok? Patience told me it wasn't good, and I'd like to go and have a look." Lady King and Lady City said, "Although Madam adores her, how could her take that?" "But it's not just for her," Grandma Merchant replied. "I want to walk around and get some exercise." Then she said, "Go and eat, then come back and come over with me." Lady King and Lady City promised and left here respectively. After dinner, they all came to accompany Grandma Merchant to Sister Phoenix's room. Sister Phoenix hurriedly came out and took them in. Grandma Merchant then asked: "What on earth happened to Sister Ingenious?". "I'm afraid it's the cause of stroke," said Sister Phoenix. Grandma Merchant urged, "So why don't you ask the doctor to have a check?" Sister Phoenix replied: "I’ve already sent someone to ask for a doctor." Grandma Merchant with King and City two ladies walked into the room to have a look.--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 05:24, 10 May 2022 (UTC)<br />
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==英语笔译 黄琼 Huang Qiong 202170081571==<br />
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只见奶子抱着，用桃红绫子小绵被儿裹着，脸皮趣青，眉梢鼻翅，微有动意。贾母同邢王二夫人看了看，便出外间坐下。正说间，只见一个小丫头回凤姐道：“老爷打发人问姐儿怎么样。”凤姐道：“替我回老爷，就说请大夫去了。一会儿开了方子，就过去回老爷。”贾母忽然想起张家的事来，向王夫人道：“你该就去告诉你老爷，省得人家去说了，回来又驳回。”又问邢夫人道：“你们和张家如今为什么不走了？”邢夫人因又说：“论起那张家行事，也难合咱们作亲，太啬克，没的玷辱了宝玉。”凤姐听了这话，已知八九，便问道：“太太不是说宝兄弟的亲事？”<br />
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The nurse was hold¬ing the child who was wrapped up in a peach-red silk-padded quilt. Her face was pale, her forehead contorted and her nose feebly twitching. After looking at the baby with Lady City and Lady King, Grandma Merchant went back to the other room and had just sat down to have a conversation n when a young servant came in. “His Lordship has sent me to ask the situation of the lady,” she said. “Tell him that we’ve sent for the doctor,” answered Splendid Phoenix. “We’ll let him know what prescription doctor makes out.” Grandma Merchant, recollecting the Zhangs’ things, reminded Lady King, “You should go and let your husband know what we decided. Otherwise, they may decline the matchmaker’s idea.” She asked Lady City, “How is it you have nothing to do with the Zhang family these days?” “Because their stingy ways don’t suit us, madam. They’re not good enough for Baoyu!” From this Splendid Phoenix can almost understand what were they talking about. “Are you talking about Precious Jade’s marriage, madam?” she asked.<br />
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==英语笔译 邝雨琪 Kuang Yuqi 202170081572==<br />
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邢夫人道：“可不是么！”贾母接着，因把刚才的话，告诉凤姐。凤姐笑道：“不是我当着老祖宗太太们跟前说句大胆的话：现放着天配的姻缘，何用别处去找？”贾母笑问道：“在那里？”凤姐道：“一个‘宝玉’，一个‘金锁’，老太太怎么忘了？”贾母笑了一笑，因说：“昨日你姑妈在这里，你为什么不提？”凤姐道：“老祖宗和太太们在前头，那里有我们小孩子家说话的地方儿？况且姨妈过来瞧老祖宗，怎么提这些个？这也得太太们过去求亲才是。”贾母笑了，邢王二夫人也都笑了。贾母因道：“可是我背晦了。”<br />
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==英语笔译 黎溢佳 Li Yijia 202170081573==<br />
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说着，人回：“大夫来了。”贾母便坐在外间，邢王二夫人略避。那大夫同贾琏进来，给贾母请了安，方进房中。看了出来，站在地下，躬身回贾母道：“妞儿一半是内热，一半是惊风。须先用一剂发散风痰药，还要用四神散才好，因病势来得不轻。如今的牛黄都是假的，要找真牛黄方用得。”贾母道了乏。那大夫同贾琏出去，开了方子，去了。凤姐道：“人参家里常有，这牛黄倒怕未必有，外头买去，只是要真的才好。”王夫人道：“等我打发人到姨太太那边去找找。他家蟠儿是向与那些西客们做买卖，或者有真的，也未可知。我叫人去问问。”<br />
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When they are talking, a servant replied: "The doctor is coming." Grandma Merchant sat outside and Lady King and Lady City were waiting there. The doctor came with Romance Merchant and kowtowed to Old Lady, then checked Sister Ingenious. After a while, he replied to Grandma Merchant: "The little lady had a fever and seizure. She should take anti-fever medicine first then a herbal called Sishen san. Due to the severe symptoms, you should go find medicine including true bezoar." Grandma Merchant was tried, so the doctor prescribed and then went out with Romance Merchant. Splendid Phoenix said: " Ginseng is often prepared at home while bezoar is rare. As long as it is a true bezoar, we can buy." Lady King agreed: "I'll ask Madam Margrass. Her son Dragon always does business with traders from the west. Maybe he will have the source to buy." --[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 05:42, 10 May 2022 (UTC)<br />
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When they were talking, a servant replied: "The doctor is coming." Grandma Merchant sat outside the room and Lady King and Lady City were waiting there. The doctor came with Romance Merchant and kowtowed to the Old Lady, then went into Sister Ingenious's room. After a while, he replied to Grandma Merchant: "The young lady had a fever and seizure. She should take anti-fever medicine first then a herbal called Sishen san. Due to the severe symptoms, you should go find true bezoar." Grandma Merchant said she was tried, so the doctor prescribed and then went out with Romance Merchant. Splendid Phoenix said: " Ginseng is often prepared at home but I don't know if there is bezoar.As long as the bezoar is true, we can buy." Lady King agreed: "I'll ask Madam Margrass. Her son Dragon always does business with traders from the west. Maybe he will have the source to buy."--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 06:38, 10 May 2022 (UTC)<br />
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==英语笔译 李思敏 Li Simin 202170081574==<br />
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正说话间，众姊妹都来睄来了。坐了一回，也都跟着贾母等去了。这里煎了药，给巧姐儿灌了下去，只听“喀”的一声，连药带痰都吐出来，凤姐才略放了一点儿心。只见王夫人那边的小丫头，拿着一点儿的小红纸包儿，说道：“二奶奶，牛黄有了。太太说了，叫二奶奶亲自把分两对准了呢。”凤姐答应着，接过来，便叫平儿配齐了真珠、冰片、朱砂，快熬起来。自己用戥子按方秤了，搀在里面，等巧姐儿醒了，好给他吃。只见贾环掀帘进来，说：“二姐姐，你们巧姐儿怎么了？妈叫我来瞧瞧他。”凤姐见了他母子便嫌，说：“好些了。你回去说，叫你们姨娘想着。”<br />
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While they were talking, the girls all came to see Sister Ingenious, sat, and then went out waiting with Grandma Merchant. Once the decoction was done, the maid fed it to Sister Ingenious. With the sound of coughing, she spit out the medicine and sputum, then Splendid Phoenix King felt relieved. A young maid from Lady King's yard took a small red paper-wrapped something,"Concubine, there's calculus bovis. Madam said that you need to measure the weight right in person." Splendid Phoenix King responded and ordered Patience to put real pearls, borneol and cinnabar into the bowl and decoct them. She weighed by herself and mixed this stuff with it, waiting for Sister Ingenious to wake up so that she can drink. Ring Merchant opened the curtain and said, "younger sister, what's wrong with Sister Ingenious? Mom asked me to come and see her. " Splendid Phoenix King detests him and his mother and said, "She gets better. Go back and tell your aunt to continue to care about her. "--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 05:38, 10 May 2022 (UTC)<br />
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==英语笔译 李思源 Li Siyuan 202170081575==<br />
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那贾环口里答应，只管各处瞧看。看了一回，便问凤姐儿道：“你这里听的说有牛黄，不知牛黄是怎么个样儿，给我瞧瞧呢。”凤姐道：“你别在这里闹了，妞儿才好些。那牛黄都煎上了。”贾环听了，便去伸手拿那铞子瞧时，岂知措手不及，“沸”的一声，铞子倒了，火已泼灭了一半。贾环见不是事，自觉没趣，连忙跑了。凤姐急的火星直爆，骂道：“真真那一世的对头冤家！你何苦来还来使促狭！从前你妈要想害我，如今又来害妞儿，我和你几辈子的仇呢！”一面骂平儿不照应。正骂着，只见丫头来找贾环。凤姐道：“你去告诉赵姨娘，说他操心也太苦了！<br />
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Ring Merchant said, looking around. After looking at it for a while, he asked Splendid Phoenix King: "I heard you have bezoar here. I want to see what it looks like." Feng replied, "Don't fool around. Your little sister is recovering. I'm using it to prepare his medicine." Ring Merchant reached out and picked up the pot spoon. Suddenly he knocked it down and half of the fire was put out. Ring Merchant knew that he was in trouble and staying here was a disgrace, so he ran away. Splendid Phoenix King got angry unceasingly, scold a way: "Your family and I are really enemies! Even you messed with it! Your mother used to hurt me, and now turns to Niu, do our families have hatred for generation ?" He chided Patience then for not keeping an eye out. While he was cursing, he saw a servant girl come in to look for Ring Merchant. Splendid Phoenix King said to him, "Please tell Aunt Zhao for me that it is too hard for him to worry about Ring Merchant."<br />
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==英语笔译 李婷 Li Ting 202170081576==<br />
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巧姐儿死定了，不用他惦着了！”平儿急忙在那里配药再熬，那丫头摸不着头脑，便悄悄问平儿道：“二奶奶为什么生气？”平儿将环哥弄倒药铞子说了一遍。丫头道：“怪不得他不敢回来，躲了别处去了。这环哥儿明日还不知怎么样呢！平姐姐，我替你收拾罢。”平儿说：“这倒不消。幸亏牛黄还有一点，如今配好了，你去罢。”丫头道：“我一准回去告诉赵姨奶奶，也省得他天天说嘴。”丫头回去，果然告诉了赵姨娘。赵姨娘气的叫快找环儿。环儿在外间屋子里躲着，被丫头找了来。赵姨娘便骂道：“你这个下作种子！你为什么弄澈了人家的药，招的人家咒骂。<br />
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Sister Ingenious is dying! She needn’t worry!" Patience hurried there to make up the medicine and boil it again. The maid who didn’t know what had happened asked her quietly, "Why is our mistress so angry?" Patience told her how Ring Boy had knocked over the medicine pot. "No wonder that he is afraid to come back." said the maid. "He must be hiding somewhere. Goodness knows what he’ll be up to next! Let me clear up for you, sister." "That's not necessary." Patience replied. "Fortunately, there is a little bezoar left. Now it is ready. You can send it there." "I must go back to tell Concubine Walk. This should stop her singing his praises every day." said the maid. After she turned back, she as expected told Concubine Walk. Concubine Walk was so angry that orders servants to look for her son. Ring who hided in outer room, was found by maids. Concubine Walk then scold way: "you a crap! Why do you spill their medicine, giving them a chance to curse us?<br />
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Sister Ingenious is dying! There's no need for him to worry about!" Patience hurried there to make up the medicine and boil it again. The maid confused what had happened and asked her quietly, "Why is our mistress so mad?" Patience told her how Ring Boy had knocked over the medicine pot. "No wonder that he is afraid to come back." said the maid. "He must be hiding somewhere. Goodness knows what he’ll be up to next! Let me deal with this matter for you, sister." "That's not necessary." Patience replied. "Fortunately, there is a little bezoar left. Now it is ready. You can send it there." "I must go back to tell Concubine Walk. This should stop her singing his praises every day." said the maid. After she turned back, she as expected told Concubine Walk. Concubine Walk was so angry that orders servants to look for her son. Ring who hided in outer room, was found by maids. Concubine Walk then scold way: "you a crap! Why do you spill their medicine, giving them a chance to curse us?--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 05:32, 10 May 2022 (UTC)Li Ying<br />
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==英语笔译 李颖 Li Ying 202170081578==<br />
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我原叫你去问一声，不用进去。你偏进去，又不就走，还要‘虎头上捉虱子’。你看我回了老爷，打你不打！”这里赵姨娘正说着，只听贾环在外间屋子里，更说出些惊心动魄的话来。话说赵姨娘正在屋里抱怨贾环，只听贾环在外间屋里发话道：“我不过弄倒了药铞子，澈了一点子药，那丫头子又没就死了，值的他也骂我，你也骂我，赖我心坏，把我往死里糟踏。等着我明儿还要那小丫头子的命呢！看你们怎么着！只叫他们隄防着就是了。”那赵姨娘赶忙从里间出来，握住他的嘴，说道：“你还只管信口胡唚，还叫人家先要了我的命呢！”娘儿两个吵了一回。<br />
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"I told you to ask her, not to go in.But you went ,you did not leave at once and you continued to ‘catch lice on the tiger' head'."You see, I'm going back to tell your father, and see he'll thrash you or not!”Aunt Marshgrass was whispering inside the room,while Ring Merchant outside the room speak more thrilling words.It was said that Aunt Marshgrasst was complaining about Ring Merchant in the house, only heard that Ring Merhcant said in the outer room: ““All I did was upset the skillet and spill some medicine I didn't kill the brat! Why should everyone curse me as if I were poisonous? Do you want to hound me to death? I still need the girl to stay here!So what’s your attitude toward this? Just call them to guard against it.”Aunt Marshgrass hurried from the inside room and covered his mouth said: “Don't say such silly words, do you want others to kill you first?”Both of them had a quarrel.<br />
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==英语笔译 李媛 Li Yuan 202170081579==<br />
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赵姨娘听见凤姐的话，越想越气，也不着人来安慰凤姐一声儿。过了几天，巧姐儿也好了。因此，两边结怨比从前更加一层了。一日，林之孝进来回道：“今日是北静郡王生日，请老爷的示下。”贾政吩咐道：“只按向年旧例办了，回大老爷知道，送去就是了。”林之孝答应了，自去办理。不一时，贾赦过来同贾政商议带了贾珍、贾琏、宝玉去与北静王拜寿。别人还不理论，惟有宝玉素日仰慕北静王的容貌威仪，巴不得常见才好，遂连忙换了衣服，跟着来到北府。贾赦贾政递了职名候谕。不多时，里面出来了一个太监，手里掐着数珠儿。<br />
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After hearing what Sister Phoenix had said, Concubine Zhao could not allay her anger, and then sent nobody to comfort her. A couple of days later, Sister Ingenious fully recovered. Therefore, the feud between the two families was deepened again. One day, Filial Piety Forest came in and reported to Master Merchant. "Today is the Prince of North Quietness's birthday. Is there any special order, sir?" he asked. "Just sent something usual, and report to the Big Master before that," Master Merchant told him. Filial Piety Forest took the instruction and went to deal with it. After a while, Pardon Merchant came to discuss with Master Merchant about taking Treasure Merchant, Romance Merchant and Precious Jade together to offer birthday felicitations to the Prince. For others, there is no more to say, while Precious Jade， who respected and admired the eye-catching appearance and the gentle air of the Prince, must hope to visit him more often. Then, he got dressed in a hurry and went to the Palace of the Prince with others. Arriving there, Pardon Merchant and Master Merchant showed their identity and office position. An eunuch with several beads in his hand came out before long.<br />
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==英语笔译 李梓婕 Li Zijie 202170081580==<br />
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见了贾赦贾政，笑嘻嘻的说道：“二位老爷好？” 贾赦贾政也都赶忙问好，他兄弟三人也过来问了好。那太监道：“王爷叫请进去呢。”于是爷儿五个跟着那太监进入府中。过了两层门，转过一层殿去，里面方是内宫门。刚到门前，大家站住，那太监先进去回王爷去了。这里门上小太监都迎着问了好。一时，那太监出来说了个“请“字，爷儿五个肃敬跟入。只见北静郡王穿着礼服，已迎到殿门廊下。贾赦贾政先上来请安，捱次便是珍、琏、宝玉请安。那北静郡王单看宝玉道：“我久不见你，很惦记你。”因又笑问道：“你那块玉儿好？”<br />
And he beamed at the sight of them, asking:“How are you two gentlemen?”Pardon Merchant and Master Merchant greeted him in return, and the three young men followed suit.“His Highness asks you to come in,” said the eunuch.The five of them followed him in past two gates and one court to the inner palace gate, where they halted while he went in to announce their arrival and the young eunuchs there stepped forward to greet them.Before long, the eunuch returned to invite them in, and they followed him respectfully. The Prince of Beijing in ceremonial robes had come out to the corridor to meet them. First Their Lordships stepped forward to pay their respects, and after them Master Merchant, Romance Merchant and Precious Jade Merchant .The prince took Precious Jade Merchant by the hand. “It’s so long since I saw you, he said, “I’ve been thinking of you.” With a smile he asked, “Have you kept that jade of yours safe?”<br />
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==英语笔译 梁思婷 Liang Siting 202170081581==<br />
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宝玉躬着身打着一半千儿回道：“蒙王爷福庇，都好。”北静王道：“今日你来，没有什么好东西给你吃的，倒是大家说说话儿罢。”说着，几个老公打起帘子。北静王说“请。”自己却先进去，然后贾赦等都躬着身跟进去。先是贾赦请北静王受礼，北静王也说了两句谦辞。那贾赦早已跪下，次及贾政等捱次行礼，自不必说。那贾赦等复肃敬退出，北静王吩咐太监等让在众戚旧一处，好生款待，却单留宝玉在这里说话儿，又赏了坐。宝玉又磕头谢了恩，在挨门边绣墩上侧坐，说了一回读书作文诸事。<br />
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==英语笔译 廖诗韵 Liao Shiyun 202170081582==<br />
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北静王甚加爱惜，又赏了茶，因说道：“昨儿巡抚吴大人来陛见，说起令尊翁前任学政时，秉公办事，凡属生童，俱心服之至。他陛见时，万岁爷也曾问过，他也十分保举，可知是令尊翁的喜兆。”宝玉连忙站起，听毕这一段话，才回启道：“此是王爷的恩典，吴大人的盛情。”正说着，小太监进来回道：“外面诸位大人老爷都在前殿谢王爷赏宴。”说着，呈上谢宴并请午安的帖子来。北静王略看了一看，仍递给小太监，笑了一笑，说道：“知道了，劳动他们。”那小太监又回道：“这贾宝玉，王爷单赏的饭预备了。”<br />
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Hearing his words, the King of North liked Precious Jade more. He gave Precious Jade some tea and said: "Governor Wu came to visit His Majesty yesterday. He told me that your father worked justly as the former educational administrator and gained the respect of all the candidates. When His Majesty inquired, Governor Wu also highly recommended your father. A good omen for him." Precious Jade quickly stood up, and after the King of North finished his words, Precious Jade replied: "Great Thanks for your lordship's favor and Fovernor Wu's kindness." At this moment, a little eunuch came in and reported: "lords outside are in the front hall presenting their gratitude for your lordship's banquet," and handed in their greeting cards. The King of North flipped through these cards and returned them back. He said smilingly: "I see." "And the dinner you prepared specially by Precious Jade is ready," the eunuch continued.<br />
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==英语笔译 刘唱 Liu Chang 202170081583==<br />
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北静王便命那太监带了宝玉到一所极小巧精致的院里，派人陪着吃了饭，又过来谢了恩。北静王又说了些好话儿，忽然笑说道：“我前次见你那块玉，倒有趣儿，回来说了个式样，叫他们也作了一块来。今日你来得正好，就给你带回去顽罢。”因命小太监取来，亲手递给宝玉。宝玉接过来捧着，又谢了，然后退出，北静王又命两个小太监跟出来，才同着贾赦等回来了。贾赦便各自回院里去。这里贾政带着他三人回来见过贾母，请过了安，说了一回府里遇见的人。宝玉又回了贾政，吴大人陛见保举的话。贾政道：“这吴大人，本来咱们相好，也是我辈中人，还倒是有骨气的。”<br />
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North Silence King then asked the eunuch to take Preciou Jade to a small but extremely quaint yard, sent people to sever the meal, and thanked him. After that, North Silence King said something nice and smiled:" Last time I saw your jade and found it interestinng so that I told the craftman the shape and style of that jade and asked them to make one. Now, here you come and just take them back ." Then, he asked the little eunuch to take the jade, and handed it to Precious Jade himself. Precious Jade just held it and thanked North Silence King, then left. North Silence King then asked two eunuchs to escort him and got back with Pardon Merchant. Pardon Merchant just got back to his own yard. Here Master Merchant came to visit Grandma Merchant with three people and wished her good health, then said that he met someone in the mansion. Precious Jade then replied Master Merchant about Master Wu visiting the Baoju. Master Merchant said:" Master Wu gets along well with us and we are of the same generation. He is a tough guy."--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 02:20, 10 May 2022 (UTC)<br />
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==英语笔译 刘乐乐 Liu Lele 202170081584==<br />
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又说了几句闲话儿，贾母便叫“歇着去罢。”贾政退出，珍、琏、宝玉都跟到门口。贾政道：“你们都回去陪老太太坐着去罢。”说着便回房去。刚坐了一坐，只见一个小丫头回道：“外面林之孝请老爷回话。”说着递上个红单帖来，写着吴巡抚的名字。贾政知是来拜，便叫小丫头叫林之孝进来。贾政出至廊檐下。林之孝进来回道：“今日巡抚吴大人来拜，奴才回了去了。再奴才还听见说，现今工部出了一个郎中缺，外头人和部里都吵嚷是老爷拟正呢。”贾政道：“瞧罢咧。”林之孝又回了几句话，才出去了。<br />
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After a little more chat, Grandma Merchant told them to go back to their own apartment. Master Merchant took his leave, Treasure Merchant, Romance Merchant, and Precious Jade following him to the door. Master Merchant said, "you can stay here to accompany the Old Lady. And then he continued his way. Not long after he returned his apartment when a maid came in and gave him a red visiting card with Governor Wu's name on it, reporting, "Filial Piety Forest is waiting outside for your direction." Knowing he came for visiting, Master Merchant told the maid to lead him in and went out to the corrider to speak with him. "Governor Wu came to see you and I informed him that you were out," Filial Piety Forest said, "And I heard that there's a vacancy of Permanent Secretarys in the Ministry of Works. Officials out and in the Ministry all thought it was for you." "We shall see."said Master Merchant. Filial Piety Forest reported a little more and then left.--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:56, 9 May 2022 (UTC)<br />
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After a little more chat, Grandma Merchant told them to go back to their own apartments. Master Merchant took his leave, Treasure Merchant, Romance Merchant, and Precious Jade following him to the door. Master Merchant said, "You three go back the hall to accompany the Old Lady." And then he continued his way. Not long after he returned his apartment, a maid came in and gave him a red visiting card with Governor Wu's name on it, reporting, "Filial Piety Forest is waiting outside with something to report." Knowing Governor Wu came for visiting, Master Merchant told the maid to lead him in and himeself went out to the corrider to wait for him. "Governor Wu came to see you and I informed him that you were out," Filial Piety Forest said, "And I heard that there's a vacancy of Permanent Secretarys in the Ministry of Works. Officials out and in the Ministry all thought it was for you." "We shall see."said Master Merchant. Filial Piety Forest reported a little more and then left.--[[User:Liu Shuangying|Liu Shuangying]] ([[User talk:Liu Shuangying|talk]]) 06:35, 10 May 2022 (UTC)<br />
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==英语笔译 刘双英 Liu Shuangying 202170081585==<br />
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且说珍、琏、宝玉三人回去，独有宝玉到贾母那边，一面述说北静王待他的光景，并拿出那块玉来。大家看着，笑了一回。贾母因命人：“给他收起去罢，别丢了。”因问：“你那块玉好生带着罢，别闹混了。”宝玉在项上摘了下来，说：“这不是我那一块玉？那里就掉了呢！比起来，两块玉差远着呢，那里混得过？我正要告诉老太太；前儿晚上，我睡的时候，把玉摘下来挂在帐子里，他竟放起光来了，满帐子都是红的。”贾母说道：“又胡说了。帐子的檐子是红的，火光照着，自然红是有的。”宝玉道：“不是。那时候灯已灭了，屋里都漆黑的了，还看得见他呢。”<br />
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Treasure Merchant, Romance Merchant and Precious Jade were going back to the hall, merely Precious Jade staying along with Grandma Merchant. Then Precious Jade was talking about how he had been received by Beijing Wang while taking out the jade that the latter gave to him. After seeing the jade, all the people laughed. However, Grandma Merchant ordered the servants,"Preserve the jade well in case of losing." and asked: "Take good care of your own jade. Don't mix." Then Precious Jade took down from his neck his own jade and replied: "Isn't it the jade of mine? How can it be lost? These two jades are different by comparison, so do you think I won't be able to tell them? By the way, I have something to tell you that I took down the jade and hung it on my bed-curtain when I was ready to fall asleep the night before, the bed-curtain reddened by its shines." Grandma Merchant answered: "You must be kidding. The top of the bed-curtain is red and it's natural red after being enlightened by the light in the night." "No. The light had already gone out and the entire room was pitch black, but I still could see its light.<br />
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Treasure Merchant and Romance Merchant returned to their separate apartments, while Precious Jade went back to Grandma Merchant. He was now able to tell her all about his day at the Palace. He described how kindly the Prince had treated him, and took out the jade he had been given, which was passed round and commented on with some amusement. After seeing the jade, all the people laughed. However, Grandma Merchant ordered the servants,"Preserve the jade well in case of losing." and asked: "Take good care of your own jade. Don't mix." Then Precious Jade took down from his neck his own jade and replied: "Isn't it the jade of mine? How can it be lost? These two jades are different by comparison, so do you think I won't be able to tell them? By the way, I have something to tell you that I took down the jade and hung it on my bed-curtain when I was ready to fall asleep the night before, the bed-curtain reddened by its shines." Grandma Merchant answered: "You must be kidding. The top of the bed-curtain is red and it's natural red after being enlightened by the light in the night." "No. The light had already gone out and the entire room was pitch black, but I still could see its light.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 02:13, 10 May 2022 (UTC)<br />
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==英语笔译 刘婷 Liu Ting 202170081586==<br />
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邢王二夫人抿着嘴笑。凤姐道：“这是喜信发动了。”宝玉道：“什么喜信？”贾母道：“你不懂得。今儿个闹了一天，你去歇歇儿去罢，别在这里说呆话了。”宝玉又站了一回儿，才回园中去了。王夫人道：“本来就要去看的，因凤丫头为巧姐儿病着，耽搁了两天，今日才去的。这事我们都告诉了，姨妈倒也十分愿意，只说蟠儿这时侯不在家，目今他父亲没了，只得和他商量商量再办。”贾母道：“这也是情理的话。既这么样，大家先别提起，等姨太太那边商量定了再说。”<br />
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Lady Xing and Lady Wang exchanged a meaningful smile. A certain rosy' event had been much in the forefront of their minds recently. Xi-feng too could not restrain herself from remarking cryptically: “No doubt this heralds the Big Event. ” “What big event?” asked Bao-yu. “Nothing you would understand,” put in Grandmother Jia promptly. “Now come along. It's been a hectic day for you, and you ought to go and rest, and not waste any more time here telling tall stories. ” Bao-yu stayed a minute or two longer and then returned to the Garden. “Yes Mother, we have,” replied Lady Wang. “Feng has been so busy with little Qiao-jie the last few days, and we just haven't had a chance to go until today. Anyway, my sister seems very happy with the idea, but she says she will have to wait until Pan comes home before saying anything final. She must consult him first, as the eldest man in the family.” “Quite right,” said Grandmother Jia. “We shall have to bide our time until they have had a chance to talk it over. In the meantime, not a word of this to anyone.”<br />
<br />
Lady Xing and Lady Wang exchanged a meaningful smile. A certain rosy' event had been much in the forefront of their minds recently. Sister Phoenix too could not restrain herself from remarking cryptically: “No doubt this heralds the Big Event. ” “What big event?” asked Precious Jade. “Nothing you would understand,” put in Grandma Merchant promptly. “Now come along. It's been a hectic day for you, and you ought to go and rest, and not waste any more time here telling tall stories. ” Precious Jade stayed a minute or two longer and then returned to the Garden. “Yes Mother, we have,” replied Lady Wang. “Feng has been so busy with Sister Ingenious the last few days, and we just haven't had a chance to go until today. Anyway, my sister seems very happy with the idea, but she says she will have to wait until Pan comes home before saying anything final. She must consult him first, as the eldest man in the family.” “Quite right,” said Grandma Merchant. “We shall have to bide our time until they have had a chance to talk it over. In the meantime, not a word of this to anyone.”<br />
--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 02:34, 10 May 2022 (UTC)<br />
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==英语笔译 刘瑶 Liu Yao 202170081587==<br />
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不说贾母处谈论亲事。且说宝玉回到自己房中，告诉袭人道：“老太太与凤姐姐方才说话，含含糊糊，不知是什么意思？”袭人想了想，笑了一笑道：“这个，我也猜不着。但只刚才说这些话时，林姑娘在跟前没有？”宝玉道：“林姑娘才病起来，这些时何曾到老太太那边去呢？”正说着，只听外间屋里麝月与秋纹拌嘴。袭人道：“你两个又闹什么？”麝月道：“我们两个斗牌，他赢了我的钱，他拿了去；他输了钱，就不肯拿出来。这也罢了，他倒把我的钱都抢了去了。”宝玉笑道：“几个钱，什么要紧？傻丫头，不许闹了！”<br />
<br />
But no more of their discussion about Precious Jade’s marriage. Precious Jade back in his own quarters told Aroma, "Just now my grandmother and Sister Phoenix were talking so cryptically, I'd no idea what they meant." Aroma reflected, then smiled.“I can't guess either,” she said. “Was Miss Lin there at the time?”“No, she hasn’t been over there recently—she's only just left her bed.”Just then they heard a quarrel break out in the outer room between Musk Deer Month and Autumn Vein.“What are you two scrapping about now?” called Aroma. "We were playing cards," said Musk Deer Month, coming in. “When she won she took my money, but when I won she wouldn’t pay. To make it worse, she grabbed my whole bank too.”“What does a little money matter?” chuckled Precious Jade. “Stop making such a noise, you silly things.”<br />
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==英语笔译 刘珍 Liu Zhen 202170081588==<br />
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说的两个人都咕嘟着嘴，坐着去了。这里袭人打发宝玉睡下。不提。却说袭人听了宝玉方才的话，也明知是给宝玉提亲的事，因恐宝玉每有痴想，这一提起，不知又招出他多少呆话来，所以故作不知。自己心上，却也是头一件关切的事。夜间躺着，想了个主意：不如去见见紫鹃，看他有什么动静，自然就知道了。次日，一早起来，打发宝玉上了学，自己梳洗了，便慢慢的去到潇湘馆来。只见紫鹃正在那里掐花儿呢，见袭人进来，便笑嘻嘻的道：“姐姐屋里坐着。”袭人道：“坐着，妹妹，掐花儿呢吗？姑娘呢？”紫鹃道：“姑娘才梳洗完了，等着温药呢。”<br />
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They both pouted and went off in high dudgeon,while Xiren helped Baoyu to bed.Now Aroma was sure that the mysterious conversation Bao-yu had referred to in some way concerned his betrothal. She had only feigned ignorance for fear that in his present mood, mention of such a touchy subject might provoke another of his fits.She herself was most anxious to know the latest news,and while she lay, awake that night she decided to go and see Nightingale first thing in the morning. Nightingale would be sure to know, and would be able to tell her what was going on.And so the next day she rose early, and after seeing Bao-yu off to school, completed her own toilet and strolled through the Garden to the Naiad's House.Nightingale was out in the front courtyard picking flowers, and greeted her with a smile:“Hello, Aroma. Do come in and sit down.”“Thank you.Busy with your flowers, Where's your young lady?”“She has lust finished her toilet.She's waiting for her medicine to be warmed up.”<br />
<br />
They both pouted and went off in high dudgeon, while Aroma helped Precious Jade Merchant to bed. Now Aroma was sure that the mysterious conversation Precious Jade Merchant had referred to in some way concerned his betrothal. She had only feigned ignorance for fear that in his present mood, mention of such a touchy subject might provoke another of his fits. She herself was most anxious to know the latest news, and while she lay, awake that night she decided to go and see Nightingale first thing in the morning. Nightingale would be sure to know, and would be able to tell her what was going on. And so the next day she rose early, and after seeing Precious Jade Merchant off to school, completed her own toilet and strolled through the Garden to the Bamboo Lodge. Nightingale was out in the front courtyard picking flowers, and greeted her with a smile:“ Hello, Aroma. Do come in and sit down.”“Thank you. Busy with your flowers? Where's your young lady?”“She has lust finished her toilet. She's waiting for her medicine to be warmed up.”--[[User:Long Hanliang|Long Hanliang]] ([[User talk:Long Hanliang|talk]]) 01:45, 10 May 2022 (UTC)<br />
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==英语笔译 龙翰良 Long Hanliang 202170081589==<br />
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紫鹃一面说着，一面同袭人进来。见了黛玉正在那里拿着一本书看，袭人陪着笑道：“姑娘怨不得劳神，起来就看书。我们宝二爷念书，若能像姑娘这样，岂不好了呢。”黛玉笑着把书放下。雪雁已拿着个小茶盘里托着一钟药，一钟水，小丫头在后面捧着痰盒漱盂进来。原来袭人来时，要探探口气，坐了一回，无处入话。又想着黛玉最是心多，探不成消息，再惹着了他，倒是不好。又坐了坐，搭赸着辞了出来了。将到怡红院门口，只见两个人在那里站着呢，袭人不便往前走。那一个早看见了，连忙跑过来。<br />
<br />
As Nightingale spoke，she entered with Aroma inside, where Mascara Jade Forest was reading. "No wonder you wear yourself out, miss, reading as soon as you get up," said Aroma cheerfully. "I only wish our Master Bao would study as hard as you do!" Mascara Jade Forest smilingly put down her book. By now Snowgoose had brought in a small tray on which were one cup of medicine, another of water, while a young maid behind her was holding a spittoon and rinse-bowl. Aroma had come to size up the situation. But although she sat there for a while she found it impossible to approach the subject; and she did not like to risk upsetting Mascara Jade Forest, sensitive as she was, by fishing for information. So presently she made some excuse to leave. Approaching Happy Red Court, she halted at sight of two people standing outside. One of them, spotting her, hurriedly ran over.<br />
<br />
<br />
As Nightingale spoke，she entered with Aroma inside, where Mascara Jade Forest was reading. "No wonder you wear yourself out, miss, reading as soon as you get up," said Aroma cheerfully. "I only wish our Master Bao would study as hard as you do!" Mascara Jade Forest smilingly put down her book. By now Snowgoose had brought in a small tray on which were one cup of medicine, another of water, while a young maid behind her was holding a spittoon and rinse-bowl. Aroma had come to size up the situation. But although she sat there for a while she found it impossible to approach the subject; and she did not like to risk upsetting Mascara Jade Forest, sensitive as she was, by fishing for information. So presently she made some excuse to leave. Approaching Happy Red Court, she halted at sight of two people standing outside. One of them, spotting her, hurriedly ran over.--[[User:Luo Yaolin|Luo Yaolin]] ([[User talk:Luo Yaolin|talk]]) 13:16, 10 May 2022 (UTC)<br />
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==英语笔译 罗姚林 Luo Yaolin 202170081590==<br />
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袭人一看，却是锄药，因问“你作什么？”锄药道：“刚才芸二爷来了，拿了个帖儿，说给咱们宝二爷睄的，在这里候信。”袭人道：“宝二爷天天上学，你难道不知道？还候什么信呢？”锄药笑道：“我告诉他了，他叫告诉姑娘，听姑娘的信呢。”袭人正要说话，只见那一个也慢慢的蹭了过来。细看时，就是贾芸，溜溜湫湫往这边来了。袭人见是贾芸，连忙向锄药道：“你告诉说：知道了，回来给宝二爷瞧罢。”那贾芸原要过来和袭人说话，无非亲近之意，又不敢造次，只得慢慢踱来。相离不远，不想袭人说出这话，自己也不好再往前走，只好站住。Seeing it's ploughboy, Aroma asked her,"What are you doing here?" "Ruta Merchant came with a note just now to Precious Jade Merchant, so I'm here waiting for him." answered Ploughboy. " Precious Jade Merchant goes to seowon everyday," said Aroma," don't you know that? Why are you still staying here?" Ploughboy answered with a smile, "I've told him already, but he asked me to tell you and wait for your answer." Aroma was about to saying something while the other one was walking nearer slowly. Aroma recognized it's Ruta Merchant after a careful look, thus hurried to tell Ploughboy,"you tell him that I've knew it and will send it to Precious Jade Merchant." Ruta Merchant had planned to talk with Aroma, but had to close to her slowly for fear being thought as impolite. Having heard what Aroma said, he had no reason to walk nearer though not far from them.<br />
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==英语笔译 马艳焕 Ma Yanhuan 202170081591==<br />
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这里袭人已掉背脸往回里去了。贾芸只得怏怏而回，同锄药出去了。晚间，宝玉回房，袭人便回道：“今日廊下小芸二爷来了。”宝玉道：“作什么？”袭人道：“他还有个帖儿呢。”宝玉道：“在那里？拿来我看看。”麝月便走去，在里间屋里书槅子上头拿了来。宝玉接过看时，上面皮儿上写着“叔父大人安禀”。宝玉道：“这孩子怎么又不认我作父亲了？”袭人道：“怎么？”宝玉道：“前年他送我白海棠时，称我作父亲大人，今日这帖子封皮上写着叔父，可不是又不认了么。”袭人道：“他也不害臊，你也不害臊。<br />
Aroma here has turned her head back and went back inside. Rape Merchant had to go back glumly and went out with Ploughboy. In the evening, when Precious Jade returned to his room, Aroma replied, "Master Xiaoyun was here today." Precious Jade asked, "what did he come here for ?" "Left a letter," she said. " Precious Jade asked, "where is it? Bring it to me. " Musk Deer Month went and brought it from the booklet in the inner room. When Precious Jade took it and read it, it read "To My Uncle" on the cover. Precious Jade laughed, "Why doesn't this kid recognize me as a father again?" Aroma said, "what?" Precious Jade said, "when he gave me white begonias the year before last, he called me father. Today, my uncle is written on the cover of this letter. He doesn't recognize me again, does he?" "Neither is he ashamed," Aroma said. "Neither are you.<br />
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<br />
Now that Aroma had turned her back and went inside, Weed Merchant had to go back glumly and went out with Ploughboy. In the evening, when Precious Jade returned to his room, Aroma replied, " Master Weed came here today." Precious Jade asked, " What for ?" “ He left you a letter," she said. " Then Precious Jade asked, " Where is it? Bring it to me. " Musk Deer Month went to fetch it from the booklet in the inner room. When Precious Jade took it, he found a sentence on the cover which reads "To My Uncle". Precious Jade laughed, "Why didn’t he recognize me as his father again?" Aroma asked, " What?" Then Precious Jade said, " When he gave me white begonias the year before last, he referred to me as his father. But now, “my uncle” is written on the cover of this letter. That means he doesn't recognize me again, does he?" " Both of you are really unashamed," Aroma said.--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 05:07, 10 May 2022 (UTC)<br />
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==英语笔译 聂薇 Nie Wei 202170081592==<br />
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他那么大了，倒认你这么大儿的作父亲，可不是他不害臊？你正经连个……”刚说到这里，脸一红，微微的一笑。宝玉也觉得了，便道：“这倒难讲。俗语说：‘和尚无儿孝子多着呢。’只是我看着他还伶俐得人心儿，才这么着；他不愿意，我还不希罕呢。”说着一面拆那帖儿。袭人也笑道：“那小芸二爷也有些鬼鬼头头的。什么时候又要看人，什么时侯又躲躲藏藏的，可知也是个心术不正的货。”宝玉只顾拆开看那字儿，也不理会袭人这些话。袭人见他看那帖儿，皱一回眉，又笑一笑儿，又摇摇头儿，后来光景竟大不耐烦起来。袭人等他看完了，问道：“是什么事情？”<br />
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Given that he is much older than you, isn’t it unabashed of him to treat you as his father? You have never experienced that kind of…” Aroma blushed and smiled gently when talking about this. Precious Jade also realized her implications between the lines, so he explained, “ Well, it’s hard to say. Just as the old saying goes,‘The monks don’t have biological sons, but there are many dutiful people striving to be their submissive and obedient sons.’I am willing to be his father is just because he is smart and adorable. If he is unwilling to do that, I don’t care a dime about it.” He was unwinding the invitation card while speaking. Then Aroma smiled, “ Weed Merchant is also a clever and mischievous man who knows when to sneak out to observe and when to hide. He must also be a person harboring evil intentions.” Being so concentrated on opening the card to read the characters on it, Precious Jade paid no attention to her words. Aroma noticed that, when reading the card, he frowned at one time and smiled at another, and sometimes he just shook his head, then he turned quite impatient at it. When he finished his reading, Aroma asked, “ What is it about?”<br />
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<br />
Given that he is much older than you, isn’t it unabashed of him to treat you as his father? You have never experienced that kind of…” Aroma blushed and smiled gently when talking about this. Having realized her implications between the lines, thus Precious Jade explained, “ Well, it’s hard to say. Just as the old saying goes,‘The monks don’t have biological sons, but there are many dutiful people striving to be their submissive and obedient sons.’ Just because he is smart and adorable, then I'm willing to be his father. If he is unwilling to do that, I don’t care a dime about it.” He was unwinding the invitation card while speaking. Then Aroma smiled, “ Weed Merchant is also a clever and mischievous man who knows when to sneak out to observe and when to hide. He must also be a person harboring evil intentions.” Being so concentrated on opening the card to read the characters on it, Precious Jade paid no attention to her words. Aroma noticed that, when reading the card, he frowned at one time and smiled at another, and sometimes he just shook his head, then he turned quite impatient at it. When he finished his reading, Aroma asked, “ What is it about?”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 05:17, 10 May 2022 (UTC)<br />
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==英语笔译 孙丽君 Sun Lijun 202170081593==<br />
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宝玉也不答言，把那帖子已经撕作几断。袭人见这般光景，也不便再问，便问宝玉：“吃了饭还看书不看？”宝玉道：“可笑芸儿这孩子，竟这样的混帐！”袭人见他所答非所问，便微微的笑着问道：“到底是什么事？”宝玉道：“问他作什么，咱们吃饭罢。吃了饭歇着罢，心里闹的怪烦的。”说着，叫小丫头子点了一个火儿来，把那撕的帖儿烧了。一时，小丫头们摆上饭来，宝玉只是怔怔的坐着。袭人连哄带怄，催着，吃了一口儿饭，便搁下了，仍是闷闷的歪在床上。一时间，忽然吊下泪来。此时袭人麝月都摸不着头脑。<br />
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Without any response, Precious Jade just tore that section into pieces. When catching the sight of such a scene, Aroma didn't bother about the reason, and just asked Precious Jade in a soft voice, "Will you read or not after the meal?" "How ridiculous it is that Ruta is such a bastard!" then Precious Jade replied. Knowing that he gave an irrelevant answer, Aroma then asked with a smile, "What's going on then?" "Why would you ask her? Let's just have the meal. And after the meal, just let me have a good rest. I'm just so vexed." responded Precious Jade. While talking, he just ordered some servant-girl to fire up the scattered section. After a while, the dishes were placed on the table, however, Precious Jade was just sitting there in a trance. Under the appeasement and urge of Aroma, he just ate a little bit, then lying on the bed sulkily. For a short while, tears welled up from his eyes, which made Aroma and Musk Deer Month feel at a loss.<br />
<br />
<br />
Without any response, Precious Jade just tore that letter into pieces. When catching the sight of such a scene, Aroma didn't bother about the reason, and just asked Precious Jade in a soft voice, "Will you read or not after the meal?" "How ridiculous it is that Ruta is such a bastard!" then Precious Jade replied. Getting an irrelevant answer from him, Aroma then asked with a smile, "What's going on then?" "Why did you ask about him? Let's have the meal. And after the meal, just let me have a good rest. I'm so vexed." responded Precious Jade. While talking, he ordered some servant-girl to lit a fire and then burned the scattered letter. After a while, the dishes were placed on the table, however, Precious Jade was just sitting there in a trance. Under the appeasement and urge of Aroma, he just ate a little bit, then lying on the bed sulkily. For a short while, tears welled up from his eyes, which made Aroma and Musk Deer Month feel at a loss.--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 02:40, 10 May 2022 (UTC)<br />
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==英语笔译 仝雨梦 Tong Yumeng 202170081594==<br />
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麝月道：“好好儿的，这又是为什么？都是什么‘芸儿’‘雨儿’的，不知什么事，弄了这么个浪帖子来，惹的这么傻了的是的，哭一会子，笑一会子。要天长日久，闹起这闷葫芦来，可叫人怎么受呢！”说着，竟伤起心来。袭人旁边由不得要笑，便劝道：“好妹妹，你也别怄人了。他一个人就够受了，你又这么着。他那帖子上的事，难道与你相干？”麝月道：“你混说起来了。知道他帖儿上写的是什么混账话，你混往人身上扯。要那么说，他帖儿上只怕倒与你相干呢！”<br />
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"Why are you crying this time with nothing happened?" Musk Deer Month asked, "It's all the fault of some Rape or Rain, who sent you the letter for some business and made you cry and laugh like a fool. If the taciturn boy keeps acting like this, how can we put up with it?" As speaking, she felt very sad. Hearing the words, Aroma can't help laughing by her side and said, "My sister, please do not annoy us anymore. We are overwhelmed by dealing with him, and how could you do that? Or, does that letter have anything to do with you?" "You're talking nonsense!" Musk Deer Month replied, "You don't know what impudent remarks are written in the letter, and how can you connect me with it? According to what you said, then I guess you had something to do with that letter!"<br />
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<br />
"Why carry on like this for no reason at all?" Musk Deer Month asked, "It's all the fault of some Rape or Rain, who sent you the letter for some business and made you cry and laugh like a fool. If he goes on bottling up his feelings like this, what are we to do?" As speaking, she felt very sad. Hearing the words, Aroma can't help laughing by her side and said, "My sister, please do not annoy us anymore. We are overwhelmed by dealing with him, and how could you do that? Or, does that letter have anything to do with you?" "You're talking nonsense!" Musk Deer Month replied, "You don't know what impudent remarks are written in the letter, and how can you connect me with it? According to what you said, then I guess you had something to do with that letter!"--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 04:53, 10 May 2022 (UTC)<br />
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==英语笔译 童略雅 Tong Lueya 202170081595==<br />
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袭人还未答言，只听宝玉在床上“噗哧”的一声笑了，爬起来，抖了抖衣裳，说：“咱们睡觉罢，别闹了。明日我还起早念书呢。”说着便躺下睡了。一宿无话。次日，宝玉起来，梳洗了，便往家塾里去。走出院门，忽然想起，叫焙茗略等，急忙转身回来叫：“麝月姐姐呢？”麝月答应着出来问道：“怎么又回来了？”宝玉道：“今日芸儿要来了，告诉他别在这里闹；再闹，我就回老太太和老爷去了。”麝月答应了。宝玉才转身去了。刚往外走着，只见贾芸慌慌张张往里来。看见宝玉，连忙请安，说：“叔叔大喜了！”<br />
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Before Aroma could answer, Precious Jade burst out laughing and, scrambling off the couch, smoothed out his clothes.“Stop squabbling and let’s sleep now,”he said.“I must get up early tomorrow to go to school.”So they went to bed, passing an uneventful night. The next morning when Precious Jade had dressed, he set off to school. But as he was leaving his compound, struck by a thought he told Tealeaf to wait, then turned to call Musk.“What brings you back?”she asked him, coming out.If Rue Merchant comes again today, tell him not to fool about here.If he does, I’ll tell the old lady and the master.”Musk agreed to this. But Precious Jade had no sooner started off again than he saw Rue Merchant hurrying towards him.At sight of Precious Jade he swept him a bow.“Congratulations, uncle!”<br />
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Before Aroma could reply there was a splutter of laughter from the bed and Precious Jade sat up, gave his clothes a shake and said to them both: “Come on, that's' enough. Let's go to sleep.,”he said.“I must get up early tomorrow to go to school.”So they went to bed, passing an uneventful night. The next morning when Precious Jade had dressed, he set off to school. But as he was leaving his compound, struck by a thought he told Tealeaf to wait, then turned to call Musk.“What brings you back?”she asked him, coming out.If Rue Merchant comes again today, tell him not to fool about here.If he does, I’ll tell the old lady and the master.”Musk agreed to this. But Precious Jade had no sooner started off again than he saw Rue Merchant hurrying towards him.At sight of Precious Jade he swept him a bow.“Congratulations, uncle!”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 09:08, 10 May 2022 (UTC)<br />
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==英语笔译 庹树梅 Tuo Shumei 202170081596==<br />
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那宝玉估量着是昨日那件事，便说道：“你也太冒失了，不管人心里有事没事，只管来搅。”贾芸陪笑道：“叔叔不信，只管瞧去。人都来了，在咱们大门口呢。”宝玉越发急了，说：“这是那里的话！”正说着，只听外边一片声嚷起来。贾芸道：“叔叔听，这不是？”宝玉越发心里狐疑起来，只听一个人嚷道：“你们这些人好没规矩，这是什么地方，你们在这里混嚷！”那人答道：“谁叫老爷升了官呢，怎么不叫我们来吵喜呢？别人家盼着吵还不能呢。”宝玉听了，才知道是贾政升了郎中了，人来报喜的，心中自是甚喜。<br />
You've got a nerve!” Precious Jade retorted, remembering his note of the previous day. Disturbing me when I have other things on my mind.” You can have a look, uncle if you don't believe me. The heralds are already here at the main gate.” More exasperated than ever Precious Jade cried, “What are you talking about?” Just then they heard shouting outside. “Listen, uncle, to that!” This set Precious Jade wondering. “Have you no manners?” they heard someone shout. “How dare you make such a row here?” Another voice answered, “Your master has been promoted! How can you stop us from proclaiming the good news?” Other families would be only too pleased to hear us!” Then Precious Jade realized with delight that they were announcing his father's promotion to be vice-minister.<br />
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==英语笔译 王思琪 Wang Siqi 202170081597==<br />
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连忙要走时，贾芸赶着说道：“叔叔乐不乐？叔叔的亲事要再成了，不用说，是两层喜了。”宝玉红了脸，啐了一口，道：“呸！没趣儿的东西！还不快走呢。”贾芸把脸红了，道：“这有什么的？我看你老人家就不……”宝玉沉着脸道：“就不什么？”贾芸未及说完，也不敢言语了。宝玉连忙来到家塾中，只见代儒笑着说道：“我才刚听见你老爷升了，你今日还来了么？”宝玉陪笑道：“过来见了太爷，好到老爷那边去。”代儒道：“今日不必来了，放你一天假罢。可不许回园子里顽去。你年纪不小了，虽不能办事，也当跟着你大哥他们学学才是。”<br />
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When he was about to leave, Jia Yun hurriedly said, "Uncle is not happy?" The uncle's marriage is going to be done again, needless to say, it is two jubilant events. Precious Jade blushed, took a bite, and said, "Yuck! Something boring! Don't go fast yet. Jia Yun blushed and said, "What's this?" I don't see your old man..." Precious Jade said with a calm face, "Nothing?" Jia Yun didn't have time to finish speaking, and he didn't dare to speak. Precious Jade hurried to the home school, only to see Dai Ru smile and say, "I just heard that your old master has been promoted, are you still here today?" Bao Yu smiled and said, "Come and see The Master, so I can go to the Old Master's side." Dai Ru said, "You don't have to come today, just let you take a day off." You are not allowed to go back to the garden. You are not young, although you can't do things, you should follow your eldest brother and learn from them. ”<br />
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When he was about to leave, Rue Merchant hurriedly said, "Uncle is not happy?" The uncle's marriage is going to be done again, needless to say, it is two jubilant events. Precious Jade blushed, took a bite, and said, "Yuck! Something boring! Don't go fast yet. Rue Merchant blushed and said, "What's this?" I don't see your old man..." Precious Jade said with a calm face, "Nothing?" Rue Merchant didn't have time to finish speaking, and he didn't dare to speak. Precious Jade hurried to the home school, only to see Mascara Jade smile and say, "I just heard that your old master has been promoted, are you still here today?" Precious Jade smiled and said, "Come and see The Master, so I can go to the Old Master's side." Mascara Jade said, "You don't have to come today, just let you take a day off." You are not allowed to go back to the garden. You are not young, although you can't do things, you should follow your eldest brother and learn from them. ”--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 13:25, 10 May 2022 (UTC)<br />
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==英语笔译 王亚娟 Wang Yajuan 202170081598==<br />
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宝玉答应着回来。刚走到二门口，只见李贵走来迎着，旁边站住，笑道：“二爷来了么？奴才才要到学里请去。”宝玉笑道：“谁说的？”李贵道：“老太太才打发人到院里去找二爷，那边的姑娘们说；二爷学里去了。刚才老太太打发人出来，叫奴才去给二爷告几天假，听说还要唱戏贺喜呢。二爷就来了。”说着，宝玉自己进去。进了二门，只见满院里丫头老婆都是笑容满面；见他来了，笑道：“二爷这早晚才来，还不快进去给老太太道喜去呢。”宝玉笑着进了房门，只见黛玉挨着贾母左边坐着呢，右边是湘云。<br />
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Precious Jade promised while going back. Just walked to the second door, only to see Expensive Plum came to meet, standing besides, he smiled and said: "You come. The slave only to go to the school to invite." Precious Jade laughed and said: "Who said that?" The old lady just sent someone to the courtyard to find you, and the girls there said you went to school. Just now the old lady sent someone out, asked the servant to go to school to ask for a few days off for you. I heard that there will be singing to celebrate. Then you are coming." . When Precious Jade entered the second door, he saw that all the maids and wives in the courtyard were full of smiles; when they saw him coming, they laughed and said, "You are late, so why don't you go in to celebrate the old lady?" Precious Jade smiled and entered the room, only to see Mascara Jade sitting next to Mother Merchant's left, right is Fragrant-cloud.<br />
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Precious Jade assented and went home. At the inner gate he met Value Plum coming out.“So here you are, young master!” The steward halted, smiling. “I was just going to the school to fetch you.” “On whose instructions?” “The old lady sent to find you, and your maids said you’d gone to school. So just now she sent again to tell me to ask for a few days’ leave for you — I hear operas will be put on to celebrate. You’ve turned up just in time, Master Jade.” Passing through the gate, Precious Jade observed that all the maids and matrons in the court were beaming. “Why so late, Master?” they cried. “Go in and congratulate the old lady, quick!” Precious Jade entered his grandmother’s room and his face lit up when he saw Mascara Jade sitting on her left, Fragrant Cloud on her right.--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 14:26, 10 May 2022 (UTC)<br />
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==英语笔译 肖冬晴 Xiao Dongqing 202170081599==<br />
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地下邢王二夫人、探春、惜春、李纨、凤姐、李纹、李绮、邢岫烟一干姐妹，都在屋里，只不见宝钗、宝琴、迎春三人。宝玉此时喜的无话可说，忙给贾母道了喜，又给邢王二夫人道喜，一一见了众姐妹，便向黛玉笑道：“妹妹身体可大好了？”黛玉也微笑道：“大好了。听见说二哥哥身上也欠安，好了么？”宝玉道：“可不是，我那日夜里，忽然心里疼起来，这几天刚好些，就上学去了，也没能过去看妹妹。”黛玉不等他说完，早扭过头和探春说话去了。凤姐在地下站着，笑道：“你两个那里像天天在一处的，倒像是客一般，有这些套话，可是人说的‘相敬如宾’了。”<br />
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By Grandma Merchant’s side stood Lady City, Lady King, Seeking-spring, and the girls as Cherishing-spring, Silk Plum, Splendid Phoenix, Streak Plum, Satin Plum and Cave Cloud. Yet Precious Hairpin, Precious Strings and Spring Pleasure were not present. Precious Jade, now over the moon, hurriedly congratulated his grandmother on his father’s promotion, and extended his wishes to his aunt and mother. After greeting the sisters, he came to Mascara Jade, smiling “How are you these days, sister?” Mascara Jade flashed a quick smile, answering “I’m fully recovered now. How about you, brother? I heard that you fell ill the other day. Do you feel any better now?” Precious Jade said, “Tell me about it! A sudden pang stroke me in the heart the other night. When the pain relieved, I had to go to school and failed to spare some time to pay you a visit.” Before he finished the sentence, Mascara Jade had already turned to Seeking-spring. Seeing this, Splendid Phoenix smiled and said, “You two are behaving like guests, not like inseparables,” she teased. “All these civilities! Well, as the saying goes, ‘you show each other respect as to a guest.’”<br />
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==英语笔译 肖佳莉 Xiao Jiali 202170081600==<br />
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说的大家一笑。林黛玉满脸飞红，又不好说，又不好不说，迟了一会儿，才说道：“你懂得什么！”众人越发笑了。凤姐一时回过味来，才知道自己出言冒失，正要拿话岔时，只见宝玉忽然向黛玉道：“林妹妹，你睄芸儿这种冒失鬼。”说了一句，方想起来，便不言语了。招的大家又都笑起来，说：“这从那里说起？”黛玉也摸不着头脑，也跟着讪讪的笑。宝玉无可搭赸，因又说道：“可是刚才我听见有人要送戏，说是几儿？”大家都瞅着他笑。凤姐儿道：“你在外头听见，你来告诉我们，你这会子问谁呢？”<br />
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==英语笔译 谢晓莹 Xie Xiaoying 202170081601==<br />
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宝玉得便说道：“我外头再去问问去。”贾母道：“别跑到外头去。头一件，看报喜的笑话；第二件，你老子今日大喜，回来碰见你，又该生气了。”宝玉答应了个“是”，才出来了。这里贾母因问凤姐：“谁说送戏的话？”凤姐道：“说是舅太爷那边说：后儿日子好，送一班新出的小戏儿给老太太、老爷、太太贺喜。”因又笑着说道：“不但日子好，还是好日子呢。”说着这话，却瞅着黛玉笑。黛玉也微笑。王夫人因道：“可是呢，后日还是外甥女儿的好日子呢。”贾母想了一想，也笑道：“可见我如今老了，什么事都糊涂了。<br />
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“I’ll go and find out,” he offered. “Don’t go running around outside,” warned the old lady. “For one thing, the heralds would laugh at you. For another, your father’s in a good humour today, but if he saw you outside he would be angry.” “Yes, madam,” said Precious Jade, then slipped away. The old lady asked Sister Phoenix, “Who’s talked of presenting operas?” “Uncle King. He said that the day after tomorrow, which is an auspicious day, he’ll send over a new company of actresses to congratulate you, madam, as well as the master and mistress.” She added with a twinkle, “It’ll not only be an auspicious day but a happy occasion too. That day...” She winked at Mascara Jade, who smiled back. “Why, of course!” exclaimed Lady King. “It’s our niece’s birthday.” The old lady thought for a second and then said, “It shows I’m growing old, I get so muddled.<br />
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==英语笔译 熊嘉玲 Xiong Jialing 202170081602==<br />
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亏了有我这凤丫头，是我个‘给事中’。既这么着，很好。他舅舅家给他们贺喜，你舅舅家就给你做生日，岂不好呢。”说的大家都笑起来，说道：“老祖宗说句话儿，都是上篇上论的；怎么怨得有这么大福气呢。”说着，宝玉进来，听见这些话，越发乐的手舞足蹈了。一时大家都在贾母这边吃饭，甚热闹，自不必说。饭后，那贾政谢恩回来，给宗祠里磕了头，便来给贾母磕头。站着说了几句话，便出去拜客去了。这里接连着亲戚族中的人，来来去去，闹闹穰穰，车马填门，貂蝉满座，真个是：花到正开蜂蝶闹，月逢十足海天宽。<br />
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==英语笔译 颜媛 Yan Yuan 202170081603==<br />
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如此两日，已是庆贺之期。这日一早，王子腾和亲戚家已送过一班戏来，就在贾母正厅前，搭起行台。外头爷们都穿着公服陪侍。亲戚来贺的约有十余桌酒。里面为着是新戏，又见贾母高兴，便将琉璃戏屏隔在后厦，里面也摆下酒席。上首薛姨妈一桌，是王夫人宝琴陪着；对面老太太一桌，是邢夫人岫烟陪着。下面尚空两桌，贾母叫他们快来。一回儿，只见凤姐领着众丫头，都簇拥着林黛玉来了。黛玉略换了几件新鲜衣服，打扮得宛如嫦娥下界，含羞带笑的，出来见了众人。湘云、李纹、李纨都让他上首座，黛玉只是不肯。<br />
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==英语笔译 杨心怡 Yang Xinyi 202170081604==<br />
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贾母笑道：“今日你坐了罢。”薛姨妈站起来问道：“今日林姑娘也有喜事么？”贾母笑道：“是他的生日。”薛姨妈道：“咳，我倒忘了。”走过来说道：“恕我健忘，回来叫宝琴过来拜姐姐的寿。”黛玉笑说“不敢”。大家坐了。那黛玉留神一看，独不见宝钗，便问道：“宝姐姐可好么？为什么不过来？”薛姨妈道：“他原该来的，只因无人看家，所以不来。”黛玉红着脸，微笑道：“姨妈那里又添了大嫂子，怎么倒用宝姐姐看起家来？大约是他怕人多热闹，懒待来罢。我倒怪想他的。”薛姨妈笑道：“难得你惦记他。他也常想你们姐妹们，过一天，我叫他来大家叙叙。”<br />
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Grandma Merchant smiled and said, "Today you sit down." Aunt Marshgrass stood up and asked, "Does Miss Lin also have a happy occasion today?" Jia mother laughed and said, "It's his birthday." Aunt Marshgrass said, "Ahem, I forgot about that." She came over and said, "Forgive my forgetfulness, but come back and ask Baoqin to come over to pay respect to your sister's birthday." Daiyu smiled and said, "I wouldn't dare." Everyone sat down. She asked, "How is sister Bao? Why isn't she coming?" Aunt Marshgrass said, "He should have come, but he didn't come because there was no one to look after him." The first time I saw you, I was so happy. It's probably because he was afraid of the crowds and didn't want to come. I do miss him." Aunt Marshgrass laughed and said, "It's rare that you miss him. He often misses you sisters too, so I'll ask him to come over one day to catch up."<br />
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==英语笔译 杨紫微 Yang Ziwei 202170081605==<br />
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说着，丫头们下来斟酒上菜，外面已开戏了。出场自然是一两出吉庆戏文。乃至第三出，只见金童玉女，旗幡宝幢，引着一个霓裳羽衣的小旦，头上披着一条黑帕，唱了一回儿进去了。众皆不识，听见外面人说：“这是新打的《蕊珠记》里的‘冥升’。小旦扮的是嫦娥，前因堕落人寰，几乎给人为配；幸亏观音点化，他就未嫁而逝。此时升引月宫。不听见曲里头唱的：‘人间只道风情好，那知道秋月春花容易抛，几乎不把广寒宫忘却了！’“第四出是“吃糠”。第五出是达摩带着徒弟过江回去。正扮出些海市蜃楼，好不热闹。<br />
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==英语笔译 张国浩 Zhang Guohao 202170081606==<br />
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众人正在高兴时，忽见薛家的人满头汗闯进来，向薛蝌说道：“二爷快回去！并里头回明太太，也请速回去，家中有要紧事。”薛蝌道：“什么事？”家人道：“家去说罢。”薛蝌也不及告辞，就走了。薛姨妈见里头丫头传进话去，更骇得面如土色，即忙起身，带着宝琴，别了一声，即刻上车回去了。弄得内外愕然。贾母道：“咱们这里打发人跟过去听听，到底是什么事，大家都关切的。”众人答应了个“是”。不说贾府依旧唱戏，单说薛姨妈回去，只见有两个衙役站在二门口，几个当铺里伙计陪着，说：“太太回来，自有道理。”<br />
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At that time, as everyone was happy, one of the Marshgrass family’s servants burst into the yard, with his face dripping with sweat, and hurried over to Tadpole Marshgrass’s table. “Master Marshgrass, please go home quickly!And give this message to Madame that she must go home too. It is very urgent!” he said. “What happened?” asked Tadpole Marshgrass. The servant said: “I will tell you when we get home, sir.” Without stopping to thank his hosts, Tadpole Marshgrass followed the servant out of the yard, sending a young maid to deliver the message to Aunt Marshgrass. When Aunt Marshgrass heard the news, her face went pale. Taking Precious Strings with her, she made a distracted farewell and went straight out to her carriage, leaving others in a state of high alarm. Grandma Merchant said: “We had better send someone over with them. We are all anxious to learn what this is all about.” They all agreed. Those performers continued with their programme. Now let us talk about Aunt Marshgrass. She arrived at home and saw two yamen runners waiting in the inner gate. Some employees from the family pawnshop were with them. They said: “When lady Marshgrass arrives, she will be able to explain everything.”<br />
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==英语笔译 张姣玲 Zhang Jiaoling 202170081607==<br />
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正说着，薛姨妈已进来了。那衙役们见跟从着许多男妇，簇拥着一位老太太，便知是薛蟠之母。看见这个势派，也不敢怎么，只得垂手侍立，让薛姨妈进去了。那薛姨妈走到厅房后面，早听见有人大哭，却是金桂。薛姨妈赶忙走来，只见宝钗迎出来，满面泪痕，见了薛姨妈，便道：“妈妈听了，先别着急，办事要紧。”薛姨妈同着宝钗进了屋子，因为头里进门时，已经走着听见家人说了，吓的战战兢兢的了，一面哭着，因问：“到底是合谁？”只见家人回道：“太太此时且不必问那些底细。凭他是谁，打死了总是要偿命的，且商量怎么办才好。”<br />
The runners, at the arrival of an old lady attended by so many servants, knew that this must be Dragon Marshgrass’s mother. And as she looked someone of consequence they kept themselves in check, standing at attention to let her pass. She went to the back from whence came sounds of wailing, and discovered Jingui there. As she hurried forward Precious Hairpin came out to meet her, her face wet with tears. “So you’ve heard the news, mother,” she said. “Don’t worry. We must find some way to square things!” Aunt Marshgrass went inside with her daughter, trembling with fright after having heard from the servants in the court what her son had done. “Whom had he been quarrelling with?” she asked tearfully. “Don’t try to get to the bottom of it now, madam,” they urged her. “Taking a life is a capital offence regardless of persons. We had better discuss what to do.”<br />
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Aunt Marshgrass arrived as the conversations were going on. The runners, at the arrival of an old lady attended by so many servants, knew that this must be Dragon Marshgrass’s mother. And as she looked someone of consequence they kept themselves in check, standing at attention to let her pass. She went to the back from whence came sounds of wailing, and discovered Goldish Osmanthus there. As she hurried forward Precious Hairpin came out to meet her, her face wet with tears. “So you’ve heard the news, mother,” she said. “Don’t worry. We must find some way to settle things!” Aunt Marshgrass went inside with her daughter, trembling with fright after having heard from the servants in the court what her son had done. “Whom had he been quarrelling with?” she asked tearfully. “Don’t try to get to the bottom of it now, madam,” they urged her. “Taking a life is a capital offence regardless of persons. We had better discuss what to do.”--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 02:21, 10 May 2022 (UTC)<br />
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==英语笔译 张瑞 Zhang Rui 202170081608==<br />
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薛姨妈哭着出来道：“还有什么商议？”家人道：“依小的们的主见，今夜打点银两，同着二爷赶去，和大爷见了面，就在那里访一个有斟酌的刀笔先生，许他些银子，先把死罪撕掳开，回来再求贾府去上司衙门说情。还有外面的衙役，太太先拿出几两银子来打发了他们，我们好赶着办事。”薛姨妈道：“你们找着那家子，许他发送银子，再给他些养济银子。原告不追，事情就缓了。”宝钗在帘内说道：“妈妈，使不得。这些事，越给钱越闹的凶，倒是刚才小厮说的话是。”薛姨妈又哭道：“我也不要命了，赶到那里见他一面，同他死在一处就完了。”<br />
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Aunt Marshgrass came out crying, "What else is there to discuss?" The family servants said, "According to our opinion, tonight we should just give some silver. Contact with the second master and the great master to visit a deliberate judge. We promise to offer him some silver, asking him to get rid of the capital crime first, and then ask the Merchant Family to intercede for us. There were also servants outside, and the Lady should first took out a few pieces of silver to send them off, so it is convenient to do our business." Aunt Marshgrass said, "You go and look for the family, promise to compensade them silver, and give him some extra money. If the plaintiff would not pursue, the matter is much easier to deal with." Precious Hairpin said inside the curtain, "Mother, I don't think so. As for these things, the more money is given, the more fierce it would be. What the servant said was rather reasonable." Aunt Marshgrass cried again, "I don't want to live. I would just rush there to see him and die with him there." ”<br />
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Aunt Marshgrass came out crying, "What else is there to discuss?" The family servants said, "According to our opinion, tonight we should just give some silver. Contact with the second master and the great master to visit a deliberate judge. We promise to offer him some silver, asking him to get rid of the capital crime first, and then ask the Merchant Family to intercede for us. There were also servants outside, and the Lady should first took out a few pieces of silver to send them off, so it is convenient to do our business." Aunt Marshgrass said, "You go and look for the family, promise to compensate them silver, and give some extra money. If the plaintiff would not pursue, the matter is much easier to deal with." Precious Hairpin said behind the curtain, "Mother, I don't think so. As for these things, the more money is given, the more fierce it would be. What the servant said was rather reasonable." Aunt Marshgrass cried again, "I don't want to live. I would just rush there to see him and die with him there." --[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 11:43, 10 May 2022 (UTC)<br />
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==英语笔译 赵宇翔 Zhao Yuxiang 202170081609==<br />
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宝钗急的一面劝，一面在帘子里叫人：“快同二爷办去罢。”丫头们搀进薛姨妈来。薛蝌才往外走，宝钗道：“有什么信，打发人即刻寄了来，你们只管在外头照料。”薛蝌答应着去了。这宝钗方劝薛姨妈，那里金桂趁空儿抓住香菱，又和他嚷道：“平常你们只管夸他们家里打死了人，一点事也没有，就进京来了的；如今撺掇的真打死人了。平日里只讲有钱，有势，有好亲戚，这时侯我看着也是吓的慌手慌脚的了。大爷明儿有个好歹儿不能回来时，你们各自干你们的去了，撂下我一个人受罪！”说着，又大哭起来。这里薛姨妈听见，越发气的发昏。宝钗急的没法。<br />
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Precious Hairpin persuaded her urgently, calling someone outside the curtain, "Hurry up and go with your Second Master." Then The girls helped Aunt Marshgrass walk in. Tadpole Marshgrass was about to go out when Precious Hairpin said to him, "If there are any letters, send them to me at once and you guys should be on your duty outside." Tadpole Marshgrass agreed and went away. Precious Hairpin was trying to persuade Aunt Marshgrass when Dragon Marshgrass seized the opportunity to grasp Wiselotus Potterymaker's hand and shouted to her: "Usually you just boast that they have killed someone in their family, and then come to Beijing without any trouble. Now it is real that a person was killed. Usually you only talk about money, power and good relatives, then I looked that you are also scared and flurried. When the First Master can not return tomorrow, you go about your own business and leave me to suffer alone!" Then she burst into tears again. Aunt Marshgrass heard this, and became angrier to even faint. Precious Hairpin was also anxious but unable to do anything.<br />
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==英语笔译 郑冬琴 Zheng Dongqin 202170081610==<br />
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正闹着，只见贾府中王夫人早打发大丫头过来打听来了。宝钗虽心知自己是贾府的人了，一则尚未提明，二则事急之时，只得向那大丫头道：“此时事情头尾尚未明白，就只听见说我哥哥在外头打死了人，被县里拿了去了，也不知怎么定罪呢。刚才二爷才去打听去了。一半日得了准信，赶着就给那边太太送信去。你先回去道谢太太惦记着，底下我们还有多少仰仗那边爷们的地方呢。”那丫头答应着去了。薛姨妈和宝钗在家，抓摸不着。过了两日，只见小厮回来，拿了一封书，交给小丫头拿进来。宝钗拆开看时，书内写着：大哥人命是误伤，不是故杀。<br />
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==英语笔译 钟青 Zhong Qing 202170081611==<br />
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今早用蝌出名，补了一张呈纸进去，尚未批出。大哥前头口供甚是不好。待此纸批准后，再录一堂，能彀翻供得好，便可得生了。快向当铺内再取银五百两来使用。千万莫迟！并请太太放心。余事问小厮。宝钗看了，一一念给薛姨妈听了。薛姨妈拭着眼泪说道：“这么看起来，竟是死活不定了。”宝钗道：“妈妈先别伤心，等着叫进小厮来问明了再说。”一面打发小丫头把小厮叫进来。薛姨妈便问小厮道：“你把大爷的事细说与我听听。”小厮道：“我那一天晚上，听见大爷和二爷说的，把我唬糊涂了。” <br />
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==英语笔译 周皓熙 Zhou Haoxi 202170081612==<br />
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话说薛姨妈听了薛蝌的来书，因叫进小厮,问道：“你听见你大爷说，到底是怎么就把人打死了呢？”小厮道：“小的也没听真切。那一日，大爷告诉二爷说……”说着回头看了一看，见无人，才说道：“大爷说：自从家里闹的特利害，大爷也没心肠了，所以要到南边置货去。这日想着约一个人同行，这人在咱们这城南二百多地住。大爷找他去了，遇见在先和大爷好的那个蒋玉菡，带着些小戏子进城，大爷同他在个铺子里吃饭喝酒。因为这当槽儿的尽着拿眼瞟蒋玉菡，大爷就有了气了。后来蒋玉菡走了。第二天，大爷就请找的那个人喝酒。<br />
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==英语笔译 周哲 Zhou Zhe 202170081613==<br />
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酒后想起头一天的事来，叫那当槽儿的换酒，那当槽儿的来迟了，大爷就骂起来了。那个人不依，大爷就拿起酒碗照他打去。谁知那个人也是个泼皮，便把头伸过来叫大爷打。大爷拿碗就砸他的脑袋，一下他就冒了血了，躺在地下。头里还骂，后头就不言语了。”薛姨妈道：“怎么也没人劝劝吗？”那小厮道：“这个没听见大爷说，小的不敢妄言。”薛姨妈道：“你先去歇歇罢。”小厮答应出来。这里薛姨妈自来见王夫人，托王夫人转求贾政。贾政问了前后，也只好含糊应了，只说等薛蝌递了呈子，看他本县怎么批了，再作道理。<br />
"The next day, while drinking with the waiter, Dragon Marshgrass remembered what had happened the day before and, when the waiter was slow in bringing fresh wine, he started cursing him. When the fellow answered back, he threatened him with his wine bowl. The rogue craned his neck, daring our master to hit him. Then Dragon Marshgrass brought the bowl down on his head. Blood spurted out and he dropped to the ground swearing — but very soon he fell silent." "Why did no one stop him? "scolded Aunt Marshgrass. "That, Dragon Marshgrass didn't say and I dare not make anything up." "You go and rest now." "Yes, madam." When the page had gone Aunt Marshgrass went to see Lady King, to enlist her husband's help. Learning what had happened, Master Merchant hedged. They must wait to see the magistrate's response to Dragon Marshgrass's petition, he said, before deciding on a course of action.<br />
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"The next day, while drinking with the waiter, Dragon Marshgrass remembered what had happened the day before and, when the waiter was slow in bringing fresh wine, he started cursing him. When the fellow answered back, he threatened him with his wine bowl. The rogue craned his neck, daring our master to hit him. Then Dragon Marshgrass brought the bowl down on his head. Blood spurted out and he dropped to the ground swearing — but very soon he fell silent." "Why did no one stop him? "scolded Aunt Marshgrass. "That, Dragon Marshgrass didn't say and I dare not make anything up." "You go and rest now." "Yes, madam." When the page had gone Aunt Marshgrass went to see Lady King, to enlist her husband's help. Learning what had happened, Master Merchant hedged. They must wait to see the magistrate's response to Dragon Marshgrass's petition, he said, before deciding on a course of action.--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 12:10, 10 May 2022 (UTC)<br />
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==英语笔译 朱丽娟 Zhu Lijuan 202170081614==<br />
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这里薛姨妈又在当铺里兑了银子，叫小厮赶着去了。三日后，果有回信，薛姨妈接着了，即叫小丫头告诉宝钗，连忙过来看了。只见书上写道：带去银两做了衙门上下使费。哥哥在监，也不大吃苦，请太太放心。独是这里的人狠刁，尸亲见证都不依，连哥哥请的那个朋友也帮着他们。我与李祥两个俱系生地生人，幸找着一个好先生，许他银子，才讨个主意，说是：须得拉扯着同哥哥喝酒的吴良，弄人保出他来，许他银两，叫他撕掳。他若不依，便说张三是他打死，明推在异乡人身上。他吃不住，就好办了。我依着他，果然吴良出来。<br />
Aunt Marshgrass sent the page back with more money from the pawnshop, and three days later received another letter. She sent to tell Precious Hairpin Marshgrass, who came at once and read it out as follows: <br />
With the money you sent we have squared the yamen officers. Dragon Marshgrass is not being ill-treated in jail; don't worry. Only the local people arecutting up rough. The dead man's family and the witnesses are holding out, and even that friend invited by Dragon Marshgrass is taking their side. l and Li Xiang are strangers here, but luckily we found a good pettifog-ger, and after his palm was greased he came up with a plan. He advised us to get hold of Wu Liang who was drinking with Dragon Marshgrass and bail him out, then offer him money to enlist his help. If he wouldn't agree, we could say he was the one who killed Zhang San then laid the blame on an outsider. If that scared him, then it should be easy to handle. l took his advice and got Wu Liang out.<br />
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Aunt Marshgrass sent the page back with more money from the pawnshop,and three days later received another letter. She sent to tell Precious Hairpin Marshgrass, who came at once and read it out as follows: <br />
With the money you sent we have squared the yamen officers. Dragon Marshgrass is not being ill-treated in jail; don't worry. Only the local people arecutting up rough. The dead man's family and the witnesses are holding out,and even that friend invited by Dragon Marshgrass is taking their side. I and Li Xiang are strangers here, but luckily we found a good pettifogger,and after his palm was greased he came up with a plan. He advised us to get hold of Wu Liang who was drinking with Dragon Marshgrass and bail him out,then offer him money to enlist his help. If he wouldn't agree,we could say he was the one who killed Zhang San then laid the blame on an outsider. If that scared him,then it should be easy to handle. I took his advice and got Wu Liang out.--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 17:10, 10 May 2022 (UTC)<br />
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==英语口译 段小蝶 Duan Xiaodie 202170081615==<br />
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现在买嘱尸亲见证，又做了一张呈子，前日递的，今日批来，请看呈底便知。因又念呈底道：“具呈人某，呈为兄遭飞祸、代伸冤抑事：窃生胞兄薛蟠，本籍南京，寄寓西京，于某年月日，备本往南贸易。去未数日，家奴送信回家，说遭人命。生即奔宪治，知兄误伤张姓，及至囹圄，据兄泣告，实与张姓素不相认，并无仇隙。偶因换酒角口，生兄将酒泼地，恰值张三低头拾物，一时失手，酒碗误碰囟门身死。蒙恩拘讯，兄惧受刑，承认斗殴致死。仰蒙宪天仁慈，知有冤抑，尚未定案。生兄在禁，具呈诉辩，有干例禁；生念手足，冒死代呈。<br />
then we bribed the dead man's relatives and the witnesses;and the day before yesterday I sent in an other petition. Today the answer has come,and I enclose a copy for you to see. Precious Hairpin next read out the petition: <br />
Petitioner.... <br />
Petition on behalf of his brother,a victim of foul play who has been unjustly accused. My elder brother Dragon MArshgrass,a native of Nanjing now resident in the capital set off on such and such a day to go south on business. A few days after he left home,a family servant brought the news that he had been involved in manslaughter. I came immediately to Your Honour's county and learned that he had accidentally injured a man named Zhang. When went to the jail,he told me with tears that this Zhang was a stranger to him and there had been no enmity between them. An accidental quarrel had broken out when my brother asking for wine,spilt some on the ground. Zhang San happened to be stooping to pick something up and my brother, whose hand slipped struck the top of his head with the wine bowl and killed him. During interrogation,for fear of torture,he confessed that he had killed the man in a fight. But Your Honour,in your infinite goodness,realized that this could not have been the case and deferred giving a verdict. As my brother in jail is forbidden to send in a plea,on account of our close relationship I am venturing to intercede for him.<br />
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==英语口译 方楚晗 Fang Chuhan 202170081616==<br />
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伏乞宪慈恩准提证质讯，开恩莫大，生等举家仰戴鸿仁，永永无既矣！激切上呈。”批的是：“尸场检验，证据确凿。且并未用刑，尔兄自认斗杀，招供在案。今尔远来，并非目睹，何得捏词妄控。理应治罪；姑念为兄情切，且恕。不准。”薛姨妈听到那里，说道：“这不是救不过来了么。这怎么好呢？”宝钗道：“二哥的书还没看完，后面还有呢。”因又念道：“有要紧的，问来使便知。”薛姨妈便问来人。因说道：“县里早知我们的家当充足。须得在京里谋干得大情，再送一分大礼，还可以复审，从轻定案。太太此时，必得快办，再迟了就怕大爷要受苦了。”<br />
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The appellant has therefore been emboldened by considerations of family loyalty to act on his behalf, most humbly and earnestly beseeching Your Honour to reopen the case and subject all parties concerned to a second examination. This would be a magnanimous course of action, and one that would earn the never-ending gratitude and lifelong devotion of the appellant and his entire family. Bao-chai now came to the judge’s rescript, which read as follows:<br />
RESCRIPT<br />
An inquest was held at the scene of the crime, and the evidence heard was conclusive. No torture of any kind was applied to the defendant, who freely admitted the charge, viz. Homicide by Blows. His admission of guilt has now been officially entered in the records. You, the appellant, an outsider with no first-hand knowledge of the case, in presuming to fabricate this unfounded appeal are guilty of contempt of court. In view of the mitigating circumstances of family loyalty, your offence will be overlooked in this instance.<br />
APPEAL REJECTED‘There’s no hope left then!’ cried Aunt Xue. ‘What can we do now?’‘That isn’t all,’ said Bao-chai. ‘There’s a P.S.’ She read on:‘For confidential instructions, ask the boy - urgent.’<br />
Aunt Xue immediately questioned the boy, who supplied the following information: ‘The people at the yamen know how rich we are, ma’am, and Master Ke says we’ll have to use family connections here in the capital, and send another large bribe, if we’re to get a rehearing and a lighter sentence. He says you must act quickly, ma’am, as delay now could mean hardship for Mr Pan.’ <br />
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The appellant has therefore been emboldened by considerations of family loyalty to act on his behalf, most humbly and earnestly beseeching Your Honour to reopen the case and subject all parties concerned to a second examination. This would be a magnanimous course of action, and one that would earn the never-ending gratitude and lifelong devotion of the appellant and his entire family. Bao-chai now came to the judge’s rescript, which read as follows:<br />
RESCRIPT<br />
An inquest was held at the scene of the crime, and the evidence heard was conclusive. No torture of any kind was applied to the defendant, who freely admitted the charge, viz. Homicide by Blows. His admission of guilt has now been officially entered in the records. You, the appellant, an outsider with no first-hand knowledge of the case, in presuming to fabricate this unfounded appeal are guilty of contempt of court. In view of the mitigating circumstances of family loyalty, your offence will be overlooked in this instance.<br />
APPEAL REJECTED‘There’s no hope left then!’ cried Aunt Xue. ‘What can we do now?’‘That isn’t all,’ said Bao-chai. ‘There’s a P.S.’ She read on:‘For confidential instructions, ask the boy - urgent.’<br />
Aunt Xue immediately questioned the boy, who supplied the following information: ‘The people at the yamen know how rich we are, ma’am, and Master Ke says we’ll have to use family connections here in the capital city, and send another large bribe, if we’re to get a rehearing and a lighter sentence. He says you must act quickly, ma’am, as delay now could mean hardship for Mr Pan.’ --[[User:Hu Wenwen|Hu Wenwen]] ([[User talk:Hu Wenwen|talk]]) 12:12, 10 May 2022 (UTC)<br />
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==英语口译 胡雯雯 Hu Wenwen 202170081617==<br />
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薛姨妈听了，叫小厮自去，即刻又到贾府与王夫人说明原故，恳求贾政。贾政只肯托人与知县说情，不肯提及银物。薛姨妈恐不中用，求凤姐与贾琏说了，花上几千银子，才把知县买通，薛蝌那里也便弄通了。然后知县挂牌坐堂，传齐了一干邻保、证见、尸亲人等，监里提出薛蟠，刑房书吏俱一一点名。知县便叫地保对明初供，又叫尸亲张王氏并尸叔张二问话。张王氏哭禀道：“小的的男人是张大，南乡里住，十八年前死了。大儿子、二儿子，也都死了，光留下这个死的儿子，叫张三，今年二十三岁，还没有娶女人呢。为小人家里穷，没得养活，在李家店里做当槽儿的。<br />
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Aunt Xue dismissed the boy and went at once to see her sister again. Lady Wang pleaded strenuously with Jia Zheng, but the most he was prepared to do was send someone to ‘have a word’ with the judge. He refused to contemplate the use of ‘pecuniary considerations’. Aunt Xue, fearing that this gesture would prove ineffective, begged Xi-feng to speak to Jia Lian. The judge’s price was high - the figure ran into several thousands of taels; but in the end an agreement was reached, and the way was clear for Xue Ke to proceed with his plan. The case was officially re-opened, and all the parties concerned were summoned once more to the district yamen - the beadle, eye-witnesses, relatives of the deceased, etc. Xue Pan was brought out from the cells. The clerk of the court called the roll, and the judge ordered the chief beadle to verify the original depositions. Then Mrs Zhang (nee Wang) and Zhang Er, the deceased’s mother and uncle, were called to give evidence.‘May’t please Yeronner,’ began Mrs Zhang, punctuating her delivery with sobs, ‘we Zhangs are country folk and live to the south of town. Papa Zhang’s been gone these eighteen years. We had the three boys, but our eldest and second have both passed away. The only one as I had left was our third, and now he’s gone too!’ (More sobs.)‘Twenty-three this year he’d’ve been, anitplease Yeronner, and still a single lad. He’d took this job at Li’s Bar trying to help me out, as we’d so little coming in.<br />
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==英语口译 黄天琪 Huang Tianqi 202170081618==<br />
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那一天晌午，李家店里打发人来叫俺，说‘你儿子叫人打死了。’我的青天老爷！小的就唬死了。跑到那里，看见我儿子头破血出的躺在地下喘气儿，问他话也说不出来，不多一会儿，就死了。小人就要揪住这个小杂种拼命。”众衙役吆喝一声，张王氏便磕头道：“求青天老爷伸冤，小人就只这一个儿子了。”知县便叫：“下去。”又叫李家店的人问道：“那张三是在你店内佣工的么？”那李二回道：“不是佣工，是做当槽儿的。”知县道：“那日尸场上，你说张三是薛蟠将碗砸死的，你亲眼见的么？”<br />
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==英语口译 李丹 Li Dan 202170081620==<br />
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李二说道：“小的在柜上，听见说客房里要酒，不多一回，便听见说‘不好了，打伤了！’小的跑进去，只见张三躺在地下，也不能言语。小的便喊禀地保，一面报他母亲去了。他们到底怎样打的，实在不知道，求太爷问那喝酒的便知道了。”知县喝道：“初审口供你是亲见的，怎么如今说没有见？”李二道：“小的前日唬昏了乱说。”衙役又吆喝了一声。知县便叫吴良问道：“你是同在一处喝酒的么？薛蟠怎么打的？据实供来。” 吴良说：“小的那日在家，这个薛大爷叫我喝酒。他嫌酒不好，要换，张三不肯。薛大爷生气，把酒向他脸上泼去，不晓得怎么样，就碰在那脑袋上了。这是亲眼见的。”<br />
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(李立飞)Revision:<br />
Li Er said, "the little one was on the cabinet. He heard that he wanted wine in the guest room. Not one more time, he heard that he said, 'it's bad, I'm hurt!'. The little one ran in and saw Zhang San lying on the ground, but he couldn't speak. The little one shouted to the local security guard and told his mother that he had gone. They really didn't know how to fight. Ask the Lord to ask the drinker." The magistrate shouted, "you saw the confession in the first instance. How can you say you didn't see it now?" Li Er said, "little bluffed and talked nonsense the day before yesterday." The Yamen servant shouted again. The county magistrate called Wu Liang and asked, "are you drinking at the same place? How did Xue pan fight? Tell the truth." Wu Liang said, "when I was at home that day, uncle Xue asked me to drink. He didn't think the wine was good and wanted to change it, but Zhang San refused. Uncle Xue was angry and threw the wine on his face. I didn't know what to do, so he touched it on his head. I saw it with my own eyes."<br />
--[[User:Li Lifei|Li Lifei]] ([[User talk:Li Lifei|talk]]) 03:19, 10 May 2022 (UTC)<br />
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==英语口译 李立飞 Li Lifei 202170081621==<br />
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知县道：“胡说！前日尸场上，薛蟠自己认拿碗砸死的，你说你亲眼见的，怎么今日的供不对？掌嘴！”衙役答应着要打，吴良求着说：“薛蟠实没有与张三打架，酒碗失手，碰在脑袋上的。求老爷问薛蟠，便是恩典了。”知县叫提薛蟠，问道：“你与张三到底有什么仇隙？毕竟是如何死的，实供上来。”薛蟠道：“求太老爷开恩，小的实没有打他。为他不肯换酒，故拿酒泼他。不想一时失手，酒碗误碰在他的脑袋上。小的即忙掩他的血，那里知道再掩不住，血淌多了，过一回就死了。前日尸场上，怕太老爷要打，所以说是拿碗砸他的。只求太爷开恩。”<br />
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The county magistrate said, "nonsense! Xue pan admitted that he was killed with a bowl in the corpse yard the day before yesterday. You said you saw it with your own eyes. Why is today's confession wrong? Palm mouth!" The Yamen servant promised to fight. Wu Liang begged and said, "Xue Panshi didn't fight with Zhang San. The wine bowl missed and hit his head. It's grace to ask Xue pan." The county magistrate, named tixue pan, asked, "what exactly is the feud between you and Zhang San? After all, how did you die? Come on." Xue Pan said, "please forgive me, but I didn't beat him. I didn't want to change the wine for him, so I spilled it on him. I didn't want to miss it and the wine bowl hit his head by mistake. The little one was busy covering his blood. I knew it couldn't be covered again. There was too much blood, and I died after one time. I was afraid that I would hit him in the corpse yard the day before yesterday, so I said I hit him with a bowl. Just ask me for mercy."<br />
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The county magistrate said, "nonsense! Xue Pan admitted that he was killed with a bowl in the corpse yard the day before yesterday. You said you saw it with your own eyes. This is perjury! Slap his face!" the punishment was about to be administered. Wu Liang begged and said, "Xue Pan didn't fight with Zhang San. The wine bowl missed and hit his head. It's grace to ask Xue Pan." The county magistrate summoned Xue Pan and asked him: "what exactly is the feud between you and Zhang San? After all, how did you die? Come on." Xue Pan said, "please forgive me, but I didn't beat him. I didn't want to change the wine for him, so I spilled it on him. I didn't want to miss it and the wine bowl hit his head by mistake. I did all I could to staunch the wound, but it was hopeless. The loss of blood was so great that he died in a matter of minutes. At the Inquest I was in such fear of torture that I made a false confession of assault. I beg Your Honour to show mercy accordingly!"--[[User:Mo Yuting|Mo Yuting]] ([[User talk:Mo Yuting|talk]]) 12:48, 10 May 2022 (UTC)<br />
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==英语口译 莫雨婷 Mo Yuting 202170081622==<br />
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知县便喝道：“好个糊涂东西！本县问你怎么砸他的，你便供说恼他不换酒，才砸的，今日又供是失手碰的。”知县假作声势，要打要夹。薛蟠一口咬定。知县叫仵作：“将前日尸场填写伤痕，据实报来。”仵作禀报说：“前日验得张三尸身无伤，惟囟门有磁器伤，长一寸七分，深五分，皮开，囟门骨脆，裂破三分。实系磕碰伤。”知县查对尸格相符，早知书吏改轻，也不驳诘，胡乱便叫画供。张王氏哭喊道：“青天老爷！前日听见还有多少伤，怎么今日都没有了？”知县道：“这妇人胡说！现有尸格，你不知道么。”<br />
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“Miserable wretch!" bellowed the judge. "You have already pleaded guilty to intentional assault. Are you now trying to say that it was no more than an accidental collision?” He went on in this fashion, making a series of suitably august noises, threatening Pan with the rod one minute and the rack the next, if he would not confess. This time, however, Pan persisted in his denial. The coroner was now called upon to make public the results of his post-mortem. “May it please Your Honour, I have duly examined the corpse of Zhang San, and find no trace of injury but a single scalp-wound, caused by a porcelain artifact. The wound is approximately one and three-quarter inches in length, penetrating to a depth of half an inch. The bregmatic bone has sustained a fracture approximately one third of an inch in length. The type of wound points unmistakably to a collision of an accidental nature.” The judge checked the coroner’s certificate, which (as he knew quite well) had been altered by his clerk, and without raising any objections casually asked all concerned to sign their statements. “But Yeronner!” wailed Mrs Zhang. “What about all them other wounds? Ever so many there was! Coronary said so himself last time, I remember! Where’ve they all got to now?” “Foolish woman!” exclaimed the judge. “Here is the certificate, duly signed，see for yourself.”<br />
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==英语口译 彭慧璇 Peng Huixuan 202170081623==<br />
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叫尸叔张二，便问道：“你侄儿身死，你知道有几处伤？”张二忙供道：“脑袋上一伤。”知县道：“可又来。”叫书吏将尸格给张王氏瞧去，并叫地保、尸叔指明与他瞧：现有尸场亲押、证见，俱供并未打架，不为斗殴，只依误伤，吩咐画供，将薛蟠监禁候详，余令原保领出，退堂。张王氏哭着乱嚷，知县叫众衙役：“撵他出去！”张二也劝张王氏道：“实在误伤，怎么赖人？现在太老爷断明，不要胡闹了。”薛蝌在外打听明白，心内喜欢，便差人回家送信，等批详回来，便好打点赎罪，且住着等信。只听路上三三两两传说：“有个贵妃薨了，皇上辍朝三日。”<br />
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==英语口译 时友洁 Shi Youjie 202170081624==<br />
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这里离陵寝不远，知县办差垫道，一时料着不得闲，住在这里无益，不如到监，告诉哥哥：“安心等着，我回家去，过几日再来。”薛蟠也怕母亲痛苦，带信说：“我无事，必须衙门再使费几次，便可回家了，只是不要可惜银钱。”薛蝌留下李祥在此照料，一径回家，见了薛姨妈，陈说知县怎样徇情，怎样审断，终定了误伤：“将来尸亲那里再花些银子，一准赎罪，便没事了。”薛姨妈听说，暂且放心，说：“正盼你来家中照应。贾府里本该谢去，况且周贵妃薨了，他们天天进去，家里空落落的。我想着要去替姨太太那边照应照应，作伴儿，只是咱们家又没人，你这来的正好。”<br />
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==英语口译 伍佳惠 Wu Jiahui 202170081625==<br />
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薛蝌道：“我在外头，原听见说是贾妃薨了，这么才赶回来的。我们元妃好好儿的，怎么说死了？”薛姨妈道：“上年原病过一次，也就好了。这回又没听见元妃有什么病，只闻那府里头几天老太太不大受用，合上眼便看见元妃娘娘，众人都不放心，直至打听起来，又没有什么事。到了大前儿晚上，老太太亲口说是‘怎么元妃独自一个人到我这里？’众人只道是病中想的话，总不信。老太太又说：‘你们不信，元妃还与我说是：“荣华易尽，须要退步抽身。”’众人都说：‘谁不想到？这是有年纪的人思前想后的心事。’所以也不当件事。<br />
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==英语口译 夏晶 Xia Jing 202170081626==<br />
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恰好第二天早起，里头吵嚷出来，说娘娘病重，宣各诰命进去请安。他们就惊疑的了不得，赶着进去。他们还没有出来，我们家里已听见周贵妃薨逝了。你想外头的讹言，家里的疑心，恰碰在一处，可奇不奇！”宝钗道：“不但是外头的讹言舛错，便在家里的，一听见‘娘娘’两个字，也就都忙了，过后才明白。这两天那府里这些丫头婆子来说，他们早知道不是咱们家的娘娘。我说：‘你们那里拿得定呢？’他说道：‘前几年正月，外省荐了一个算命的，说是很准。那老太太叫人将元妃八字夹在丫头们八字里头，送出去叫他推算，<br />
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But the very next morning, word came from the Palace that the Imperial Consort was mortally ill and all ladies of rank were to go to pay their respects. That threw them into a fluster, and they hurried to the Palace. Before their return, though, word reached us here that it was Imperial Concubine Zhou who died. Just fancy, isn’t it remarkable the way these rumours outside and our suspi¬cions at home coincided!” Precious Hairpin Marshgrass put in, “It wasn’t just the rumours outside that misled us, but the mere words ‘Her Highness’ set her family in a tizzy, and only after-wards did they find out the truth. The last couple of days their maids have come and told us that they knew earlier on it couldn’t be their Royal Highness. “How can you be sure?’ I asked. The answer was that a few years ago at New Year, someone in the provinces introduced to us a fortune-teller, said to be infallible. The old lady told us to put Her Highness’ horoscope in with the maids’ for him to work out.<br />
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Revision: But the very next morning, word came from the Palace that the Imperial Consort was mortally ill and all ladies of rank were to go to pay their respects. That threw them into a fluster, and they hurried to the Palace. Before their return, though, word reached us here that it was Imperial Concubine Zhou who died. Just fancy, isn’t it remarkable the way these rumours outside and our suspi¬cions at home coincided!” Precious Hairpin Marshgrass put in, “It wasn’t just the rumours outside that misled us, but the mere words ‘Her Highness’ set her family in a tizzy, and only after-wards did they find out the truth. The last couple of days their maids have come and told us that they knew earlier on it couldn’t be their Royal Highness. “How can you be sure?’ I asked. The answer was that a few years ago at New Year, someone in the provinces introduced to us a fortune-teller, said to be infallible. The old lady told us to put Her Highness’ horoscope in with the maids’ for him to work out.--[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 13:49, 10 May 2022 (UTC)<br />
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==英语口译 向师琦 Xiang Shiqi 202170081627==<br />
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他独说这正月初一日生日的那位姑娘，只怕时辰错了，不然，真是个贵人，也不能在这府中。老爷和众人说，不管他错不错，照八字算去。那先生便说，甲申年，正月丙寅，这四个字内，有“伤官”“败财”。惟“申”字内有“正官”“禄马”，这就是家里养不住的，也不见什么好。这日子是乙卯，初春木旺，虽是“比肩”，那里知道愈“比”愈好，就像那个好木料，愈经斫削，才成大器。”独喜得时上什么辛金为贵，什么巳中“正官”“禄马”独旺：这叫作“飞天禄马格”。又说什么“日禄归时”，贵重的狠。天月二德坐本命，贵受椒房之宠。<br />
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He said, ‘There must be some mistake in the hour of birth of that girl born on the first of the first month. Otherwise, she must be of high degree — she couldn’t be in this house.’ Lord Zheng said, ‘Never mind whether there’s a mistake or not. Just predict her fortune.’‘She was born in the year Jiashen, the month bin gym,’ he said. ‘Three of these characters signify ‘demotion’ and ‘bankruptcy.’ Only shen augurs well for officialdom and wealth; still that doesn’t hold good for a girl who has to leave home. The day of her birth is yimao. In early spring the ‘wood’ element is in the ascendant. Although the two signs clash, the bigger the clash the better, just as in the case of good wood — the more you polish it, the greater its value. But most auspicious of all is the hour sign xinshi, xin meaning precious as gold, shi high rank and wealth. Combined, they make up the ‘winged horse’ sign, and the day in this combination is so exceptionally auspicious that she should soar up like the moon in the sky and rank high in the Emperor’s favour.<br />
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He said, ‘There must be some mistake in the hour of birth of that girl born on the first of the first month. Otherwise, she must be of high degree — she couldn’t be in this house.’ Lord Zheng said, ‘Never mind whether there’s a mistake or not. Just predict her fortune.’‘She was born in the year Jiashen, the month bin gym,’ he said. ‘Three of these characters signify ‘demotion’ and ‘bankruptcy.’ Only shen augurs well for officialdom and wealth; still that doesn’t hold good for a girl who has to leave home. The day of her birth is yimao. In early spring the ‘wood’ element is in the ascendant. Although the two signs clash, the bigger the clash the better, just as in the case of good wood — the more you polish it, the greater its value. But most auspicious of all is the hour sign xinshi, xin meaning precious as gold, shi high rank and wealth. Combined, they make up the ‘winged horse’ sign, and the day in this combination is so exceptionally auspicious that she should soar up like the moon in the sky and rank high in the Emperor’s favour.--[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 03:40, 10 May 2022 (UTC)<br />
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==英语口译 向望 Xiang Wang 202170081628==<br />
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这位姑娘，若是时辰准了，定是一位主子娘娘。这不是算准了么！我们还记得说，可惜荣华不久；只怕遇着寅年卯月，这就是“比而又比，劫而又劫”，譬如好木，太要做玲珑剔透，本质就不坚了。’他们把这些话都忘记了，只管瞎忙。我才想起来，告诉我们大奶奶，今年那里是寅年卯月呢。”宝钗尚未说完，薛蝌急道：“且不要管人家的事，既有这样个神仙算命的，我想哥哥今年什么恶星照命，遭这么横祸？快开八字与我，给他算去，看有妨碍么。”宝钗道：“他是外省来的，不知如今在京不在了。”说着，便打点薛姨妈往贾府去。<br />
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If the hour of her birth is correct, she must be a sovereign lady.’“‘Wasn’t that an accurate forecast?’ said the maids. ‘We also remember his saying that unluckily her splendour would be short-lived. If a mao month happened to fall in a yin year, there would be a double clash and that would undermine her strength, just as in the case of good wood if it’s carved too intricately. They forgot all those predictions and got worked up over nothing. But we remembered the other day and told our mistress. This isn’t the yin year nor the mao month, is it?”’Before Baochai could finish, Xue Ke said excitedly, “Never mind about other people. If you know of such a miraculous fortune-teller, quickly give me Xue Pan’s horoscope — I’m sure he’s under some evil star this year to have such a bad stroke of luck — and I’ll get him to work out what’s going to happen.”“That man came from the provinces,” said Baochai. “We don’t know whether he’s still in the capital this year or not.”Baochai then helped her mother get ready to go to the Jia Mansion.<br />
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==英语口译 徐舞 Xu Wu 202170081629==<br />
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到了那里，只有李纨探春等在家接着，便问道：“大爷的事，怎么样了？”薛姨妈道：“等详上司才定，看来也到不了死罪了。”这才大家放心。探春便道：“昨晚太太想着说：‘上回家里有事，全仗姨太太照应；如今自己有事，也难提了。’心里只是不放心。”薛姨妈道：“我在家里也是难过。只是你大哥遭了事，你二兄弟又办事去了，家里你姐姐一个人，中什么用？况且我们媳妇儿又是个不大晓事的，所以不能脱身过来。目今那里知县也正为预备周贵妃的差事，不得了结案件，所以你二兄弟回来了，我才得过来看看。” <br />
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==英语口译 张静芝 Zhang Jingzhi 202170081630==<br />
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李纨便道：“请姨太太这里住几天更好。” 薛姨妈点头道：“我也要在这边给你们姐妹们作作伴儿，就只你宝妹妹冷静些。”惜春道：“姨妈要惦着，为什么不把宝姐姐也请过来？”薛姨妈笑着说道：“使不得。”惜春道：“怎么使不得？他先怎么住着来呢？”李纨道：“你不懂的。人家家里如今有事，怎么来呢？”惜春也信以为实，不便再问。正说着，贾母等回来，见了薛姨妈，也顾不得问好，便问薛蟠的事。薛姨妈细述了一遍。宝玉在旁听见什么蒋玉菡一段，当着众人不问，心里打量是“他既回了京，怎么不来瞧我？”<br />
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==日语笔译 曹梦然 Cao Mengran 202170081632==<br />
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又见宝钗也不过来，不知是怎么个原故，心内正自呆呆的想呢，恰好黛玉也来请安，宝玉稍觉心里喜欢，便把想宝钗来的念头打断，同着姊妹们在老太太那里吃了晚饭。大家散了，薛姨妈将就住在老太太的套间屋里。宝玉回到自己房中，换了衣服，忽然想起蒋玉菡给的汗巾，便向袭人道：“你那一年没有系的那条红汗巾子，还有没有？”袭人道：“我搁着呢，问他做什么？”宝玉道：“我白问问。”袭人道：“你没有听见薛大爷相与这些混帐人，所以闹到人命关天。你还提那些作什么？有这样白操心，倒不如静静儿的念念书，把这些个没要紧的事撂开了也好。”<br />
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==日语笔译 胡梦琪 Hu Mengqi 202170081633==<br />
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宝玉道：“我并不闹什么，偶然想起，有也罢，没也罢，我白问一声，你们就有这些话。”袭人笑道：“并不是我多话。一个人知书达理，就该往上巴结才是。就是心爱的人来了，也叫他瞧着喜欢尊敬啊。”宝玉被袭人一提，便说：“了不得，方才我在老太太那边，看见人多，没有与林妹妹说话。他也不曾理我，散的时候，他先走了。此时必在屋里。我去就来。”说着就走。袭人道：“快些回来罢，这都是我提头儿，倒招起你的高兴来了。”宝玉也不答言，低着头，一径走到潇湘馆来。只见黛玉靠在桌上看书。宝玉走到跟前，笑说道：“妹妹早回来了？”<br />
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“I’m not doing anything wrong, am I?” lie demanded. “It just hap¬pened to cross my mind. What does it matter whether you have it or not? I ask one little question, and listen to the way you run on!”<br />
“I didn’t mean to nag.” She smiled. “But someone who studies the classics and knows the rules of propriety ought to aim high. Then, when the one you love comes, she’ll be pleased and respect you.<br />
This reminded Precious Jade of something.<br />
“Botheration!” he exclaimed. “There was such a crowd with the old lady just now that I wasn’t able to talk with Cousin Lin. She paid me no attention either. By the time I left, she’d already gone. She must be in her place now. I’ll drop in to see her.” With that he started out.<br />
“Don’t be too long,” said Aroma. “I shouldn’t have said that, getting you all worked up.<br />
Precious Jade made no reply but went off with lowered head to Bamboo Lodge where Mascara Jade, bending over her desk, was reading. He approached her with a smile.<br />
“Have you been back long?”<br />
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“I’m not doing anything wrong, am I?” lie demanded. “It just happened to cross my mind. What does it matter whether you have it or not? I ask one little question, and listen to the way you run on!”<br />
“I didn’t mean to nag.” She smiled. “But someone who studies the classics and knows the rules of propriety ought to aim high. Then, when the one you love comes, she’ll be pleased and respect you.”<br />
This reminded Precious Jade of something.<br />
“Botheration!” he exclaimed. “There was such a crowd with the old lady just now that I wasn’t able to talk with Cousin Lin. She paid me no attention either. By the time I left, she’d already gone. She must be in her place now. I’ll drop in to see her.” With that he started out.<br />
“Don’t be too long,” said Aroma. “I shouldn’t have said that, getting you all worked up.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 02:47, 10 May 2022 (UTC)<br />
Precious Jade made no reply but went off with lowered head to Bamboo Lodge where Mascara Jade, bending over her desk, was reading. He approached her with a smile.<br />
“Have you been back long?”<br />
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==日语笔译 张白鹭 Zhang Bailu 202170081634==<br />
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黛玉也笑道：“你不理我，我还在那里做什么？”宝玉一面笑说：“他们人多说话，我插不下嘴去，所以没有和你说话。”一面瞧着黛玉看的那本书。书上的字一个也不认得，有的像“芍”字；有的像“茫”字；也有一个“大”字旁边“九”字加上一勾，中间又添个“五”字；也有上头“五”字“六”字又添一个“木”字，底下又是一个“五”字：看着又奇怪，又纳闷，便说：“妹妹近日愈发进了，看起天书来了。”黛玉“嗤”的一声笑道：“好个念书的人，连个琴谱都没有见过？”宝玉道：“琴谱怎么不知道？为什么上头的字一个也不认得？妹妹你认得么？”<br />
<br />
“You cut me, so why should I stay there?” She asked archly.<br />
“There were so many people talking, I couldn’t get a word in. That’s why I didn’t speak to you.”<br />
He had been eyeingMascara Jade Forest’s book, but could not recognize the characters in it. Some looked familiar, others were combinations of various radicals and numerals.<br />
In puzzled surprise he observed, “You’re getting more erudite, cousin, all the time, reading something so esoteric!” Mascara Jade Forest burst out laughing.<br />
“What a scholar!” she teased. “Have you never seen a lute score before?”<br />
“Of course I have. But how come I don’t know any of those characters there? Do you understand them, cousin?”<br />
<br />
==朝鲜语笔译 刘安莉 Liu Anli 202170081635==<br />
<br />
黛玉道：“不认得瞧他做什么？”宝玉道：“我不信，从没有听见你会抚琴。我们书房里挂着好几张，前年来了一个清客先生，叫做什么嵇好古，老爷烦他抚了一曲。他取下琴来，说都使不得，还说：‘老先生若高兴，改日携琴来请教。’想是我们老爷也不懂，他便不来了。怎么你有本事藏着？”黛玉道：“我何尝真会呢？前日身上略觉舒服，在大书架上翻书，看有一套琴谱，甚有雅趣，上头讲的琴理甚通，手法说的也明白，真是古人静心养性的工夫。我在扬州，也听得讲究过，也曾学过，只是不弄了，就没有了。这果真是‘三日不弹，手生荆棘。’<br />
<br />
Mascara Jade said:"Would I read it if I don't understand them?""I don't believe you.I have never seen you playing a lute.We have several hanging in our study.The other year a scholar called,Chi Hao-ku I think his name was.My father asked him to play,but when he tok the lutes down he said none of them was any good and proposed,'If you like,sir,I'll bring my own lute some day to play for you.'But he never turned up again,probably because my father's no connoisseur.Why have you been hiding this accomplishment from me?"Precious Jade said."I'm not good at it really,the other day ,feeling a bit better,I rummaged through the books on the big bookcase and found a set of lute scores which looked intriguing.It gives a lucid account of musical theory and clear instructions for playing. Luting was truly an art the men of old cultivated to achieve tranquility and integrity.In Yangzhou,I heard it explained and learned to play,but then I gave up and that was the end of that.As the saying goes,'Three days without playing,and fingers become thumbs.'<br />
<br />
Mascara Jade said:"Would I read it if I don't understand them?""I don't believe you.I have never seen you playing a lute.We have several hanging in our study.The other year a scholar called,Chi Hao-ku .My father asked him to play it,but when he took the lutes down he said none of them was any good and proposed,'If you like,sir,I'll bring my own lute some day to play for you.'But he never turned up again,probably because my father's no connoisseur.Why have you been hiding this accomplishment from me?"Precious Jade said."I'm not good at it really,the other day ,feeling a bit better,I rummaged through the books on the big bookcase and found a set of lute scores which looked intriguing.It gives a lucid account of musical theory and clear instructions for playing. Luting was truly an art the men of old cultivated to achieve tranquility and integrity.In Yangzhou,I heard it explained and learned to play,but then I gave up and that was the end of that.As the saying goes,'Three days without playing,and fingers become thumbs.' --[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 10:33, 10 May 2022 (UTC)<br />
<br />
==朝鲜语笔译 王思佳 Wang Sijia 202170081636==<br />
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前日看这几篇，没有曲文，只有操名，我又到别处找了一本有曲文的来看着，才有意思。究竟怎么弹得好，实在也难。书上说的：师旷鼓琴，能来风雷龙凤。孔圣人尚学琴于师襄，一操便知其为文王。高山流水，得遇知音。”说到这里，眼皮儿微微一动，慢慢的低下头去。宝玉正听得高兴，便道：“好妹妹，你才说的实在有趣，只是我才见上头的字，都不认得，你教我几个呢。”黛玉道：“不用教的，一说便可以知道的。”宝玉道：“我是个糊涂人，得教我那个‘大’字加一勾，中间一个‘五’字的。”<br />
<br />
The day before yesterday, I read these articles, there is no song text, only the name, I went elsewhere to find a book with a song to look at, it is interesting. How to play well, it is really difficult. The book says: Shi Kuang drums and pianos, can come to the wind thunder dragon phoenix. Kong Shengren Shang learned to play the piano in Shi Xiang, and he knew that he was king of Wen. Mountains and flowing water, you have to meet the sound. Speaking of this, his eyelids moved slightly, and he slowly lowered his head. Precious Jade Merchantzheng was very happy to hear this, so he said, "Good sister, what you said is really interesting, but I only saw the words on the top, and I don't recognize them, so you teach me a few." Mascara Jade Forest said, "You don't need to teach it, you can know it as soon as you say it." Precious Jade Merchant said, "I am a confused person, and I have to be taught the 'big' word plus a tick, and the middle one 'five' word." ”<br />
<br />
The day before yesterday, I read these articles, there is no song text, only the name, I went elsewhere to find a book with a song to look at, it is interesting. How to play well, it is really difficult. The book says: Shi Kuang drums and pianos, can come to the wind thunder dragon phoenix. Kong Shengren Shang learned to play the piano in Shi Xiang, and he knew that he was king of Wen. Mountains and flowing water, you have to meet the sound. Speaking of this, her eyelids moved slightly, and she slowly lowered her head. Precious Jade Merchant was very happy to hear this, so he said, "Good sister, what you said is really interesting, but I only saw the words on the top, and I don't recognize them, so you teach me a few." Mascara Jade Forest said, "You don't need to teach it, you can know it as soon as you say it." Precious Jade Merchant said, "I am a confused person, and I have to be taught the 'big' word plus a tick, and the middle one 'five' word." ”--[[User:Xu Gai|Xu Gai]] ([[User talk:Xu Gai|talk]]) 12:27, 10 May 2022 (UTC)<br />
<br />
==朝鲜语笔译 徐盖 Xu Gai 202170081638==<br />
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黛玉笑道：“这‘大’字‘九’字是用左手大拇指按琴上的‘九徽’，这一勾加‘五’字是右手钩‘五弦’，并不是一个字，乃是一声，是极容易的。还有吟、揉、绰、注、撞、走、飞、推等法，是讲究手法的。”宝玉乐得手舞足蹈的说：“好妹妹，你既明琴理，我们何不学起来？”黛玉道：“琴者，禁也。古人制下，原以治身，涵养性情，抑其淫荡，去其奢侈。若要抚琴，必择静室高斋，或在层楼的上头，在林石的里面，或是山巅上，或是水涯上。再遇着那天地清和的时候，风清月朗，焚香静坐，心不外想，气血和平，才能与神合灵，与道合妙。<br />
<br />
Mascara jade forest said with a smile: "the word 'big' and 'nine' is to press the 'nine emblem' on the piano with the thumb of the left hand. The word 'five' is to hook the 'five strings' with the right hand. It is not a word, but a sound, which is very easy. There are also chanting, kneading, chuckle, note, collision, walking, flying, pushing and other methods, which pay attention to techniques." Jade merchant danced happily and said, "good sister, since you know the piano theory, why don't we learn it?" Mascara jade forest said, "the zither player is forbidden. Under the ancient system, it was originally used to cure the body, cultivate the temperament, curb its debauchery and eliminate its luxury. If you want to play the zither, you must choose a quiet room and high Zhai, or on the top of the floor, in the forest and stone, on the top of the mountain or on the edge of the water. When the land is clear and peaceful on that day, the wind is clear and the moon is clear, the incense is burned and you sit quietly, thinking nothing but peace of Qi and blood, so that you can be in harmony with God and the Tao.<br />
<br />
==朝鲜语笔译 徐文慧 Xu Wenhui 202170081639==<br />
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所以古人说‘知音难遇。’若无知音，宁可独对着那清风明月，苍松怪石，野猿老鹤，抚弄一番，以寄兴趣，方为不负了这琴。还有一层，又要指法好，取音好。若必要抚琴，先须衣冠整齐，或鹤氅，或深衣，要知古人的象表，那才能称圣人之器，然后盥了手，焚上香，方才将身就在榻边，把琴放在案上，坐在第五徽的地方儿，对着自己的当心，两手方从容抬起：这才心身俱正。还要知道轻重疾徐，卷舒自若，体态尊重方好。”宝玉道：“我们学着顽，若这么讲究起来，那就难了。”两个人正说着，只见紫鹃进来，看见宝玉笑说道：“宝二爷，今日这样高兴。”<br />
<br />
That's why the ancients said, 'A bosom friend is hard to meet.' If there is no bosom friend, would rather alone to the wind moon, pines and rocks, wild apes old crane, fondle, to send interest, to live up to the piano. There is a layer, and good fingering, take good. If necessary aficionado, first must be nice, or crane to ride, or deep clothes, want to know the ancients like table, that can be said of the saints, and then washing their hands, burning shakily, just put the body at the edge of the bed, put the piano on the case, sitting in the fifth emblem of place, to his own careful, two hands calmly raised: This just psychosomatic is. You have to know that the severity of the disease, the volume of ease, the posture of respect is good. "Jade Merchant said: "We are learning to be stubborn, but if we are so particular, it will be difficult." As the two were talking, Nightingale came in and saw Jade Merchant. She smiled and said, "Second Master Bao, I'm so happy today."<br />
<br />
==比较文学与跨文化研究 Mahzad Heydarian 202021080004==<br />
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宝玉笑道：“听见妹妹讲究的，叫人顿开茅塞，所以越听越爱听。”紫鹃道：“不是这个高兴，说的是二爷到我们这边来的话。”宝玉道：“先时妹妹身上不舒服，我怕闹的他烦。再者，我又上学，因此显着就疏远了是的。”紫鹃不等说完，便道：“姑娘也是才好。二爷既这么说，坐坐也该让姑娘歇歇儿了，别叫姑娘只是讲究劳神了。”宝玉笑道：“可是我只顾爱听，也就忘了妹妹劳神了。”黛玉笑道：“说这些倒也开心，也没有什么劳神的。只是怕我只管说，你只管不懂呢。”宝玉道：“横竖慢慢的自然明白了。”<br />
<br />
==外国语言文学 Akira 202121080009==<br />
<br />
说着，便站起来，道：“当真的妹妹歇歇儿罢。明儿我告诉三妹妹和四妹妹去，叫他们都学起来，让我听。”黛玉笑道：“你也太。受用了。即如大家学会了抚起来，你不懂，可不是对。”黛玉说到那里，想起心上的事，便缩住口，不肯往下说了。宝玉便笑道：“只要你们能弹，我便爱听，也不管‘牛’不‘牛’的了。”黛玉红了脸一笑，紫鹃雪雁也都笑了。于是走出门来。只见秋纹带着小丫头，捧着一小盆兰花来，说：“太太那边有人送了四盆兰花来，因里头有事，没有空儿顽他，叫给二爷一盆，林姑娘一盆。”<br />
<br />
==英语语言文学 Mariam Tourse 2020GBJ002301==<br />
<br />
黛玉看时，却有几枝双朵儿的，心中忽然一动，也不知是喜是悲，便呆呆的呆看。那宝玉此时却一心只在琴上，便说：“妹妹有了兰花，就可以做《猗兰操》了。”黛玉听了，心里反不舒服。回到房中，看着花，想到“草木当春，花鲜叶茂，想我年纪尚小，便像三秋蒲柳。若是果能随愿，或者渐渐的好来；不然，只恐似那花柳残春，怎禁得风催雨送！”想到那里，不禁又滴下泪来。紫鹃在旁看见这般光景，却想不出原故来：“方才宝玉在这里，那么高兴；如今好好的看花，怎么又伤起心来？”正愁着没法儿解，只见宝钗那边打发人来。</div>Li Yuanhttps://bou.de/u/index.php?title=LANG2022_LIST_OF_FINAL_EXAM_PAPERS&diff=142275LANG2022 LIST OF FINAL EXAM PAPERS2022-05-10T02:21:02Z<p>Li Yuan: </p>
<hr />
<div><span style="color:red">Every student needs to find a topic, which is not in the textbook and has not been presented in class. Please check your topics in regard of this. All topics are ok except for those with red marks. Please suggest a new topic instead and wait for the teacher to remove the red marks.</span><br />
<br />
Name Student Number Topic for Final Paper<br />
<br />
<span style="color:blue">卞王倩 202170081563 Europeanized Chinese and Cultural Factors Behind it<br />
<br />
曹姣 202170081564 "Relegation Literature in Ancient China Take Su Shi as an Example"<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">陈路瑶 202170081565 Ancient Chinese Values Handed Down Until Today<br />
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崔晓凡 202170081566 Chinese Calligraphy <span style="color:red">This topic is already in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">邓阳林 202170081567 A type of verse popular in the Yuan Dynasty <br />
<br />
高智慧 202170081568 Stage Entertainment:Crosstalk<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
何丽娜 202170081569 the Classic of Mountains and Seas<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
胡良明 202170081570 Poetry in Tang Dynasty<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
黄琼 202170081571 Suzhou Garden--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 02:18, 10 May 2022 (UTC)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
邝雨琪 202170081572 Chinese Dining Etiquette<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">黎溢佳 202170081573 Gender Discrimination in Chinese<br />
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<span style="color:blue">李思敏 202170081574 Global Impact of Chinese Language<br />
<br />
<span style="color:blue">李思源 202170081575 Early Transition of Chinese Literature<br />
<br />
李婷 202170081576 The Liquor Culture of Ancient China<span style="color:red">This topic is already in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">李欣 202170081577 The contradiction between language and mind<br />
<br />
<span style="color:blue">李颖 202170081578 Overview on Miaoyu (The language of the Miao ethnic group in Southwest China.)<br />
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李媛 202170081579 Chinese Shadow Puppets and its Reception in the World --[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 02:01, 10 May 2022 (UTC)<span style="color:red">This topic is already in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
李梓婕 202170081580 Propaganda in China <span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">梁思婷 202170081581 prejudice and culture<br />
<br />
<span style="color:blue">廖诗韵 202170081582 Chinese idioms<br />
<br />
<span style="color:blue">刘唱 202170081583 Localization of Game Translation<br />
<br />
<span style="color:blue">刘乐乐 202170081584 Chinese online fantasy novels<br />
<br />
刘双英 202170081585 Global Impact of Chinese Culture<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">刘婷 202170081586 Translation and Dissemination of Chinese Contemporary Science Fiction<br />
<br />
<span style="color:blue">刘瑶 202170081587 Dissemination of Chinese Contemporary Literature<br />
<br />
刘珍 202170081588 Chinese spring couplets <span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">龙翰良 202170081589 A brief analysis on teaching Chinese as a second language<br />
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<span style="color:blue">罗姚林 202170081590 Different Local Dialects in China<br />
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马艳焕 202170081591 Literature: Ancient literature: Four Folk Stories of Ancient China<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
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<span style="color:blue">聂薇 202170081592 Cultural factors behind the Spring Festival travel rush in China<br />
<br />
孙丽君 202170081593 Chinese Costume Culture<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
仝雨梦 202170081594 Ambiguity of Chinese Language (e.g. Tang Poetry)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">童略雅 202170081595 A Brief Analysis of The Influence of AI on Translators <br />
<br />
<span style="color:blue">庹树梅 202170081596 Translation and Dissemination of Chinese Fairy Tales in the English-sppeaking World<br />
<br />
<span style="color:blue">王思琪 202170081597 A Study on Chinese Dialects <br />
<br />
王亚娟 202170081598 China’s Four Great Classic Novels<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">肖冬晴 202170081599 On Verbal Humour in Chinese Sketches from the Perspective of Violating the Cooperative Principle<br />
<br />
肖佳莉 202170081600 How the Language shapes the mind<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">谢晓莹 202170081601 The Acrobatic Fighting in Peking Opera<br />
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熊嘉玲 202170081602 Hunan Flower Drum Opera<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
颜媛 202170081603 Language styles<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">杨心怡 202170081604 Gendering History on Chinese Movie<br />
<br />
<span style="color:blue">杨紫微 202170081605 Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theories<br />
<br />
<span style="color:blue">张国浩 202170081606 The Influence of Electronic Language on Chinese Language and Culture in the Internet Age<br />
<br />
<span style="color:blue">张姣玲 202170081607 The comparison of the translations of Libai’s poem The River-Merchants Wife:A Letter(E.Pounds Version and Xu Yuanchong)<br />
<br />
张瑞 202170081608 An analysis of honorifics between Chinese and English--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 01:15, 10 May 2022 (UTC) <span style="color:red">This topic was already in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">赵宇翔 202170081609 Dunhuang Frescoes In Contemporary China<br />
<br />
<span style="color:blue">郑冬琴 202170081610 A Comparative Study of Sino-German Cultural Differences<br />
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<span style="color:blue">钟青 202170081611 The English translation of the ancient Chinese official positions, taking History of Imperial China as an example. <br />
<br />
<span style="color:blue">周皓熙 202170081612 Rhetorics in China<br />
<br />
<span style="color:blue">周哲 202170081613 Confucian Teaching Thoughts<br />
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朱丽娟 202170081614 Ancient Chinese Pagoda<span style="color:red">This topic was already presented in the textbook, the final exam paper needs to be a new topic. If you can explain that it is different, please let me know.</span><br />
<br />
<span style="color:blue">段小蝶 202170081615 Chinese Movies <br />
<br />
方楚晗 202170081616 Bullet Screen in Chinese Online Video Sites <span style="color:red">This topic has already been chosen several times, the final exam paper needs to be a new topic.</span>--[[User:Fang Chuhan6|Fang Chuhan6]] ([[User talk:Fang Chuhan6|talk]]) 02:04, 10 May 2022 (UTC)<br />
<br />
<span style="color:blue">胡雯雯 202170081617 Chinese Baijiu Culture<br />
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黄天琪 202170081618 Dress Culture in China<span style="color:red">This topic was already presented in the textbook, the final exam paper needs to be a new topic.</span>--[[User:Huang Tianqi|Huang Tianqi]] ([[User talk:Huang Tianqi|talk]]) 01:53, 10 May 2022 (UTC)<br />
<br />
兰绮 202170081619 Chinese Panda Diplomacy--[[User:Lan Qi|Lan Qi]] ([[User talk:Lan Qi|talk]]) 01:02, 10 May 2022 (UTC)<span style="color:red">This topic was already presented in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
李丹 202170081620 Differences of Tea Culture between China and the UK--[[User:Li Dan|Li Dan]] ([[User talk:Li Dan|talk]]) 01:42, 10 May 2022 (UTC)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">李立飞 202170081621 Memes in China<br />
<br />
莫雨婷 202170081622 The Eastward Spread of Western Learning<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">彭慧璇 202170081623 Queer culture in China<br />
<br />
时友洁 202170081624 Makeup Evolution in Ancient China--[[User:Shi Youjie|Shi Youjie]] ([[User talk:Shi Youjie|talk]]) 01:47, 10 May 2022 (UTC) <br />
<br />
伍佳惠 202170081625 Strange Stories from a Chinese Studio<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
夏晶 202170081626 Chinese Porcelain<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
向师琦 202170081627 Literature of Tang and Song<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
向望 202170081628 Tik Tok<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">徐舞 202170081629 Analysis on Chinese"Chi+O" Construction<br />
<br />
张静芝 202170081630 Ancient Literature：Chinese Classic Fairy Tales<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
张旻丰 202170081631 Artificial Intelligence in translation <span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
曹梦然 202170081632 The influence of Buddhism on Chinese culture<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">胡梦琪 202170081633 Huangmei opera<br />
<br />
<span style="color:blue">张白鹭 202170081634 An analysis of Chinese translation of Modern Japanese literature<br />
<br />
<span style="color:blue">刘安莉 202170081635 China’s internet literature IP<br />
<br />
王思佳 202170081636 Chinese Tea Culture<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
Tranditional Festivals:Dragon Boat Festival--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 02:01, 10 May 2022 (UTC)<br />
<span style="color:blue">徐盖 202170081638 Nuo Culture in China<br />
<br />
<span style="color:blue">徐文慧 202170081639 Chinese Writing: Ancient Writing and Painting Tool, Writing Brush<br />
<br />
<span style="color:blue">Akira 202121080009 The emergence of new linguistic forms in Chinese (neologisms?)<br />
<br />
Mahzad Heydarian 202021080004 Chinese Mythology<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span></div>Li Yuanhttps://bou.de/u/index.php?title=LANG2022_LIST_OF_FINAL_EXAM_PAPERS&diff=142271LANG2022 LIST OF FINAL EXAM PAPERS2022-05-10T02:17:46Z<p>Li Yuan: </p>
<hr />
<div><span style="color:red">Every student needs to find a topic, which is not in the textbook and has not been presented in class. Please check your topics in regard of this. All topics are ok except for those with red marks. Please suggest a new topic instead and wait for the teacher to remove the red marks.</span><br />
<br />
Name Student Number Topic for Final Paper<br />
<br />
<span style="color:blue">卞王倩 202170081563 Europeanized Chinese and Cultural Factors Behind it<br />
<br />
曹姣 202170081564 "Relegation Literature in Ancient China Take Su Shi as an Example"<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">陈路瑶 202170081565 Ancient Chinese Values Handed Down Until Today<br />
<br />
崔晓凡 202170081566 Chinese Calligraphy <span style="color:red">This topic is already in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">邓阳林 202170081567 A type of verse popular in the Yuan Dynasty <br />
<br />
高智慧 202170081568 Stage Entertainment:Crosstalk<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
何丽娜 202170081569 the Classic of Mountains and Seas<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
胡良明 202170081570 Poetry in Tang Dynasty<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
黄琼 202170081571 Four Satirical novels<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
邝雨琪 202170081572 Chinese Dining Etiquette<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">黎溢佳 202170081573 Gender Discrimination in Chinese<br />
<br />
<span style="color:blue">李思敏 202170081574 Global Impact of Chinese Language<br />
<br />
<span style="color:blue">李思源 202170081575 Early Transition of Chinese Literature<br />
<br />
李婷 202170081576 The Liquor Culture of Ancient China<span style="color:red">This topic is already in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">李欣 202170081577 The contradiction between language and mind<br />
<br />
<span style="color:blue">李颖 202170081578 Overview on Miaoyu (The language of the Miao ethnic group in Southwest China.)<br />
<br />
李媛 202170081579 Chinese Shadow Puppets and its Dissemination in the World --[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 02:01, 10 May 2022 (UTC)<span style="color:red">This topic is already in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
李梓婕 202170081580 Propaganda in China <span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">梁思婷 202170081581 prejudice and culture<br />
<br />
<span style="color:blue">廖诗韵 202170081582 Chinese idioms<br />
<br />
<span style="color:blue">刘唱 202170081583 Localization of Game Translation<br />
<br />
<span style="color:blue">刘乐乐 202170081584 Chinese online fantasy novels<br />
<br />
刘双英 202170081585 Global Impact of Chinese Culture<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">刘婷 202170081586 Translation and Dissemination of Chinese Contemporary Science Fiction<br />
<br />
<span style="color:blue">刘瑶 202170081587 Dissemination of Chinese Contemporary Literature<br />
<br />
刘珍 202170081588 Chinese spring couplets <span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">龙翰良 202170081589 A brief analysis on teaching Chinese as a second language<br />
<br />
<span style="color:blue">罗姚林 202170081590 Different Local Dialects in China<br />
<br />
马艳焕 202170081591 Literature: Ancient literature: Four Folk Stories of Ancient China<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">聂薇 202170081592 Cultural factors behind the Spring Festival travel rush in China<br />
<br />
孙丽君 202170081593 Chinese Costume Culture<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
仝雨梦 202170081594 Ambiguity of Chinese Language (e.g. Tang Poetry)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">童略雅 202170081595 A Brief Analysis of The Influence of AI on Translators <br />
<br />
<span style="color:blue">庹树梅 202170081596 Translation and Dissemination of Chinese Fairy Tales in the English-sppeaking World<br />
<br />
<span style="color:blue">王思琪 202170081597 A Study on Chinese Dialects <br />
<br />
王亚娟 202170081598 China’s Four Great Classic Novels<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">肖冬晴 202170081599 On Verbal Humour in Chinese Sketches from the Perspective of Violating the Cooperative Principle<br />
<br />
肖佳莉 202170081600 How the Language shapes the mind<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">谢晓莹 202170081601 The Acrobatic Fighting in Peking Opera<br />
<br />
熊嘉玲 202170081602 Hunan Flower Drum Opera<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
颜媛 202170081603 Language styles<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">杨心怡 202170081604 Gendering History on Chinese Movie<br />
<br />
<span style="color:blue">杨紫微 202170081605 Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theories<br />
<br />
<span style="color:blue">张国浩 202170081606 The Influence of Electronic Language on Chinese Language and Culture in the Internet Age<br />
<br />
<span style="color:blue">张姣玲 202170081607 The comparison of the translations of Libai’s poem The River-Merchants Wife:A Letter(E.Pounds Version and Xu Yuanchong)<br />
<br />
张瑞 202170081608 An analysis of honorifics between Chinese and English--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 01:15, 10 May 2022 (UTC) <span style="color:red">This topic was already in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">赵宇翔 202170081609 Dunhuang Frescoes In Contemporary China<br />
<br />
<span style="color:blue">郑冬琴 202170081610 A Comparative Study of Sino-German Cultural Differences<br />
<br />
<span style="color:blue">钟青 202170081611 The English translation of the ancient Chinese official positions, taking History of Imperial China as an example. <br />
<br />
<span style="color:blue">周皓熙 202170081612 Rhetorics in China<br />
<br />
<span style="color:blue">周哲 202170081613 Confucian Teaching Thoughts<br />
<br />
朱丽娟 202170081614 Ancient Chinese Pagoda<span style="color:red">This topic was already presented in the textbook, the final exam paper needs to be a new topic. If you can explain that it is different, please let me know.</span><br />
<br />
<span style="color:blue">段小蝶 202170081615 Chinese Movies <br />
<br />
方楚晗 202170081616 Bullet Screen in Chinese Online Video Sites <span style="color:red">This topic has already been chosen several times, the final exam paper needs to be a new topic.</span>--[[User:Fang Chuhan6|Fang Chuhan6]] ([[User talk:Fang Chuhan6|talk]]) 02:04, 10 May 2022 (UTC)<br />
<br />
<span style="color:blue">胡雯雯 202170081617 Chinese Baijiu Culture<br />
<br />
黄天琪 202170081618 Dress Culture in China<span style="color:red">This topic was already presented in the textbook, the final exam paper needs to be a new topic.</span>--[[User:Huang Tianqi|Huang Tianqi]] ([[User talk:Huang Tianqi|talk]]) 01:53, 10 May 2022 (UTC)<br />
<br />
兰绮 202170081619 Chinese Panda Diplomacy--[[User:Lan Qi|Lan Qi]] ([[User talk:Lan Qi|talk]]) 01:02, 10 May 2022 (UTC)<span style="color:red">This topic was already presented in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
李丹 202170081620 Differences of Tea Culture between China and the UK--[[User:Li Dan|Li Dan]] ([[User talk:Li Dan|talk]]) 01:42, 10 May 2022 (UTC)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">李立飞 202170081621 Memes in China<br />
<br />
莫雨婷 202170081622 The Eastward Spread of Western Learning<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">彭慧璇 202170081623 Queer culture in China<br />
<br />
时友洁 202170081624 Makeup Evolution in Ancient China--[[User:Shi Youjie|Shi Youjie]] ([[User talk:Shi Youjie|talk]]) 01:47, 10 May 2022 (UTC) <br />
<br />
伍佳惠 202170081625 Strange Stories from a Chinese Studio<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
夏晶 202170081626 Chinese Porcelain<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
向师琦 202170081627 Literature of Tang and Song<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
向望 202170081628 Tik Tok<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">徐舞 202170081629 Analysis on Chinese"Chi+O" Construction<br />
<br />
张静芝 202170081630 Ancient Literature：Chinese Classic Fairy Tales<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
张旻丰 202170081631 Artificial Intelligence in translation <span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
曹梦然 202170081632 The influence of Buddhism on Chinese culture<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">胡梦琪 202170081633 Huangmei opera<br />
<br />
<span style="color:blue">张白鹭 202170081634 An analysis of Chinese translation of Modern Japanese literature<br />
<br />
<span style="color:blue">刘安莉 202170081635 China’s internet literature IP<br />
<br />
王思佳 202170081636 Chinese Tea Culture<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
Tranditional Festivals:Dragon Boat Festival--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 02:01, 10 May 2022 (UTC)<br />
<span style="color:blue">徐盖 202170081638 Nuo Culture in China<br />
<br />
<span style="color:blue">徐文慧 202170081639 Chinese Writing: Ancient Writing and Painting Tool, Writing Brush<br />
<br />
<span style="color:blue">Akira 202121080009 The emergence of new linguistic forms in Chinese (neologisms?)<br />
<br />
Mahzad Heydarian 202021080004 Chinese Mythology<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span></div>Li Yuanhttps://bou.de/u/index.php?title=LANG2022_LIST_OF_FINAL_EXAM_PAPERS&diff=142264LANG2022 LIST OF FINAL EXAM PAPERS2022-05-10T02:01:38Z<p>Li Yuan: </p>
<hr />
<div><span style="color:red">Every student needs to find a topic, which is not in the textbook and has not been presented in class. Please check your topics in regard of this. All topics are ok except for those with red marks. Please suggest a new topic instead and wait for the teacher to remove the red marks.</span><br />
<br />
Name Student Number Topic for Final Paper<br />
<br />
<span style="color:blue">卞王倩 202170081563 Europeanized Chinese and Cultural Factors Behind it<br />
<br />
曹姣 202170081564 "Relegation Literature in Ancient China Take Su Shi as an Example"<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">陈路瑶 202170081565 Ancient Chinese Values Handed Down Until Today<br />
<br />
崔晓凡 202170081566 Chinese Calligraphy <span style="color:red">This topic is already in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">邓阳林 202170081567 A type of verse popular in the Yuan Dynasty <br />
<br />
高智慧 202170081568 Stage Entertainment:Crosstalk<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
何丽娜 202170081569 the Classic of Mountains and Seas<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
胡良明 202170081570 Poetry in Tang Dynasty<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
黄琼 202170081571 Four Satirical novels<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
邝雨琪 202170081572 Chinese Dining Etiquette<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">黎溢佳 202170081573 Gender Discrimination in Chinese<br />
<br />
<span style="color:blue">李思敏 202170081574 Global Impact of Chinese Language<br />
<br />
<span style="color:blue">李思源 202170081575 Early Transition of Chinese Literature<br />
<br />
李婷 202170081576 The Liquor Culture of Ancient China<span style="color:red">This topic is already in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">李欣 202170081577 The contradiction between language and mind<br />
<br />
<span style="color:blue">李颖 202170081578 Overview on Miaoyu (The language of the Miao ethnic group in Southwest China.)<br />
<br />
李媛 202170081579 Chinese Shadow Puppets and its Reception in the West --[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 02:01, 10 May 2022 (UTC)<span style="color:red">This topic is already in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
李梓婕 202170081580 Propaganda in China <span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">梁思婷 202170081581 prejudice and culture<br />
<br />
<span style="color:blue">廖诗韵 202170081582 Chinese idioms<br />
<br />
<span style="color:blue">刘唱 202170081583 Localization of Game Translation<br />
<br />
<span style="color:blue">刘乐乐 202170081584 Chinese online fantasy novels<br />
<br />
刘双英 202170081585 Global Impact of Chinese Culture<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">刘婷 202170081586 Translation and Dissemination of Chinese Contemporary Science Fiction<br />
<br />
<span style="color:blue">刘瑶 202170081587 Dissemination of Chinese Contemporary Literature<br />
<br />
刘珍 202170081588 Chinese spring couplets <span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">龙翰良 202170081589 A brief analysis on teaching Chinese as a second language<br />
<br />
<span style="color:blue">罗姚林 202170081590 Different Local Dialects in China<br />
<br />
马艳焕 202170081591 Literature: Ancient literature: Four Folk Stories of Ancient China<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">聂薇 202170081592 Cultural factors behind the Spring Festival travel rush in China<br />
<br />
孙丽君 202170081593 Chinese Costume Culture<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
仝雨梦 202170081594 Ambiguity of Chinese Language (e.g. Tang Poetry)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">童略雅 202170081595 A Brief Analysis of The Influence of AI on Translators <br />
<br />
<span style="color:blue">庹树梅 202170081596 Translation and Dissemination of Chinese Fairy Tales in the English-sppeaking World<br />
<br />
<span style="color:blue">王思琪 202170081597 A Study on Chinese Dialects <br />
<br />
王亚娟 202170081598 China’s Four Great Classic Novels<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">肖冬晴 202170081599 On Verbal Humour in Chinese Sketches from the Perspective of Violating the Cooperative Principle<br />
<br />
肖佳莉 202170081600 How the Language shapes the mind<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">谢晓莹 202170081601 The Acrobatic Fighting in Peking Opera<br />
<br />
熊嘉玲 202170081602 Hunan Flower Drum Opera<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
颜媛 202170081603 Language styles<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">杨心怡 202170081604 Gendering History on Chinese Movie<br />
<br />
<span style="color:blue">杨紫微 202170081605 Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theories<br />
<br />
<span style="color:blue">张国浩 202170081606 The Influence of Electronic Language on Chinese Language and Culture in the Internet Age<br />
<br />
<span style="color:blue">张姣玲 202170081607 The comparison of the translations of Libai’s poem The River-Merchants Wife:A Letter(E.Pounds Version and Xu Yuanchong)<br />
<br />
张瑞 202170081608 An analysis of honorifics between Chinese and English--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 01:15, 10 May 2022 (UTC) <span style="color:red">This topic was already in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">赵宇翔 202170081609 Dunhuang Frescoes In Contemporary China<br />
<br />
<span style="color:blue">郑冬琴 202170081610 A Comparative Study of Sino-German Cultural Differences<br />
<br />
<span style="color:blue">钟青 202170081611 The English translation of the ancient Chinese official positions, taking History of Imperial China as an example. <br />
<br />
<span style="color:blue">周皓熙 202170081612 Rhetorics in China<br />
<br />
<span style="color:blue">周哲 202170081613 Confucian Teaching Thoughts<br />
<br />
朱丽娟 202170081614 Ancient Chinese Pagoda<span style="color:red">This topic was already presented in the textbook, the final exam paper needs to be a new topic. If you can explain that it is different, please let me know.</span><br />
<br />
<span style="color:blue">段小蝶 202170081615 Chinese Movies <br />
<br />
方楚晗 202170081616 Chinese-English Translation of Culture-loaded Words <span style="color:red">This topic has already been chosen several times, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">胡雯雯 202170081617 Chinese Baijiu Culture<br />
<br />
黄天琪 202170081618 Dress Culture in China<span style="color:red">This topic was already presented in the textbook, the final exam paper needs to be a new topic.</span>--[[User:Huang Tianqi|Huang Tianqi]] ([[User talk:Huang Tianqi|talk]]) 01:53, 10 May 2022 (UTC)<br />
<br />
兰绮 202170081619 Chinese Panda Diplomacy--[[User:Lan Qi|Lan Qi]] ([[User talk:Lan Qi|talk]]) 01:02, 10 May 2022 (UTC)<span style="color:red">This topic was already presented in the textbook, the final exam paper needs to be a new topic.</span><br />
<br />
李丹 202170081620 Differences of Tea Culture between China and the UK--[[User:Li Dan|Li Dan]] ([[User talk:Li Dan|talk]]) 01:42, 10 May 2022 (UTC)<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">李立飞 202170081621 Memes in China<br />
<br />
莫雨婷 202170081622 The Eastward Spread of Western Learning<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">彭慧璇 202170081623 Queer culture in China<br />
<br />
时友洁 202170081624 Makeup Evolution in Ancient China--[[User:Shi Youjie|Shi Youjie]] ([[User talk:Shi Youjie|talk]]) 01:47, 10 May 2022 (UTC) <br />
<br />
伍佳惠 202170081625 Strange Stories from a Chinese Studio<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
夏晶 202170081626 Chinese Porcelain<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
向师琦 202170081627 Literature of Tang and Song<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
向望 202170081628 Tik Tok<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">徐舞 202170081629 Analysis on Chinese"Chi+O" Construction<br />
<br />
张静芝 202170081630 Ancient Literature：Chinese Classic Fairy Tales<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
张旻丰 202170081631 Artificial Intelligence in translation <span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
曹梦然 202170081632 The influence of Buddhism on Chinese culture<span style="color:red">This topic was already presented in class, the final exam paper needs to be a new topic.</span><br />
<br />
<span style="color:blue">胡梦琪 202170081633 Huangmei opera<br />
<br />
<span style="color:blue">张白鹭 202170081634 An analysis of Chinese translation of Modern Japanese literature<br />
<br />
<span style="color:blue">刘安莉 202170081635 China’s internet literature IP<br />
<br />
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