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Chinese Classics Translation 2022 LIST OF FINAL EXAM PAPERS

2022-06-29T09:36:29Z

Liang Siting: /* 英语笔译梁思婷 Liang Siting 202170081581 MW */

[[Chinese Classics Translation 2022|back to homepage]]

This is the overview page of the topics. For the actual papers, please refer to: [[20220630_Classics]]

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==Tips for writing your final exam paper: How to indicate your references==
*You can use the existing book chapters here as an example.
*Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Do '''not''' write any references like in one of the sample chapters:

[1] dsalkfkdsa

[2] adsfadsfag

But only the following way:

(Liu Miqing 2010, 17) in the text

and then

'''References'''
*Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.

Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):
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Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.
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Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT

==Sample papers==
You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with "Sample paper".
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications
* Comparative Study on Functional Equivalence Theory and Skopos Theroy
* Comparison of Derrida’s and Benjamin’s Translation View
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish
* On the Comparison between "Sublimation" an "Functonal Equivalence" Theories
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics
* The Translation of Culture-loaded Words in Chinese-English Communication
* Translators' Views on Translation Influence Their Translation Behavior

==Websites to write your final exam paper on==
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==Here you can write your Final Exam Papers==

==英语笔译卞王倩 Bian Wangqian 202170081563 CE==

<center>'''Chinese Classics Translation from a Perspective of Translational Communication Studies'''</center>

<center>Bian Wangqian</center>

===Abstract===
A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

===Key words===
'''Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator'''

===Introduction===
This paper includes five parts. The first part is the literature review, telling the relationship between translation and communication, the overview of translational communication studies and current studies from the perspective of translational communication. The second part is about methods and theories, that is, the introduction of translational communication and its six elements, especially the initiator of translational communication and translator. The third part is a detailed introduction of the initiator of translational communication, which has been divided into three types: the subject of the source language, the subject of the target language and the cooperation between the subject of the source language and the subject of the target language, and their application in real life and their aspiration for Chinese classics translation. The fourth part is the introduction of the translator and its subjectivity in different stages of translation in translational communication and their aspiration for Chinese classics translation. The last part is about the conclusion.

===Literature Review===
To meet the needs of rising translational communication practices, some theories and concepts of the science of communication have been introduced to apply to translation studies. As a result, translational communication studies are emerging. Lu Jun put forward that “the essence of translation is communication” (1997, 39). Xie Ke and Liao Xueru also defined: “in terms of the definition of translation and the nature of communication, communication is the essence of translation” (2016, 15). Tang Weihua franked: “Translation is communication” (2004, 48). And Zhang Shengxiang proposed that “translation and communication are symbionts” (2013, 117). All these have offered inspiration for furthering translational communication studies.

And the overview of translational communication studies is as follows: media, also communication channel or vehicle in translational communication, is the hot subject, and it includes new media, traditional media, mass media, social media and We media. This is in accordance with such an era of “media”. And then it’s translation strategies studies and communication effect. And cultural communication, as one of the types of translational communication, is closely related to a nation’s ideology and the purpose of building a positive international image. And Chinese classics translation and news translation are also playing a major role in foreign publicity. Translation publishing is also an important part, as it relates to the initiator of translational communication or the communication channels. In conclusion, translational communication studies cover not only the essential elements of translational communication but also the basic directions of translation, such as translation strategies and techniques, various text types and so on.

With the keywords “Chinese Classics translation from the perspective of translational communication studies” guided, according to data from CNKI, the most-involved theme is the studies of the strategies of Chinese Classics translation, which is exactly why this paper starts here, but from the perspective of translational communication studies. The rest majority covers external communication of such Chinese culture and classics as A Dream of Red Mansions and The Analects, translators and sinologists, such as English missionary James Legge, and publishing houses. So we can conclude that Chinese classics translation from the perspective of translational communication mainly deals with the object, translator and communication channel or vehicle, these three elements of translational communication. Besides, the papers involved are emerging like spring bamboo over the past five years, totaling five times that of ten years ago, just a single digit. This also proves the rapid development of translational communication studies as a new subject.

However, while “the subject or translator in translational communication” is searched as a subject, there is a few papers related unfolding or a few papers that directly relate to translational communication, but a lot about translation. So we can see that when translational communication is studied, translation from the perspective of communication is actually studied, which is indeed different from what we categorize as a translation but offers us a new direction. Just as Yin Feizhou, Yu Chengfa and Deng Yingling refer to in their co-authored book Ten Chapters of Translational Communication Studies: “The study of the interaction of the six elements of translational communication in translation communication studies can be found in the corresponding or correlated research patterns under translation studies” (2021: 17). That’s how the main body parts are organized here.

===Methods and Theories===
Let’s first get to communication before taking translational communication as the theoretical basis. In 1948, Harold Lasswell, an American communication scientist, put forward the 5W model of communication, that is, through what communication channel (In Which Channel), what communicating message (Says what) is communicated by the communication subject (the initiator of communication) to the communication target (To Whom), and what effect is achieved (With What Effect). But there is no clear definition of communication. In the 1970s, Wilbur Schramm, another American communication scientist reputed as “the father of communication studies”, gave an implicit definition: “Communication serves as a tool. That’s why our society exists.” Until now, there has been a simple definition of communication in the communication circle: the so-called “communication” is to convey the societal message or the operation of the societal message system (Guo Qingguang, 2011: 04). Or communication is the process of message flow (Hu Zhengrong，2017:19).

As for translation, according to Eugene. A. Nida, translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message. And Peter Newmark also gave his definition: “translation is rendering the meaning of a text into another language in the way the author intended the text”. And we can see that communication and translation both involve the exchange or transmission of the message.

From the perspective of language involved in communication, only a kind of language is used in the process of communication, which is called “intralingual communication”, also the general communication, and is the most seen in our daily life, such as the talk between two persons or groups who speak the same language. For another, such a process of communication deals with two or more kinds of language and can only be realized by means of translation or interpretation, which is exactly what we further study “interlingual communication”, and is also how we get translational communication.

So here is the difference between general communication and translational communication: translational communication carries the general characteristics of general communication, and also has a unique characteristic: language shift, which both constitute the essentials of translational communication. At the same time, translational communication studies and translation studies are different, more specifically, translation communication is the result of the development of translation studies towards a more refined and systematic direction. (Zhang Shengxiang, 2013：116). Differing from translation studies, see translation, as mentioned before, is an integral part of the process of translational communication, which is also regarded as an organic whole whose elements are interactive and interdependent.

We can conclude that translation is one of the forms of communication. And translational communication belongs to interlingual communication and can also be categorized as translation. It serves as the bridge for message communication among people. And based on Harold Lasswell’s 5W model of communication, the translator is introduced as one of the six elements of translational communication. As a result, a complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, receptor of target language message, vehicle\communicating channels and translation effect, and they engage in four links respectively, that is, initiation, translation, vehicle and reception, and message and translation effect are covering the whole process of translational communication.

In terms of six elements that contribute to a complete process of translational communication, six elements of translational communication jointly tell how translational communication is unfolding.

As the gatekeeper of translational communication, the subject of translational communication is also the initiator of the translational communication, who determines the communication message, the form of message presentation, translator, communication media and the vehicle, selects the wanted qualified translator and offers necessary material support to ensure the smooth operation of translational communication as well as partly affects the communication effect. This is the subjectivity of the initiator of translational communication. The initiator of translational communication can be an individual, a group, an organization, mass media or a country, which shows its diversity.

As an element that distinguishes translational communication from general communication, the translator is playing an important role in translational communication, that is, translators translate the source language message into the target language message and ensure the quality of the communication message. There will not be translational communication if there is no translator. In translational communication, a translator is a person, a machine, or a combination of both, who performs translation activities in the translational communication process (Yin Feizhou &Yu Chengfa, 2020：170-176). The translator affects the communication effect from two aspects: for one hand, the translator serves as the cooperation partner or stakeholder of the initiator of translational communication or even the initiator himself, along with the initiator or himself alone, exerts influence over the effect; for another, as the gatekeeper of message shift, translator determines the final effect of translational communication by selecting certain kinds of translation strategies or techniques and interacting with other elements of translational communication which deals with the quality of target language message. This is also an illustration of the subjectivity of translators in translational communication.

Source language message and target language message are both the object of translational communication, the object for the subject or initiator and translator of translational communication to recognize and perform and for the receptor to accept and understand. All activities of translational communication start from the perception, understanding and selection of the source language message and result in the target language message. There are three kinds of relationships between source language message and target language message: substitution, symbiosis and competition (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 112).

Communication channels refer to those media involved in translational communication, including newspaper offices, journals and magazines, book publishing houses, radio and television stations, film studios and networks and so on. In terms of message communication direction, these activities of translational communication can be classified into two types: internal translation communication and external translation communication. There are three main characteristics of communication channels: first, there is a translation link involved; second, communication media must be authorized; third, cross-region or -country cooperation will be made to better communicate.

The receptor of the target language message, the terminal of translational communication activities, accepts the heterogeneous culture from the source language, which means that receptor has to go through a cross-language understanding and cross-cultural reception. There are four characteristics of receptors in translational communication: absorb the heterogeneous culture, transform cognition, witness an impacted social culture and personal philosophy.

Like the effect of general communication, the effect of translational communication can be classified into two types: psychological, attitude and behavioral changes on the target receptor caused by the persuasive translational communication; the other is an intentional or unintentional, direct or indirect, implicit or explicit effect or influence on the general receptor and the society caused by all kinds of translational communication activities, especially those initiated by international radios and televisions, foreign language learning platforms and international message websites and We media.

===Section One The Initiator of Translational Communication===
As has been mentioned before, the initiator of translational communication is the gatekeeper of translational communication. It monitors other elements of translational communication and the whole process of communication, thus affecting the final effect of communication. According to the language environment, the subject or initiator of translational communication can be divided into the subject of the source language and the subject of the target language, and its control of the communication process can be in the form of control by the subject of the source language, control by the subject of the target language, and joint control by the source language subject and the target language subject. (Yin Feizhou & Li Ying, 2021: 76).

(1) The Subject of Source Language

The subject of source language refers to those individuals or organizations in the source language environment and their advantages in communicating their native or national culture lie in their deep understanding of and great appreciation for the message itself and the quality of Chinese classic works.

China International Literature Press and Foreign Language Press, the publishers of the Panda Books, are the subjects of the source language. As a member of the China International Publishing Group, Foreign Language Press has the responsibility of “introducing China in foreign languages and communicating with the world through books”. And its Panda Books includes a wide range of contemporary Chinese literary works, including masterpieces or collections of famous contemporary Chinese writers such as Wang Meng, Wang Zengqi, Liang Xiaosheng, Jia Pingwa, Feng Jicai, Tie Ning and Wang Anyi and so on, and their works reflect the true spiritual world and daily life of the Chinese people and resonate widely with their changing spiritual life and social environments. As a result, Panda Books has been a great success and has received widespread attention from the literary and Chinese communities in foreign countries such as the United Kingdom and the United States, thus becoming a publishing brand for translating and interpreting contemporary Chinese literature.

This is indeed an excellent example of Chinese classics translation and promotion abroad. Chinese classics such as the Taoist classics represented by Laozi or Tao Te Ching and the Confucian classics represented by the Analects, poems in the Tang, Song and Yuan dynasties, as well as the Ming and Qing novels represented by the Four Great Masterpieces of China have everlasting value and their significance goes beyond the contemporary era, and have gotten popularity in foreign countries during different periods. Therefore, their translation and promotion entail more attention and efforts from national publishers like Foreign Language Press so that Chinese classics can be brought back to life in the modern world.

Some famous Chinese and foreign experts and top-notch translators have worked with the FLP at one time or another, such as Israel Epstein, Sidney Shapiro, Gladys Yang, Denise Ly-Lebreton, and Tatsuko Yokokawa, Betty Chandler, Xiao Qian, Ye Junjian, and Yang Xianyi. Of them, A Dream of Red Mansions, co-translated by Yang Xianyi and his wife Gladys Yang and published by FLP, along with The Story of the Stone by Hawks, the two major English translations of A Dream of the Red Mansions, have been popular in the English-speaking world for nearly half a century, each with its own distinctive features, and have an authoritative status not only in the mainstream book market but also in the international sinology and redology circles. This also offers another solution to Chinese classics translation for China’s publishing houses: to absorb in excellent translation talents and masters and join hands to lay a solid foundation for Chinese classics’ communication with a foreign culture and foreign readers.

(2) The Subject of Target Language

The subject of target language refers to those individuals or organizations in the target language environment and their advantages of communicating with foreign or alien cultures lie in that they have an in-depth understanding of the target receptors and good control of the means of communication in the target language environment. For the subject of the target language, the content of translational communication is often determined by the cultural needs of the environment.

Mai Jia's ''Decoded'' is a typical example of a contemporary Chinese literary work that has “gone global” thanks to the subject of the target language. After the work won the Sixth National Book Award and was nominated for the Sixth Mao Dun Award, it was translated into English by a British sinologist Olivia Milburn and Christopher Payne, and co-published by Penguin Publishing Group in the UK and Elite Publishing Group in the US on the recommendation of the sinologist Julia Lovell. Due to their rich experience in marketing, the two publishing groups have made the English version of ''Decoded'' an enduring bestseller through various marketing channels, including the production of promotional videos, media coverage, book reviews, and global lecture tours by the author, and has been selected as the only contemporary Chinese literature work in the Penguin Classics.

As the target language subject--the publishing bodies act as the subject of translational communication, their access to the introduced works is mainly through translators and copyright agents, and the works recommended by these two groups are mostly classics from the source language country or region. Chinese classics are classical enough, plus enough exposure and strong publicity, all these make them enter the vision of the subjects of the target language and become their choice. Therefore, from the perspective of translational communication, the translation of Chinese classics depends not only on the discerning eyes of sinologists and subjects of the target language, but also on the classical atmosphere created by the Chinese government, the Chinese media and the Chinese people as the source language subjects. That’s the truth: Blooming flowers will always attract butterflies.

(3) the Subject of Source Language and the Subject of Target Language

Joint control by the source language subject and the target language subject means that two communication subjects in the source language environment and the target language environment are jointly responsible for a translational communication project. In the publishing industry, two publishing houses in the source language and the target language cooperate to complete the whole process of publishing and distribution, including the granting of translation rights, translation, publication, marketing and market feedback. The publication of the English translation of the famous science fiction ''The Three-Body Problem'', written by the Chinese writer Li Cixin, is a typical example of this model.

In 2012, China Educational Publication Import & Export Corporation and Science Fiction World signed a book copyright agreement with Liu Cixin, the author of ''Three Bodies'' for the translation rights of its English version, and chose Chinese-American science fiction writer Ken Liu as the translator of the first book. In 2014, the company licensed the English version of ''Three Bodies'' to Thor Press in the U.S. for worldwide publication, and in 2015, Thor Press granted back the rights to the company for the English version in Greater China, and thus it was released in mainland China, Hong Kong, Macau, and Taiwan. So we can see that the English version of ''Three Bodies'' was jointly published and distributed by Chinese and American publishers who fully captured the content of this masterpiece and made good use of the local distribution advantages of British and American publishers, and finally gained a great success.

So what can Chinese classics translation learn from it? There is no denying that the subject of the source language or Chinese is monitoring the whole process of translational communication. But it will never be a way out while holding excellent classic works in the bosom as it will be difficult for us to have the advantages that the subject of target language does: identify the target receptors, understand their cultural psychology and select the types of classics that will interest the target receptors as well as find the best form of communication. So cooperation will be a win-win choice, especially today when Sino-foreign exchange has been increasingly close.

===Section Two Translator in Translational Communication ===
Translator distinguishes translational communication from general communication, and they have the qualities of general translators and proficient ability to manage cross-cultural issues and, more importantly, the flexibility to interact with other elements to ensure the quality of translation and the communication effect, which are all examples of the subjectivity of translators. In the specific process of translational communication, the subjectivity of translations can be divided into two kinds: intra-translational subjectivity and extra-translational subjectivity (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 88). Extra-translational subjectivity refers to the translator's activeness and passivity in interacting with other elements of translational communication beyond language conversion, and it runs through the process of pre-translation negotiation and post-translation coordination. Intra-translational subjectivity refers to the translator's activeness and passivity in language conversion under the influence of other translational communication elements, and it runs through the process of translation.

(1) Pre-translation Negotiation

In translational communication of books, translators’ pre-translation negotiation subject is mainly the initiator of translational communication. This means that the translator needs to translate according to the expectations or instructions of the initiator, such as identifying the content of the translation, determining the purpose of translational communication, and proposing specific translation standards or strategies. The translator accepts the commission, agrees on the translation plan and signs a translation contract, and should of course translate according to the subject or initiator’s requirements, and the translation should try to meet his expectations, which reflects its passivity. For another, the translator can also make suggestions to the initiator, communicate and modify the translated text, standards or strategies based on his or her understanding of target readers and target society and culture, which in turn reflects the translator’s activeness.

Before the First China-Africa Economic and Trade Expo, the Secretariat of the Organizing Committee, as the main body of translational communication, commissioned a translation committee composed of experts including Jiang Hongxin and Yin Feizhou from Hunan Normal University to translate the official documents of the Expo. The translation committee initially advised that the Chinese expression “经贸合作” in the title of the book could be translated as “business cooperation”, but the secretariat, taking into account the opinions of the experts, considered that its translation should be “economic and trade cooperation”, and the translation of “经贸” should be “economy and trade”. In fact, the translation committee quoted the official English translation of “China-Europe business cooperation” from Li Keqiang’s keynote speech at the sixth session of the China-Europe Forum Hamburg Summit, stating that the term “economic and trade cooperation” is actually the equivalent of “business cooperation”, which does not need to be translated as the lengthy “economic and trade cooperation”. Despite that, the Secretariat emphasized that the translation of the book title should be consistent with the official English translation of the China-Africa Economic and Trade Expo, and insisted on the version of “economic and trade cooperation”. After understanding the intention of the organizing committee secretariat, the translators expressed their understanding and adopted this translation (Yin Feizhou, 2021: 88).

(2) While-translation Control

It’s what translators must do to timely communicate with the author of the source text or some experts while facing some difficulties or some professional problems in translating. The famous American sinologist Howard Goldblatt once said in an interview: The dialects in Jia Pingwa’s novels are so many that sometimes I fail to understand them while translating and have to communicate with him. Besides, I have translated eleven of Mo Yan’s novels, and we have had many discussions and even arguments about various details in them. Some of the artifacts and cultural backgrounds in Mo Yan's novels have posed considerable challenges for me. There is an artifact in (si shi yi pao) ''Pow!'' that I never understood, so I turned to him for help, and Mo Yan made a sketch and sent it to me by fax (Meng Xiangchun, 2014: 26). As a result, under the joint efforts of the translator and the author of the source text, Mo Yan’s works with Chinese characteristics has been a hit in the western and American markets and eventually Mo Yan won the Nobel Prize for Literature thanks to Howard Goldblatt’s translation.

The translator is the most competent and literate member in terms of interlingual communication during the entire translational communication activity (Yin Feizhou, Li Ying: 77). This means that translators should give full play to their roles and be more creative while being loyal to the source text and responsible for the author. As far as the role of translators is concerned, translators should be more creative in their translations to enhance the readability of Chinese classics. The famous translator of ''A Dream of Red Mansions'' Gladys Yang once said: “We (she and her husband Yang Xianyi) are not flexible enough. There is one translator whom we admire very much, David Hawks (another famous translator of ''The Story of The Stone''). He was much more creative than we were. We are too rigid and readers don’t like it because we are adopting literal translation wholly. In fact, we should be more creative. Translators should be more or less that way. However, we have been restricted by our past working environment for a long time, and thus more stuck to the source text” (Wang Zuoliang, 1989). As Zhuang Yichuan (2015: 76) has said, the more creative the translator is, the closer his translation will be to the original. And vice versa.

(3) Post-translation Coordination

After the translation is finished, the translated text has to be read and examined by the translator herself and others. Others include readers of the target language, who are responsible for pointing out those expressions that are not accurate, fluent and standard, and initiator of translational communication, who aims to find wherever it is inappropriate for publishing. For the former, as Howard Goldblatt translated Yang Jiang’s ''Six Chapters from My Life: Downunder'', Joseph Lau, a young teacher at the University of Wisconsin at the time, was invited as a reader and offered valuable suggestions for the treatment of background knowledge in the translation (Xu Shiyan, 2016: 90). For the latter, in his translations of Chinese classics, Howard Goldblatt has to abridge some of his translations at the request of editors and publishers, because literary translational communication cannot take place in a vacuum. (Liu Yunhong, 2019: 76) Readers’ acceptance is one of the factors that are necessarily taken into consideration.

In a word, at the stage when the foreign translation of Chinese literature was not yet in full swing, Howard Goldblatt gave full play to his initiative, actively communicated with editors, publishers and scholars, and jointly made suggestions for the translation, publication and promotion of the works, thus achieving the success of foreign translation of Chinese literature. This is exactly the kind of translator that Chinese classics translation asks for. In fact, Howard Goldblatt came into sight of Chinese and became the hot subject of the research of Chinese translation circles after Mo Yan’s winning the prize. That’s the reality: the translator is often invisible. But for Chinese classics translation, translators are increasingly visible. This inspires us in terms of two aspects. One is such translation masters as Howard Goldblatt who makes great contributions to Chinese literature and Chinese culture deserves Chinese attention and recognition when the Chinese government or the initiator of Chinese classics translation should be open and clever enough to cooperate with such talents to serve this event. Second, Chinese translators should never be excluded, although it is always a better choice for a target language translator to have this job. But the ability speaks aloud.

So what can Chinese classics translation learn from the translator with subjectivity and creativity from the perspective of translational communication? It must be a lot to learn from.

First, Chinese classics translation needs modern excellent translators as inheritors to inject them with new vitality. This needs translators’ activeness. For example, although the version of ''Roman of Three Kingdoms'' translated by the English sinologist C.H. Brewitt Taylor is no longer popular now because of the passage of time, it is still very influential in sinological circles. For example, the American sinologist Moss Roberts referred to his version when he re-translated this classic in 1983. The Australian sinologist Rafe de Crespigny became interested in Chinese history when he saw Taylor’s translation and later wrote at least five full-length monographs on the late Han and Three Kingdoms periods, and a 500-page biography of Cao Cao, which is perhaps the only biography of Cao Cao in the English-speaking world. This is exactly where the charming of excellent translation lies in: despite being difficult to translate due to its rich content and impressive cultural marks, real responsible translators should be rising to challenges, trying to challenge their predecessors and be creative to re-illustrate the Chinese classics while standing on the shoulders of those who came before us.

Second, the cultivation of translation talents for Chinese classics translation should be valued at a national level. In the past, the training of foreign language talents and translators focused on learning foreign literature, language and culture, and a certain degree of Chinese cultural aphasia has occurred. That is, Chinese translation talents may be familiar with English and American literature and its popular culture, but know little about ''the Four Books and Five Classics'' and the national culture. Here the problem comes: if they do not know their own cultural traditions and ideology, how can they take up the important task of translating and interpreting China? Therefore, in the current training of translation talents, it is urgent to make up for the shortage of local cultural nourishment and strengthen the education of local history, culture and intellectual concepts. Throughout the twentieth century, China was good at translating from foreign culture but poor at translating Chinese culture abroad, but there was a translation master in Chinese cultural promotion abroad, and it was Lin Yutang, one of the best-known Chinese writers of the twentieth century in the world. His ''Moment in Peking, My Country and My People, and The Importance of Living'' and so on all tells China and Chinese culture to the world. At this time when Chinese culture is being exported on a large scale, and when Chinese culture has to go out and is going to have benign communication with other cultures, Lin Yutang, who is undoubtedly a model of cultural communication, is worth studying and emulating both at present and in the future.

===Conclusion===
The significance of Chinese classics translation from the perspective of translational communication studies lies in the fact that it’s the right time for the strategies of Chinese cultural communication to upgrade while facing a lingering pandemic. At the same time, from translating the world to translating China, China itself has been increasingly stressing the foreign communication of our culture, so translational communication as a new subject will be a good approach to related studies. As has been illustrated above, the initiator of translational communication and translator, as two of the six elements of translational communication, are playing an important role in this process and this importance can be seen everywhere in book publication and promotion worldwide or by means of other media. In conclusion, translational communication studies indeed provide the theory and methodology for promoting Chinese classics abroad and “telling the Chinese story well”.

===References===
*Guo Qingguang郭庆光. (2011). ''传播学教程（第二版）''[Communication Studies Course (2nd Edition]. 北京：中国人民大学出版社Beijing: China Renmin University Press, Page 4.

*Hu Zhengrong.胡正荣.(2017).''传播学概论''[Introduction to Communication Studies]. 北京：高等教育出版社Beijing: Higher Education Press, Page 19.

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==英语笔译曹姣 Cao Jiao 202170081564 MW==

<center>'''The Dissemination of ''The Compendium of Materia Medica'' Abroad'''</center>

<center>曹姣CaoJiao</center>

===Abstract===

===Introduction===
The ''Compendium of Materia Medica'' is one of the pharmaceutical classics of China [elaborate].

Since the outbreak of coronavirus pandemic, traditional Chinese medicine has demonstrated its curative effect [evidence based medical study double blind randomized] in prevention and other respects by means of early intervention and 'full participation' [explain], and traditional Chinese medicine has thus re-[do you really mean it?]entered the international visibility [really?].

===Structure===
This paper takes the overseas dissemination of the ''Compendium of Materia Medica'' (Chinese characters) as an example: the first part is about the spread and development of its original text, the second part is about the overseas dissemination of its translation, the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic. The research on the dissemination of Chinese medical classics abroad will better help the Chinese medical classics to go abroad and promote the internationalization of TCM.

===Key words===
'''''the Compendium of Materia Medica''; overseas dissemination; Chinese medical classics;'''

===Introduction===
'''1. On the original'''

The original classic ''Compendium of Materia Medica'' consists of 52 volumes, including 16 parts and 60 categories, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

'''2. On the author of the original'''

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

===Literature Review===

===Methods and Theories===

===The original edition and the other three popular editions===
'''1. Jinling Edition'''
Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”.
From the age of 35, that is, the thirty-first year of Jiajing of the Ming Dynasty, Li began to write the''Compendium of Materia Medica'', and until the age of 62, that is, the sixth year of Wanli of Ming Dynasty, it was completed without manuscript. During this 27 years, after arduous efforts, Compendium of Materia Medica was finally written successfully in 1578. Because this book encompassed the content of the anti-taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making ''Compendium of Materia Medica'' was published in Nanjing, known as the Jinling Edition.

'''2. Jiangxi Edition'''

'''3. Hangzhou Edition'''

'''4. Hefei Edition'''

===Dissemination in different regions ===
'''1. In Japan'''

'''2. In Korea'''

'''3. In Europea'''

'''4. In America'''

===Reception in contemporary foreign market===

===Analysis and enlightment===

===Conclusion===

===References===
*Min Li, Yongxuan Liang(2015). Li Shizhen and The Grand Compendium of Materia Medica. Journal of Traditional Chinese Medical Sciences 2, 215-216
*
*
*

==英语笔译陈路瑶 Chen Luyao 202170081565 CE==

<center>A Study on the Popularity of Tie Ning's ''The Bathing Women'' Abroad</center>

<center>Chen Luyao</center>

===Abstract===
Tie Ning is an important writer in the history of modern Chinese literature. Her literary creation almost started in the period of reform and opening up. In 1983, her novel ''Ah, Xiangxue'' won the national excellent short story award, and Tie Ning quickly entered the center of contemporary literature. The overseas translation and introduction of Tie Ning's novels began in the mid and late 1980s. At first, the number of translations and introductions was small. Then, in the 21st century, relying on the background of China's rise, the scale and volume of overseas communication of Chinese contemporary literature have expanded rapidly. The number and attention of the overseas translation and introduction of Tie Ning's novels have also increased significantly, and the communication area has been expanding. However, the degree of acceptance has always been low, and the overseas research is relatively weak. Compared with its domestic influence Status is not commensurate. It is worth mentioning that Tie Ning's novel ''the Bathing Women'' has attracted more attention overseas, especially in the English world. Due to the differences in culture, politics and focus of attention between China and foreign countries, as well as the different understanding of his works abroad and at home, there are both positive praise and frank and sharp criticism of his works. The overseas translation and research of Tie Ning's novels provide reference and reflection for Chinese literature to go abroad and enter the world literature.

===Key Words===
Tie Ning; ''The Bathing Women''; World Literature

===Introduction===
This paper consists of five parts. The first part is a literature review, which introduces the dissemination of Tie Ning and her works in China and abroad, as well as the research status of experts at home and abroad on Tie Ning's works. The second part is the introduction of Tie Ning's life experience and ''the Bathing Women''. The third part analyzes in detail the popularity of Tie Ning's ''the Bathing Women'' abroad, taking the United States and Japan as examples. The fourth part discusses the reasons for the popularity of ''the Bathing Women'' abroad. The fifth part talks about the enlightenment brought by the popularity of Tie Ning's works abroad. The last part is the conclusion based on the above phenomenon analysis and enlightenment.

===Literature Review===
Tie Ning is a unique existence in the contemporary literary world. She is the third chairman of China Writers' Association after Mao Dun and Bajin. She integrates political identity, writer identity and female identity. With the continuous maturity of Tie Ning's works, the research on Tie Ning has also entered a period of in-depth excavation and comprehensive integration.

At present, the overall research results of Tie Ning can be roughly divided into the following two categories: the first category is research monographs. The table works are interpreted subtly. In 1990, Chen Yingshi's ''Tie Ning and Her Novel Art'' was the first monograph to study Tie Ning and her creation. In 2005, He Shaojun's ''Tie Ning Critical Biography'' is the first review book that comprehensively combs Tiening's literary path and growth track. In the same year, Shen Hongfang's ''Commonness and Individuality of Female Narration: A Comparative Study of Wang Anyi's and Tie Ning's Novel Creation'' compared the similarities and differences between Wang Anyi's and Tie Ning's creation from the four themes of love and marriage, social history, desire and its expression and narrative discourse individuality. Fan Chuanfeng's book ''where the Mermaid's Fishing Net Comes from: A Study of Tie Ning's Novels'' gives a subtle interpretation of many of Tie Ning's representative works. In 2007, Liang Huijuan, Wang Sufang and Li Suzhen co-wrote ''the Cool and Warm Colors - Research on Tie Ning's Creation'', which is a insightful and high-level research work, and makes a penetrating analysis of Tie Ning's creative ideas and creative methods. In 2009, ''the Research Materials on Tie Ning'' edited by Wu Yiqin included many research materials and comments on Tie Ning in the past 30 years, which is of great reference value. In the same year, Zhou Xuehua's ''Eternal Moment - A Narrative Study of Tie Ning's Novels'' is the first work on narratology in Tie Ning's research. It makes a multi-dimensional evaluation of Tie Ning's works from the perspectives of time and space, structure, perspective, language and so on. In 2012, Liu Li's ''Chinese Women in the Rose Door - Tie Ning and the Gender Identity of Contemporary Female Writers'' is the research result of Tie Ning's female writing, which investigates the female self-identity and the identity of female writers in the new era. In 2014, ''Tie Ning's Literary Almanac'', compiled by Zhang Guangming and Wang Dongmei, carefully combs Tie Ning's creative experience and activities, outlines the development track of Tie Ning's creation and makes simple comments. It is a material that can not be missed in the study of Tie Ning. In 2015, Wang Zhihua's ''Dance of Soul and the Beauty of Neutralization - On Tie Ning's Novels'' and in 2016, Xu Qingsheng's ''On the Art of Tie Ning's Novels'' gave artistic explanations to many of Tie Ning's important works.

The second category is research review papers. In 2005, Chu Hongmin's ''Review of Research on Tie Ning's Novels'', in 2009, Si Zhenzhen's ''Review of Research on Tie Ning's Works'', in 2010, Wang Lijun's ''Review of Research on Tie Ning's Novels'', and in 2017, Wang Jingjing's ''Review of Research on Tie Ning's Novels'' all summarized and analyzed the characteristics of Tie Ning's research stages, research subjects, research priorities and research deficiencies to varying degrees in the form of a review, which can restore the outline of Tie Ning's research over a period of time, Probably due to the limited space, most of them stay at the level of collation, and the research needs to be further expanded. There are also many phased research achievements. For example, in 2007, Tang Xin's ''Review of Tie Ning's Creative Research in the Past Ten Years'' summarized the ten years after Tie Ning's research entered the mature stage. In 2009, Wang Xiaoyu's ''Review of Tie Ning's Early Novels'' combed Tie Ning's early works. In 2015, He Shaojun's ''Falling in Love with Things That Human Hearts Can Feel Together -- On Tie Ning's Recent Literary Creation'', Wang Binbin's ''Understanding of the Depths of Human Nature'' in 2017, Shen Bin's ''Creation of Earthly Spirit -- Review of Tie Ning's Recent Novels'' and other papers commented on Tie Ning's creation since the new century, mainly the short story collection ''Flying Winemaker''.

Based on the research status of Tie Ning in the past 40 years, it can be seen that Tie Ning's research path has gone from the outside of literature to the inside of literature, and then to the integration of inside and outside. The research angle has changed from single to multiple, and the research method has changed from closed to open. Based on the background of the canonization of modern and contemporary Chinese literature and the historical materials of theoretical criticism in the contemporary literary world, it is time to comprehensively discuss Tie Ning, a typical representative contemporary writer.

===Methods and Theories===
Although Tie Ning's works are unique and thought-provoking, and many people have studied and analyzed them, with the advance of time, the popularity of Tie Ning's works is decreasing, and the opportunity of exposure is also decreasing. Although the previous research results on Tie Ning and her works are commendable, most of them are analyzed from the perspective of the whole, connecting Tie Ning's life experience with each work. Only a few of them start with a detailed analysis of one of her works, and make in-depth analysis and Reflection on the popularity of Tie Ning's works abroad. In the current context, it is more necessary to analyze the popularity of her works overseas, so as to learn from experience and help Chinese literature go abroad. This paper adopts the methods of literature analysis and cultural research. Literature analysis refers to the analysis of Tie Ning's specific text, taking time as the clue and text as the texture to sort out Tie Ning's creative process. The cultural research method is to explore how the external political, historical, cultural, commercial and other factors of literature interact with Tie Ning's creation and research beyond the internal laws of literature.

===Introduction===

1.Introduction of Tie Ning

Tie Ning was born in Beijing in 1957. Her father was a painter and her mother was a vocal music professor. When she grew up, she became a writer.

In 1975, Tie Ning, who graduated from high school, was influenced by the political trend of thought and the idea of accumulating creative materials in the countryside, but gave up the opportunity to stay in the city and chose to jump the queue in ZhangYue village, Boye County, Baoding. This rural life not only made Tie Ning accumulate a lot of writing materials, but also prompted her to create a series of novels reflecting rural life, such as the Night Passage. Although these works are not heavy, Tie Ning has attracted the attention of writers Ru Zhijuan and Sun Li, who have given her encouragement and support.

In 1979, Tie Ning was transferred to the editorial department of Huashan, a literary journal of Baoding Federation of literary and art circles as an editor. In 1982, Tie Ning published the short story Ah, Xiangxue. Sun Li praised this work and thought it was as pure as a poem. This work was reprinted in magazines such as Novel monthly, Selected Novels and Xinhua Digest. Subsequently, this work won the "National Excellent Short Story Award" in 1982 and won a wide reputation for Tie Ning.

In 1988, Tie Ning's first novel, ''the Rose Door''，was published by the writers' publishing house. This work marked the change of Tie Ning's creative style. The innocent Xiang Xue disappeared and was replaced by Si Qi Wen, who was full of "evil". After the publication of the Rose Door, it attracted wide attention. The following year, ''the Rose Door'' seminar was held in Beijing. Writers such as Wang Meng, Wang Zengqi and radar affirmed Tie Ning's work at the meeting. The female consciousness shown in the novel also attracted the attention of some participants. Writers such as Li Tuo thought that this work provided a feminist perspective, Some researchers also believe that this work cannot be classified as a female literary work.

In 2000, Tie Ning's novel ''the Bathing Women'' was published by Chunfeng Literature and Art Publishing House. Although the title and sexual description of Cezanne's famous works caused some criticism, Professor Wang Yichuan of Peking University pointedly pointed out that this work is "an elegant or serious literary work that greatly depends on the reader's reading patience and high understanding". In November2006, Tie Ning was elected chairman of the Chinese writers' Association and published the novel Stupid flower. This work no longer only focuses on women, but closely combines personal destiny with historical background, composing a love between family and country with a profound sense of history. During this period, the characters in Tie Ning's works became more three-dimensional, and the creative theme became more profound.

[[File:Tie Ning.jpg]]

With her excellent ability, she served as the chairman of Hebei writers' Association and the vice chairman of China Writers' Association. In 2006, she was elected chairman of the Chinese writers' Association. In 1975, he began to publish literary works. His main works include novels such as ''the Rose Door'',''the Bathing Women'', ''Stupid Flower'', and more than 100 short stories such as ''Ah, Xiangxue'', ''the Twelfth Night'', ''the Red Shirt without Buttons'', and ''How Far Is It Forever'', with a total of more than 4 million words. In 1996, she published five volumes of Tie Ning's works, and in 2007, the people's Literature Publishing House published nine volumes of Tie Ning's works. Her works have won six National Literature Awards including the "Lu Xun Literature Award"; In addition, novels and essays have won more than 30 awards for major academic journals in China. The film ''Ah,Xiangxue'' written by Tie Ning won the grand prize of the 41st Berlin International Film Festival, as well as the Golden Rooster Award and Hundred Flowers Award of Chinese films. Some of his works have been translated into English, Russian, German, French, Japanese, Korean, Spanish, Danish, Norwegian, Vietnamese and other languages.

Tie Ning's writing has been wandering between warmth and cruelty, tradition and Avantgarde. Although her writing has been greatly welcomed by mainstream culture and ideology at the beginning, she is always trying to escape the naming and classification of her creations from all sides in the literary world. The pursuit and reflection of true self constitutes an important theme of Tie Ning's creation; On the other hand, the warmth, love and consideration for the little people living at the bottom of the society are also carried out throughout the writer's creative process. Tie Ning's early works describe ordinary people and things in life, especially the characters' hearts, which reflect people's ideals and pursuit, contradictions and pain, and the language is soft and fresh. In 1986 and 1988, she successively published two novelettes, Haystacks and Cotton Stack,which reflected on the ancient history and culture and paid attention to the survival of women, marking that Tie Ning entered a new period of literary creation. In 1988, she also wrote his first novel, ''the Rose Door'', which changed Tie Ning's poetic realm of harmony and ideal in the past, and completely tore open the ugly and bloody side of life through the competition among generations of women.

2.Introduction of ''The Bathing Women

''The Bathing Women'' was originally the name of an oil painting. Tie Ning's novel named after it naturally has a unique moral. The protagonists of the novel are a group of contemporary women centered on Yin Xiaotiao. Their painful growth process under the bath of social and times is the main focus of the writer.''The Bathing Women'' reveals how hard and painful it is to grow up. The enemy of the self comes not only from the outside, but also from the inside. Women's own weaknesses and limitations have become the main object of reflection in this novel. Yin Xiaotiao, the main character in the novel, is a successful intellectual woman. The plot unfolds in her relationship with her two younger sisters, her parents, her lover, and her girlfriend tang Fei. ''The Bathing Women'' describes the heroine Yin Xiaotiao's arduous growth and emotional journey: because of her mother's red apricot coming out of the wall and her little sister's fall and death, she bears the spiritual burden of students and alienates her relationship with her mother; Younger sister Yin Xiaofan competes with her in everything. She is not so much a relative as an opponent; Yin Xiaotiao is a strong woman. She is very successful in her career, but she is proud and lonely in her heart. Fang Jing, the big star she was infatuated with, approached and found that she was a big layman who only wanted to possess but was unwilling to pay. Of course, he is really smart and talented. He caught up with the tide of the times and became a contemporary hero and public figure in the cultural context of the 1980s. Just like many "successful people" today, having a large number of women has become an important goal of his life. Yin Xiaotiao is just one of his many trophies.

=== An Analysis of the Overseas Popularity of ''the Bathing Women'''''===

Tie Ning is one of the most influential female writers in the contemporary literary world. Her works are famous for their distinctive female consciousness. In her numerous novels, she is always full of deep humanistic care for the living conditions and the ups and downs of the destiny of Chinese women. With poetic and perceptual strokes, she carefully describes the moral and emotional shocks and ripples that contemporary Chinese women encounter.The Bathing Women is one of her representative works. In 2000,the Bathing Women became an eye-catching sight in the literary book market in that year: as one of the famous brands, Cloth Tiger Series, it topped the list with a brilliant performance of 200000 copies at the spring ordering meeting of the national literary and art book group. It can be seen that the Chinese readers' expectation and love for this novel.

[[File:The Bathing Women.jpg]]

Tie Ning's works have always been loved by Chinese readers. Her works have also been widely spread in other languages in the world, and the English world is one of them. After the Bathing Women was published by the people's Literature Publishing House in 2006, it was not until 2012 that Scribner's published the English translation of ''the Bathing Women'', which was jointly translated by Zhang Hongling and Jason Sommer. On the back cover of the translation, the publishing house introduced Tie Ning and ''the Bathing Women'' as follows: in 2006, Tie Ning, 49, became the youngest president of the Chinese writers' Association. Her works have been translated into Russian, German, French, Japanese, Korean and other languages.

1.Analysis on the Popularity of Tie Ning's ''the Bathing Women'' in the United States

''The Bathing Women'' is Tie Ning's first novel translated into English. Therefore, it is of great practical significance and academic value to study the English translation and overseas popularity of Tie Ning's representative work the Bathing Women. By discussing the unique content of ''the Bathing Women'' and its acceptance in the English world after its publication, we can have a glimpse of the process and mirror image of Chinese contemporary female literature spreading abroad.

At present, the Chinese versions of Tie Ning's four novels, such as ''the Rose Door'', ''the City without Rain'', ''the Bathing Women'', ''Stupid flower'', and the short stories, such as ''Haystacks'', ''How Far Is It Forever'' are collected in American libraries. The following is the collection of Tie Ning's main works in the United States.

[[File:Chart.png]]

It can be seen from the table that Tie Ning's Chinese works with the largest number of Libraries in the United States are ''Stupid Flower'' published by the people's Literature Publishing House in 2006, followed by ''the Bathing Women'' published by Chunfeng Literature and Art Publishing House in 2000, and ''the Chocolate Fingerprint'' published by the people's Literature Publishing House in 2006. American libraries usually select the books to be purchased by designating several core publishers in a certain field. Among the 26 works collected by more than 20 libraries, 11 are published by the people's Literature Press, In the ''Series of Contemporary Chinese Writers:Tie Ning'' published by the agency in 2006, several works, including ''Chocolate Fingerprints'', ''As Clear As Paper Cutting'', ''A Walking Dream'', ''the Bathing Women'', ''the City without Rain'', have been collected by American libraries, which shows the recognition of the people's Literature Publishing House and Tie Ning's works by the American library community.

In the 1980s, Tie Ning's works began to be translated into English. From the perspective of the form of expression, these English translated works can be divided into three types: one is the long novel single edition and the short and medium story album, that is, only the English translation of Tie Ning's works is included; The second is a collection of Tie Ning's works, that is, a collection of the works of many writers; The third is the English translation published in magazines. The only single edition of Tie Ning's works that have been translated and published in English is the novel ''the Bathing Women''. Tie Ning's works albums mainly include ''Haystacks'' and ''How Far Is It Forever''. Several libraries have collected ''the Bathing Women'', and few American libraries have collected the other two works.

Number English name Translator Press Series of books Year of publication Number of American collection Libraries

1 Haystacks Wang Mingjie,Mei Danli Chinese Literature Press Panda Books 1990 53

2 Haystacks Mei Danli Foreign Languages Press Panda Books 2005 22

3 How long is forever Qiu Maoru,Wu Yanting Reader's Digest / 2010 20

4 The Bathing women Zhang Hongjun,Jason Sommer Scribner / 2012 16

The first edition of the independent edition of ''the Bathing Women'' was published in 2012. In that year, Scribner and Thorndike Press published this work. Scribner press is subordinate to simon&schuster, Inc., which is one of the largest book publishing companies in the United States. Together with Random House, Inc., Penguin Group and Harper Collins publishers, Scribner press is known as the world's four major English publishing groups. This publishing company publishes a wide range of books, Scribner is a publishing house under Scribner that specializes in publishing literary works. It has published the works of Annie Proulx and other well-known writers, and has strong strength. The great bathing woman was copyrighted by Simon & Schuster and published by Scribner publishing house. It can be said that the publication of Tie Ning's works in the United States has stood at a high starting point from the very beginning.

2.An Analysis of the Popularity of Tie Ning's ''the Bathing Women'' in Japan

In foreign countries, Japan is one of the first countries to pay attention to Tie Ning, and the number of translations of Tie Ning's works ranks first. In december 2007, the Journal of Japan-China Contemporary Literature Research Association, No. 21, published A list of Japanese translations of Chinese literature in the new era, which counted all works of contemporary Chinese literature published in Japan from the end of the cultural revolution in 1976 to June 2007. A total of 2652 works by 486 contemporary Chinese writers were collected. Among them, the top five writers in the number of Japanese translations are Mo Yan (54), Can Xue (46), Wang Meng (41), Tie Ning (35) and Shi Tiesheng (25). From 1984 to 2010, Tie Ning has translated 48 works into Japanese.

Tie Ning was noticed when she appeared in the literary world. In 1982, Tie Ning's famous work ''Ah,Xiangxue'' was published in the fifth issue of youth literature. Sun Li spoke highly of this novel is a poem from beginning to end, which has been reprinted in Novel Monthly, Selected Novels and Xinhua Digest. In 1984, the work won the National Award for excellent short stories. In the same year, The magazine Chinese language published Ah,Xiangxue translated by Hiroko Matsui, which is the earliest Japanese translation of Tie Ning's works.

After the publication of the Japanese translation of ''the Bathing Women'', literary critic Song Shanyan published a book review, Insight into the Nuances of Modern China.His characterization of the novel is that it tells the story of a young girl growing up in a local city, feeling guilty when she was young, falling in love and becoming mature. He pointed out that the work did not fall into the stereotype of telling the story of a woman who was teased by fate. The women in the book are indomitable, not afraid of betraying others, but also desperately seize happiness. What impressed him was the scene of Yin Xiaotiao, Tang Fei and Meng Youyou secretly making delicious food during the cultural revolution. He pointed out that even in the dark ages, they also crave food and dress up. After sexual awakening, they look for love, compete with each other, envy and desire glory. However, after the cultural revolution ended and the world became rich, they became more and more dysfunctional.He said that after reading ''the Bathing Women'', the impression of the Chinese people will take on a new look, as if they were around. The author has insight into the most subtle aspects of contemporary China and superb writing ability.Song Shanyan's major has nothing to do with Chinese language and literature. Before he sawthe ''the Bathing Women'', China and Chinese people were foreign and strange to him. However, after reading ''the Bathing Women'', his impression of the Chinese people has taken on a new look and he can feel the most subtle scene of Chinese society. This is the embodiment of the unique role of excellent contemporary Chinese literary works such as the Bathing Women in conveying the true image of China and the Chinese people by telling good Chinese stories in the cultural exchange between China and Japan.

===An Analysis of the Reasons for the Overseas Popularity of ''the Bathing Women''===

As one of the Chinese literary works that have entered the world literature and won the favor of overseas readers, Tie Ning's ''the Bathing Women'' has been praised by many writers and writers, and also provides a reference for Chinese works to go to the world. In this context, the popularity of ''the Bathing Women'' abroad has also become a hot issue for discussion and analysis.

1.In Depth Analysis of Women

Historically, women have been ruled and ignored for a long time.Men are the main body and absolute, while women are the other. In ancient China, the concept of feudal ethics deeply constrained the development of women. The three cardinal guides and the five constant virtues as specified in the feudal ethical code made women take their husband as their priority at home, consciously attached to men, and eventually became male appendages without independent consciousness. The story of Adam and Eve in the western book of Genesis also has symbolic meaning of different status of men and women: according to the traditional saying, Eve was extracted from Adam's superfluous bones. The human world is male. Men define women not from women themselves, but from the inherent male perspective. Women are not regarded as an independent existence. Whether it is Yin Xiaotiao's fascination with each other in the early stage, or Zhang Wan's cosmetic surgery to find Yin Yixun happy, it is a kind of female unconsciousness and voluntarily becomes a vassal in the male discourse world. Tang Fei is even more ups and downs in the male world. She likes men, and she likes to let men like her. Captain wearing white shoes , dancer, master Qi, Xiao Cui and Yu Shengli are all self exiled among them. She was playing with men and being played with by selling her body, but finally she was alone in the hospital bed, unattended, which became a tragedy.

In addition, Tie Ning's thinking on women's survival is not limited to exposing the oppression of women by the patriarchal society. She pays more attention to the real female world and their conscious awakening, As she mentioned in the creation of the Rose Door: When dealing with female subjects, I have always tried to get rid of the eyes of pure women. I am eager to obtain a two-way perspective or a third sexual perspective, which will help me more accurately grasp the real living conditions of women. In China, not most women have a clear concept of themselves. It is not men who really enslave and suppress women's hearts, but women themselves. Out of this thinking, Tie Ning shows a deeper perspective to examine the fate of women, revealing that women hurt women in ''the Bathing Women'' and women's heavy consciousness of introspection. The female world has a dual nature, which is not simply good or evil or angels and evil women in the male discourse. They have the complexity of being born human. The women in the bathing women are more likely to hurt each other. Yin Xiaotiao asks Tang Fei to sell her body in exchange for her favorite job. Yin Xiaofan and Yin Xiaotiao, the sisters, are fighting each other because of the shadow left by Yin Xiaoquan's death. Yin Xiaofan always approaches and vies for Yin Xiaotiao's clothing accessories and even suitors. Tie Ning's questioning about family and friendship shows her deeper reflection on the path of women's self-growth.

2.Facing Male Chauvinism Bravely

In addition to analyzing women, Tie Ning also uses the concern of female writers to force and torture the patriarchal rule, striving to break the restrictions of male discourse on women and restore the true female image.

When analyzing Tie Ning's novels, many critics point out that her works have a strong sense of examining mother. This kind of mother trial consciousness is one of the ways Tie Ning breaks away from male discourse. Under the tradition of male discourse, mother is selfless dedication and a glorious image of following her husband and taking care of her children. However, Zhang Wu, the mother in ''the Bathing Women'', was the embodiment of desire. She cheated on Doctor Tang and stayed up all night on the night when Yin Xiaofan had a high fever, As Beauvoir said, maternal love has been distorted since the religion of motherhood preached that mothers are sacred. Because maternal dedication may be very pure, but in fact it is not. Motherhood often contains factors such as self intoxication, serving others, lazy daydreaming, sincerity, bad intentions, concentration or ridicule, which is a strange mixture. Tie Ning restored the image of mother to an objective person full of desires and self needs. To a certain extent, she rebelled against the definition of mother in the male tradition, separated the aura and sacred color imposed on the word mother by the male discourse, and rewritten the traditional maternal myth.

At the same time, in ''the Bathing Women'', Tie Ning also wrote a new image of men. Yin Yixun, the head of a family, is so hypocritical.The way Yin Yixun found to express his feelings made him a victim all his life. He vented what he wanted to vent, but it didn't seem cruel. He used his' unknown truth 'to maintain the normal operation of a decent family and his own dignity. So far, he has also mastered Zhang Wu's eternal guilt for him.. Yin Xiaotiao hates his father's inaction in cheating on his mother. The weak Yin Yixun doesn't think so. He uses his own trap to deceive Zhang Wu's uneasiness and his dignity as a husband.

3.Acknowledging the Evil of Human Nature

There are many expressions of sin in ancient Greek. Hamartia is often used to express the crime of crime, while parabasis is more used to express the violation of laws and regulations. Anomia is often translated into injustice in Chinese translation, which is opposite to righteousness. Therefore, the meaning of sin is not only external behavior, but also internal attitude. Under the constraints of laws and regulations, it is also under the control of soul conscience. Vertically, it shows that the relationship between its own value origin is broken, that is, crime; And the rupture of the relationship between people caused by this deviation is evil. The so-called guilt refers to an individual's deep-seated recognition of a crime. This sense of guilt is manifested in the synchronic aspect of guilt for people and things, and in the diachronic aspect of repentance for society, history and the whole mankind. Everyone is guilty, but not everyone knows, confesses and repents.Taking Yin Xiaotiao, Yin Xiaofan and other individuals as the center, the writing of the crime in the Bathing Women spreads from struggling individuals to the outside, not only analyzing the crime of innocence in personal desires; It discloses and interrogates the social crimes of the characters in the paradoxical survival dilemma; It also explores and reflects on the unspeakable crime of existence.

The evil discussed in ''the Bathing Women'' is not composed of evil characters. It is just some ordinary people who restrict each other in social relations. They are in an opposite position in the ordinary environment. Their position makes them knowingly commit crimes, and none of them is completely wrong. With Yin Xiaoquan as the center, these figures show the relationship between examination and being examined: when Yin Xiaoquan was alive, she and Zhang Yun became the focus of Tang Fei, Yin Xiaotiao and Yin Yixun's examination. Facing Zhang Wu's cheating behavior, Yin Xiaotiao is eager to intervene in the adult world as an adult in the absence of his father, so as to examine his mother and sister Yin Xiaoquan. When she heard that Dr. Tang was going to be a guest at home, she looked at her busy mother with a hazy adult consciousness. When Zhang was dressing up in front of the mirror and asking her how her hair was, she obviously smelled the smell of lampblack on Zhang's hair, but was not busy expressing her position. Instead, she asked Zhang is Dr. Tang a man or a woman. This cross-border vision is always accompanied by anxiety and uneasiness that are difficult to dispel. When Tang Fei confirmed that Yin Xiaoquan may be Dr. Tang's daughter, she acted as an ethical judge of her mother's infidelity. In her childhood when she should have enjoyed childlike innocence, she intervened in the adult world early with a precocious attitude, peeping into the adult world with bad deeds in the subtle clues. However, facts have proved that this way of crossing the border is not recognized. Her sensitivity and precocity make her a reviewer of her mother's words and deeds, which evolves into the separation between her and her family, and falls into the struggle of ethics and moral emotion prematurely. In the face of Yin Xiaoquan, who looks like Doctor Tang, Yin Yixun is unable to face the outside world and has no courage to accept Zhang Yun's infidelity. Tang Fei could not accept such a life like her own. Yin Xiaoquan was like an invisible torture instrument to her, which brought her more painful torture than the actual torture instruments. The death of Yin Xiaoquan not only did not weaken the scrutiny between Yin Xiaotiao and Yin Yixun, but also aggravated the gap between them. Yin Xiaotiao, Yin Xiaofan and Yin Yixun closed themselves to each other, tried to seek their own liberation from Yin Xiaoquan's death, and in turn tried to control each other. They "torture" each other, and everyone is always in the "eyes of others" and is supervised and examined. Yin Xiaofan tries to avoid the ugliness in his heart, whitewashes himself with his imagined positive image, and examines and supervises yiYn Xiaotiao from his own perspective. Yin Xiaotiao examines the hypocrisy of Yin Yixun. She feels sorry for Yin Yixun's experience, but resents Yin Yixun's disguised punishment of Zhang Yun. Yin Xiaotiao, Yin Xiaofan and others have formed a distorted family relationship. They can not get rid of the state of being influenced by the eyes of others, and lack a correct understanding of themselves. Therefore, the relationship between them can only be mutual pursuit and mutual exclusion. Everyone is looking at others, but they are also being looked at by others, and fall into a difficult survival dilemma.

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4.Exploring the Path of Redemption

The sense of guilt brought about by the death of Yin Xiaoquan is the cause of the character's spiritual struggle, and the necessary condition to eliminate the plight of survival is the realization and redemption of sin thus evolved the development track of confession - confession - atonement. The heavy sense of guilt in the works and the suffering created by the times show that the mutual derivation of crime and suffering has caused the plight of the characters. Writing about sin and suffering is not the ultimate goal. Guilt is the image state of being prayed to be saved and the spiritual image of Redemption. Ultimately, it is necessary to restore the meaning connection in the vertical and horizontal directions and rediscover the pure, real and eternal value meaning in one's own life. Therefore, the fundamental purpose of this work is to take the initiative to bear the sin, to confess the soul devoutly, to find an effective way to solve the survival dilemma and to explore the individual redemption. Many researchers are exploring the theme of Redemption in the Bathing Women, focusing on the two sisters of the Yin family, realizing the importance of self-examination of the soul in the redemption of the characters in the work, and finally affirming the completion of the redemption of the characters. However, no matter from what point of view, the people in the work are still suppressed by an unknown crime and cannot be really released, It has always been in the attempt and expectation of Redemption after all. As Liu Xiaofeng discussed, sin is not evil, and its opposite is not good. Therefore, seeking to cover up good deeds and good thoughts does not mean that sin has been redeemed.

''The Bathing Women'' focuses on the characters' choice of controlling and indulging in lust. In the exploration of redemption, it actively seeks ways to eliminate the plight of existence. The Redemption in the work tends to be comfortable with the original life, and is more reflected under the influence of the concept of redemption in the sense of Chinese traditional culture. Through the display of three different redemption in the works, we will further explore the deep motivation of the character's redemption, and then deeply explain the results of redemption and the possibility of dilemma resolution.

5.Focusing on the Influence of Family on Children's Growth

Western Bildungsroman is mainly to shape social people, so they often throw people into the social environment. This kind of novel also inherits some characteristics of picaresque and quest. Almost all the protagonists are on the road and on the journey, and have obtained enlightenment and growth in life. For Chinese people, family is very important and the first environment for teenagers' growth. Its role in teenagers' growth can not be ignored. Maslow believes that family plays a leading role in shaping personality. It is not only people's safe belonging, but also meets people's need for love. Chinese teenagers may not have the opportunity to travel far, but their family environment has a great impact on their personal temperament and personality types.

As the foundation of human morality, family contains the embryo and bud of the continuous development and evolution of human morality. The continuous evolution and change of family indicates the continuous enrichment and development of human morality. The traditional Chinese family stresses the order of the young and the old, which plays an important role in cultivating individual moral concepts. Therefore, most novels will describe the family in a harmonious and beautiful way to affirm the positive impact of the family on the growth of the protagonists. However, Tie Ning did the opposite. In ''the Rose Gate'' and ''the Bathing Women'',She focuses on the moral imbalance within the family, so that the growing protagonists face a relatively bad family environment before they set foot in the society.
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6.A Bold Depiction of Sex

Since the late 20th century, body writing has increasingly become an important means of female writing. This situation is obviously influenced by Elena Sisu's concept of using milk as ink to show the female body, a huge field beyond the control of male discourse in Medusa's laughter. In the era when male discourse dominates everything, only the female body can not be experienced by men, so it can become a field for women to escape male power. In their body descriptions, female writers not only fight back against the male's fictions about women, but also gain subjectivity by re exploring their own bodies. In the late twentieth century, there were two views on the description of the body in female writing: one was to describe the body, but subconsciously, they still thought that the body was an irrational factor and held an obvious attitude of exclusion; The other is infatuated with the display of the body and indulges the desire, resulting in the absence of the soul.

''The Bathing Women'' rarely realizes the blending of soul and flesh in the real sense. In Yin Xiaotiao's life, sex acts as a ladder for her to mature and release herself. Although her first night was dedicated to the hypocritical Fang Jing, she finally transcended this frustration in her life experience. And her feelings with Mike let her know that she loves Chen Zai. The long-term emotional accumulation and soul coordination with Chen Zai make her sex with Chen Zai come naturally without affectation. That's why we can sigh that everything is so harmonious and so good. At the same time, the perfect sexual experience with Chen Zai finally opened Yin Xiaotiao's heart knot. The guilt that Tang Fei and Yin Xiaoquan imposed on her has been dispelled, and Xiaotiao feels that "she seems to have no fear anymore. The simultaneous liberation of the soul and the body has created a harmonious relationship between them. This fusion of soul and flesh should also be the natural direction of body writing. Only when soul and body are present at the same time can the meaning of body writing be truly displayed.

===Enlightenment for Chinese Works to Go Global===

The spread and acceptance of Tie Ning's works abroad also urges us to think about how to make contemporary literary works spread more widely and further overseas from the perspectives of translation, publication and promotion. Next, I will talk about the Enlightenment of Tie Ning's ''the Bathing Women'' to Chinese works' going global from the internal and external factors.

1.Internal factors

The theme of the work concerns the female world. Chinese literature has entered the world through translation and introduction, which involves more than a simple bilingual transformation of words or literature. The choice of translated text, the construction of translation process, the communication path and communication mode after the production of the translation, and the acceptance and formation influence after entering the target language countries constitute the complete picture and research focus of Chinese literature translation. As far as text selection is concerned, generally speaking, the Western reading of contemporary Chinese literature is often driven by curiosity. The rapid development of China since the cultural revolution, the economic take-off, the changes of cities and even the differences in daily life have brought new cultural experiences to the West. Among them, the realistic literary works from the female perspective are full of direct writing of women's personal experience, showing a distinctive urban culture and the flavor of the times, coupled with the rendering of sexual and political elements, so it is particularly easy to arouse the interest of Western readers.

The book has a special background. ''The Bathing Women'' is set in the cultural revolution. In order to return to the countryside and stay in the city all the time, Zhang Wu had a relationship with Dr. Tang and got a false note. She cheated many times and later gave birth to Yin Xiaoquan. Zhang's daughters Yin Xiaotiao and Yin Xiaofan don't like the child. They see that she has an accident but they don't rescue her. Many years later, when several girls grew up, Yin Xiaotiao became entangled between Fang Jing and Chen Zai. Dr. Tang's niece Tang Fei sold her body again and again in exchange for what she wanted. Zhang Wu's inner pain did not disappear with the end of the cultural revolution. The love disputes between men and women are integrated with the special political background. ''The Bathing Women'' directly satisfies the American readers' desire to spy on the Chinese people under the background of the cultural revolution, so it has also been recognized by the publisher.

2.External factors

Adopt the mode of co-translation between Chinese and foreign translators. From Chinese literature to world literature, translation plays a vital role. Excellent translation can promote the canonization of a literary work in different languages and cultures. On the contrary, poor translation may make the excellent works that have been included in the classics pale in another language and culture or even be excluded from the classics.The English translation of bathing girl was completed by Zhang Hongling and Jensen Sommer. The cooperation between the two translators ensures that the translation is not only faithful and accurate, but also readable and literary.

===Conclusion===

Therefore, through the above analysis, we draw the following inspiration from the popularity of Tie Ning's works overseas.

First,pay attention to the translation of female writers' works. Chinese female writers are a neglected group in the English world. In terms of the English translation and dissemination of the author's personal works, the dissemination and acceptance in the United States of Tie Ning's ''the Bathing Women'' has shown the possibility of Chinese female writers being recognized in the United States. The commonality of human emotions is the basis for the overseas spread of literature, and the experience and perception of Chinese women have also been resonated in foreign countries. In addition to these similarities, the unique features and temperament of Chinese women have yet to be shown to the world. Therefore, the translation of female writers' works should not be ignored.

Second,improve translation quality. Translation is not only the transformation between Chinese and English, but also has the function of interpretation and communication. There are great differences in language, historical traditions and values between China and the United States. Excellent translation can bridge the gap between the original and overseas readers, while unqualified translation may bury an excellent original.

Third,adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. Adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. At present, the copyright agency system is widely implemented in the United States. Copyright agencies and copyright agents play an important role in book publishing, translation and promotion. However, there are not many copyright agencies in China, especially those with good relations with American Publishers. In addition, the copyright departments of many publishing institutions have been used to buying copyright rather than exporting copyright in the decades of spreading from the west to the East, and they are not very skilled in relevant businesses. Even the existing domestic copyright agents are mostly interested in this industry and receive little support behind it. All of the above reasons make the export channel of Chinese literary works copyright blocked. In this case, there is a great chance that the works can be successfully spread overseas. Therefore, it is necessary to adapt to the current situation of industry development, establish and improve relevant mechanisms, encourage industry development and cultivate corresponding talents.

Fourth,pay attention to the promotion of works and improve the popularity of writers abroad. Although many overseas readers have a preliminary understanding of the writer Tie Ning, what impression does Tie Ning leave on overseas readers besides her identity as a writer? I'm afraid not. Even Mo Yan, a more popular Chinese writer overseas, can hardly leave an impression on overseas readers other than writers. With the development of science and communication technology, there are more and more communication channels between authors and readers. The traditional way of participating in book fairs and holding exchange activities deserves our attention, and the mass media and new media cannot be ignored.

In a word, Chinese literature, as a special form of eastern culture, still has a long way to go before it can be recognized and accepted by the West and even the world. It needs the joint efforts of writers, translators and other multiple dimensions.

===References===

*Wang Jing 王静.(2019).铁凝作品在美国的传播与接受.[Dissemination and acceptance of Tie Ning's works in the United States]. Beijing Foreign Studies University 北京外国语大学.

*Wang Zhaojun 王昭君.(2005).逃离与追寻——铁凝寻找"自我"的历程[Escape and pursuit -- Tie Ning's process of seeking self]. Jiangxi Normal University 江西师范大学.

*Liu Jia 刘佳.(2020).直面·迂回·悬置--"多棱镜"式的铁凝小说主题研究[A study on the theme of Tie Ning's novels in the form of multi prism]. Harbin Normal University 哈尔滨师范大学.

*Yang Shu,Zhu Lilin 杨筱, 朱丽林.(2019). 对女性的深层审视——以《大浴女》为例探讨铁凝的人性关怀[Probe into Tie Ning's human care with the example of the Bathing Women]. Journal of Ningbo Institute of Education''宁波教育学院学报''.21(6):4.

*Yan Weifang,Li Hua 闫卫芳, 李花.(2020).《大浴女》:一场精神世界的无望救赎[The Bathing Women: a hopeless redemption of the spiritual world]. Journal of Hebei University of Technology: Social Sciences ''河北工业大学学报：社会科学版''.12(4):7.

*Yang Qingyun 杨青云.(2012). 论铁凝小说《玫瑰门》《大浴女》的成长主题——兼与西方成长小说比较[On the growth theme of Tie Ning's novels rose gate and Bathing Woman -- a comparison with western growth novels]. Journal of Teacher Education ''教师教育学报''.10(005):128-132.

*Pan Dong 潘冬.(2020). 铁凝《大浴女》直接引语英译的形式变异与理性归因[The formal variation and rational attribution of direct quotation in Tie Ning's the Bathing Women]. Foreign Language Studies ''外国语文研究''.6(2):11.

*Wu Yun 吴赟.(2017). 《大浴女》在英语世界的翻译和接受[The translation and acceptance of the Bathing Women in the English world]. Novel review ''小说评论''.(6):7.

*Yu Shujun 于树军.(2019). 论《大浴女》的"后伤痕"叙事[On the post scar Narration of the Bathing Woman]. The Northern Forum ''北方论丛''.(4):8.

*Lv Yanlin 吕彦霖.(2019). "内心深处花园"的重探——略论二十世纪后期女性写作视域中的《大浴女》[An exploration of the garden in the depths of the heart -- a brief discussion on the great Bathing Woman from the perspective of female writing in the late 20th century]. Hundred comments ''百家评论''.(2):8.

*Song Dan 宋丹.(2017). 铁凝作品在日本的译介与阐释[Translation and interpretation of Tie Ning's works in Japan]. Novel review ''小说评论''.(6):9.

==英语笔译邓阳林 Deng Yanglin 202170081567 MW==
<center>'''A study on Xu Yuanchong's Translation of Song Poems'''</center>

<center>Deng Yanglin</center>

===Abstract===
As a huge diamond in the laurel wreath of ancient Chinese literature, song Ci is a brilliant pearl in the langyuan of ancient literature. All translators know that translation is not just a matter of simply converting source language into target language, and poetry with rhyme and pattern is naturally a great challenge in translation, which makes the majority of translation scholars shy away from poetry translation. Mr. Xu Yuanchong put forward the theory of "three Beauties" in his translation practice for many years, which has played a very enlightening and guiding role in the field of English song ci translation. From the perspective of xu Yuanchong's theory of "three beauties", this paper explores the specific application of "meaning beauty", "sound beauty" and "form beauty" in the translation of classical Song ci poems. It can be seen that the theory of "three beauties" is of great guiding significance to the translation of Classical Song ci poems. Translators should take "three beauties" as the standard in their poetry translation so as to lose the artistic charm of the original poetry and the beauty of Chinese poetry can be appreciated by the world.

===Key words===
Song Ci Poems；Xu Yuanchong; The theory of "three beauties"; Poems Translation

===Introduction===
The evolution of ci poetry began in the Liang Dynasty, formed in the Sui and Tang Dynasties, flourished in the Five Dynasties and ten States, and reached its peak in the Song and Song dynasties. Song Ci is a fragrant and gorgeous garden, full of elegant charm, for thousands of years for many readers love, is a bright pearl in the history of ancient Chinese literature. In terms of artistic charm and aesthetic value, song Ci can compete with Tang poetry and Yuan opera. In terms of faction theory, song Ci can be divided into graceful and bold. The euphemism mainly describes the love between children and women, and is carefully conceived. Its language style is mellow and pays attention to the harmony of rhyme, giving people a sense of tenderness and softness. Haofangpi describes the military situation of the state, the creation of a broad vision, imposing momentum, not in rhythm, giving a generous sense of solemn and stirring, representative figures such as Su Shi, Xin Qiji.
In terms of themes, song ci poems are different from those originally used for entertainment occasions, covering themes such as emotion, society, politics and chanting. They fully reveal the true features of social life in song Dynasty and bring readers endless aesthetic enjoyment.
Since its publication, Song Ci poems have been translated into English by many translators at home and abroad. One of the most famous is Xu Yuanchong, who is known as "the only person who translated poetry into English and France". In view of xu Yuanchong's achievements in the English translation of Song Ci poems, many scholars have studied his English translation of Song Ci poems. In view of the diversity of perspectives and conclusions, this paper reviews xu yuanchong's research on the English translation of Song Ci, points out the shortcomings of the current research, and then points out the future research directions, in order to shed some light on the current literary translation research.

===Literature Review===
Song Ci, as one of the double elements of Chinese classical literature, presents the highest level of Song Dynasty literature with its unique attitude and verve. Famous Chinese translators such as Lin Shu, Fu Lei and Zhu Shenghao, as well as foreign scholars such as Herbert Allen Giles, Ezra Pound and Arthur Waley, have all actively participated in the translation of Chinese and foreign literary works. Translation is a bridge between different languages. How to master the two languages well, make the best of the strengths and avoid the weaknesses in the process of translation, and make the translation reach a natural and emotional state, which requires a high level of competence for translators. Mr. Xu Yuanchong is known as "the only one who can translate Poetry into English and French". He has translated the Book of Songs, 300 Poems of Tang Dynasty and 300 Ci poems of Song Dynasty, etc., forming the method and theory of rhyming style poetry translation. He pursues not only perfect rhyme, but also perfect realm, transforming the beauty created in China into the beauty of the whole world.

===Methods and Theories===
This paper adopts the method of literature research.It mainly refers to the method of collecting, identifying and sorting out literature, and forming a scientific understanding of facts through literature research. Literature method is an old and vigorous scientific research method.
General process
The general process of literature method includes five basic steps, which are: putting forward a topic or hypothesis, research design, collecting literature, sorting out literature and conducting literature review. The proposed topic or hypothesis of literature method refers to the idea of analyzing and sorting or reclassifying relevant literature according to existing theories, facts and needs. The first step in research design is to establish research objectives. Research objectives are designed into specific, operable and repeatable literature research activities based on the subject or hypothesis in an operable definition, which can solve special problems and have certain significance.
The main advantages
(1) The literature method transcends the limitation of time and space, and can study a wide range of social situations through the investigation of ancient and modern Chinese and foreign literatures. This advantage is not possible with other survey methods.
(2) The literature method is mainly written survey. If the literature collected is real, it can obtain more accurate and reliable information than oral survey. Avoid all kinds of recording errors that may occur in oral investigation.
(3) Literature method is an indirect and non-interventional survey. It only investigates and studies various literatures without contacting the respondents or intervening in any reaction of the respondents. This avoids all kinds of reactive errors that may occur during the interaction between the surveyors and the respondents in the direct survey.
(4) Literature method is a very convenient, free and safe survey method. Literature investigation is less restricted by the outside world, so as long as the necessary literature is found, research can be carried out anytime and anywhere; Even if there is a mistake, it can be remedied through re-study, so its safety factor is high.
(5) Document method saves time, money and high efficiency. Literature survey is based on the achievements of predecessors and others, which is a shortcut to acquire knowledge. It does not require a large number of researchers or special equipment, and can obtain more information than other survey methods with less manpower, money and time. Therefore, it is an efficient survey method.

===Introduction of Xu Yuanchong and his English translation of Song Ci===

As reading poetry, we need to pay attention to the beauty of artistic conception, hazy beauty and the beauty of antithesis and rhyme. Chinese ancient poetry is characterized by simplicity, conciseness and leaping. It expresses as much emotion as possible in very limited poems. Its biggest characteristic can be summarized by a word "beauty" : artistic conception, language, rhyme and form. English poetry stresses rhythm, rhythm and melody, and the style is relatively free. Thus, the linguistic and cultural differences between Chinese and English make it particularly difficult to translate Song Ci into English.
Aesthetics is a subject with a wide range of application, and there is also the shadow of aesthetics in translation, so "beauty" is everywhere. The purpose of aesthetics in translation is to analyze the aesthetic features in translation so as to provide correct theoretical guidance for translation practice and translation discipline.
In the second half of the 20th century, Mr. Xu Yuanchong put forward his own translation theory on the basis of previous experience and summed up the key words of "the art of beautification is like a competition to create excellence". Practice is the only criterion to test truth, which also applies to translation. Translation theory comes from translation practice, and translation practice can test whether translation theory is correct, and translation theory plays a guiding role in translation practice. On the basis of his long-term translation practice and theoretical experience, Mr. Xu Yuanchong put forward the theory of "three beauties", namely, "meaning beauty", "sound beauty" and "form beauty". His translation aesthetic ideas have guided the translation of many classical poems and provided correct guidance. Up to now, he has published more than 150 famous translations. He is the only one in China who can translate classical poetry and English and French poetry. Because of him, we know the poetry classics of western countries; Because of him, western countries encountered the excellent traditional culture of the Chinese nation.
Similarity in meaning, sound and shape is the basis of "three beauties". Care about similar, similar sound and similar shape on the basis of "meaning beauty", "sound beauty", "form beauty". In Professor Xu Yuanchong's opinion, the pursuit of meaning seems to be to accurately translate the content of the original text, without mistranslating, omission or multiple translation. When there is a conflict between "sense-like" and "sense-like", we should pursue "sense-like" first and "sense-like" second, because "sense-like" is only the surface structure of text, while sense-like is the deep structure of text. Musical beauty refers to the rhythmic and rhyming, catchy to read and pleasant to listen to. In Professor Xu yuanchong's philosophy, rhyme and style must be reflected in poetry translation.
Since the content and form of the poem are closely related and inseparable, if the original poem uses rhymes but the translated poem does not, the artistic conception, image and atmosphere of the original poem cannot be reflected and conveyed in any way. As for form beauty, it mainly refers to the "length" and "symmetry" of poetry. It's best to be "look-alike," or if look-alike isn't perfect, at least "roughly neat."
In xu Yuanchong's translation theory, he also holds that the three beauties are not in parallel, but in order of importance and importance. Among the three beauties, meaning beauty is the most important, followed by sound beauty, and finally form beauty. We should try our best to achieve all three beauties under the premise of translating the original text beautifully. If the three can not appear at the same time, then we can first of all do not ask for similar shape, also can not ask for similar sound, but we must do our best to convey the meaning of the original text and the beauty of sound. The principles of the relationship between the three beauties complement each other and restrict each other. They are also progressive and interlinked. Only by closely combining them can we achieve better translation artistic effect.

===The Application of "Three Aesthetics" in the English Translation of Song Ci poems===

Roman Jacobson, a prominent American linguist and literary theorist in the 20th century, said: "Poetry, by definition, is untranslatable." This shows that the difficulty of poetry translation is ineffable and invisible to the translator. But it doesn't follow from one of his conclusions that poetry is untranslatable. There are still differences of opinion between translators and experts in the field about the translatability of poetry. Due to many factors, most people hold a view that the translatability of complex words in Classical Chinese is an impossible task. If we want to discuss this problem, we must give a clear explanation to several propositions in Mr. Xu Yuanchong's theory. According to him, translation is an attempt to reproduce in the target language what someone has said or written in another language. There should be a great deal of similarity in meaning, form and sound to the text used to represent it. The similarity lies in the common interpretation and implication between them. In practical translation practice, the faithful transmission of implied meaning from the original text to the target text is different in content, but their concept and meaning are almost the same. Therefore, we can say that poetry is translatable, and the traditional poetry with many reduplication is also translatable under certain circumstances.

===Meaning beauty of eliciting mental pleasure: skillfully translating the poetic core and reproducing the artistic conception===

The meaning of Song Ci poem lies in its concise words and phrases to shape or graceful empty, or even bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.

===Sound beauty -- pleasing: the charm is clever, and the words are skillfully used===
The meaning of song ci lies in its concise words and phrases to shape or graceful empty, or bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.
=== Sound beauty -- pleasing: the charm is clever, and the words are skillfully used ===
"Sound beauty" refers to the rhythm and rhyme pattern of the translated poem. Mr. Xu Yuanchong pays attention to meter, rhyme and sentence number in his translation of ancient Chinese poems. The musicality of song ci is more unique, and pays more attention to the harmony of words, so the rhyme of Song ci is more harmonious and perfect, and the beauty of words and music is both. English poetry is generally pay attention to the rhyming, especially at the end of each sentence, it's a bit like Chinese level and oblique tones, but not so rules, because of the English words and characters of syllables, most of the English word of two or more than two syllables, and the Chinese character is a syllable, so of course is Chinese more neatly, but English poetry has its unique in rhythm and rhyme beauty.
Due to the different phonology of Chinese and English poems, it is difficult to copy or reproduce the rhythm of the source language in translation. Therefore, translators need to translate the text into a way that readers can understand in order to help readers realize their aesthetic appreciation and perception of the translated sound [4]. Take Professor Xu Yuanchong's translation of Li Qingzhao's "Sound Slow · Searching and Searching" as an example: as the first seven pairs of reduplicated words in the history of Chinese literature, they have attracted wide attention from translators, and all of them have their own unique views. These lines of the original word, the poet in the "seeking" "seeking" center of god uncertain, as if lost manner; The loneliness of wandering alone in "cold" and "clear"; "Desolate" "miserable" "Qi" in the state of mind is vividly depicted. Through the study of Xu Yuanchong's translation of "Sound slow", we find that "Search, clear, desolate" belongs to the flat sound; "Find, cold, miserable, qi" is oblique tone; "Mimi" is also a dental sound, flat tone oblique tone teeth appear alternately, so that the line of cadence, resounding sound. From "look" to "know" and then to "feel", Mr. Xu Yuanchong uses three sensory verbs to bring readers into it and feel them. He compensates for the repetition of the original word in the form of double rhymes to achieve a very natural and smooth equivalent effect. Translation with the original word "miss" in the word "find", "cheer" and "qi" in the original word, even in front of consonants and vowels close also same, visible of language poetry translation the translator second-guessing, choose close to mandarin pronunciation of the English vocabulary to implement the "sound", convey sound beauty, an ability to make a sound effect.
In the "cold and warm... On the processing of this sentence, Professor Xu's translation once again shows the ultimate beauty of sound. The 4 short sentences in the original word are translated into 9 short sentences, and all use rhyme, which is catchy to read. "Late wind urgent" was translated into "swift" to describe the haste of the night wind. The short/I/in the translation is pronounced like the final of "urgent", which is not only clever but also accurate. In the translation of "time" and "knowledge", Professor Xu uses "alas" and "pass", where the rhyme is perfectly similar to the original word. Showers rhymes with flowers. Everything has its place. While the words "faded" in the original poem were both faded and had similar meanings, Mr. Xu's translation used "Faded" and "Fallen," which not only have similar meanings in English but also alliterative with/F /, suggesting professor Xu's pursuit of vocal beauty has gone into overdrive. "Now" in the translation rhymes with "how" in the next sentence, and "pace" with "plane's" in the next sentence, which also adds rhyme to the translation. In the translation, "drizzles" and "Grizzles" correspond to the reduplication of "dribs and DRBS" and combine the sound with the sound of "I :/" to show the rhythm of endless rain. Finally, the words "grief" and "belief" rhyme together with "IEf", further reflecting the beauty of sound and the author's lonely and melancholy mood in the original word.

===Conclusion===
For thousands of years, the charm of Chinese classical poetry has attracted many scholars and translators to further explore it. With the increasingly close international exchanges, cultural exchanges are also very important. Ancient Chinese poetry brings us beauty and enrichis our emotions. Its beauty is deeply refreshing and refreshing. The beauty of meaning, sound and form of the theory can correctly guide the translator to translate the original image, rhyme and form of Chinese classical poetry. Mr. Xu Yuanchong's "three beauty theory" promoted the spread of excellent Chinese classical poetry and made western readers appreciate the charm of Chinese language and culture. As translation scholars, we should be aligning with professor xu yuan-zhong, study its excelsior translation meticulous attitude and practical spirit, improve their ability of translation practice, enrich their translation theory knowledge, with good knowledge of translation theory to guide translation practice, constantly accumulate experience from the translation practice, can achieve ideal state finally.

===References===
*Pan Jiayin潘佳音 . ''Cultural Value of Translation and its Contemporary Embodiment''翻译的文化价值及其当代体现[J]. Comparative Study of cultural Innovation文化创新比较研究,2020,4(3):110-111.
*Chen Jing陈靖. ''Research on The Translation of Chinese Culture "going out" under the guidance of Marxist Social Science Methodology''马克思主义社会科学方法论指导下的中国文化“走出去”翻译问题研究[J]. Comparative study of cultural innovation文化创新比较研究, 2019,3(33):95,97.
*Liu Yang刘阳. ''On the "Deep Translation" Mode of Willie's English Translation of Tao Te Ching''威利英译《道德经》的“深度翻译”模式探究[J]. Comparative Study of Cultural Innovation文化创新比较研究,2020,4(20):163-164,167.
*Zhu Yishu祝一舒. ''On the Characteristics of Xu Yuanchong's Translation Thoughts''试论许渊冲翻译思想的特质[J]. Shanghai Translation上海翻译, 2019(5):83-87,95.
*WXin Hongjuan辛红娟, Liu Yuanchen刘园晨. ''A Reinterpretation of Translation Meaning and Taste''金岳霖“译意”“译味”观再解读[J]. Journal of Ningbo University: Humanities宁波大学学报:人文科学版,2020,33(1):41-47.
*Xin Hongjuan辛红娟, Xu Wei徐薇. ''The Construction path of Chinese Translation Studies''中国翻译学的建构路径[N]. Guangming Daily光明日报, 2018-06-11(16)

==英语笔译何丽娜 He Lina 202170081569 CE==

<center>'''A Study on the dilemma of the Chinese Cultural Classics'''</center>

<center>He Lina</center>

===Abstract===
With the continuous progress of the times, cultural soft power becomes more and more important as a standard to measure the comprehensive strength of a country. As one of the important sources of China's cultural soft power, Chinese cultural classics is an important link to enhance the country's cultural soft power. This paper will mainly introduce soft power and cultural soft power, and analyze the current dilemmas of Chinese cultural classics and their causes, and try to find solutions.

===Key words===
Chinese cultural classics;cultural soft power;dilemma

===Introduction===
Many cultural classics and books handed down in Chinese history are the crystallization of the wisdom of Chinese ancestors and represent their ideological and spiritual achievements. These books have always been an important part for Chinese people to learn. Even in the ancient imperial examination period, Confucian classics were used by rulers in various dynasties as content of the examination to select talents, which shows the importance of classical books in Chinese history. With the development of times, China is gradually going out of the country and gradually being impacted by world literature. Because people have more freedom to read, and modern and contemporary literature is more readable, unlike many cultural classics written in classical Chinese, which are more difficult to understand, more people prefer to read foreign classics or works written by modern and contemporary Chinese authors in vernacular Chinese or Mandarin. Reading the classics seems to be a problem for more and more people. Today, With the rapid development of China's economy, China has begun to show its strength in the world stage, and has become more and more aware of the importance of cultural soft power, and cultural classics as an important part of Chinese culture has been further valued. However, it should be faced that reading classic books in China is still not the mainstream, and abroad, Chinese classic books have not been accepted as expected. So far, Chinese cultural classics seem to be in a dilemma. From the perspective of cultural soft power, this paper will briefly discuss the current difficulties of Chinese classics, analyze the causes of these difficulties and try to find some countermeasures.

===Theories and Literature Review===
Soft Power

Soft power is actually a political term used to measure the overall strength of a country. In 1990, Joseph·S·Nye, a professor at Harvard University, put forward and expounded the concept of "soft power" in an article titled "Soft Power" published in Foreign Policy magazine. In this article, he comprehensively and systematically analyzed and expounded the concept of national power, status and development trend of The United States as a global power, and further pointed out that a country's strength consists of "soft power" and "hard power". Joseph Nye argues that "soft power" is as important as "hard power". "Hard power" includes basic resources, military power, economic power and scientific and technological power. The essence of "soft power" is "Soft power is an ability to affect what other countries want." He describes soft power as follows: "This power tends to raise from such resources as cultural and ideological attractions as well as rules and institutions of international regimes."（cf:Joseph Nye, 1990:167)

Cultural Soft Power

Since the concept of "soft power" was introduced into China, many domestic experts and scholars have expressed their views on it.
Wang Huning regards culture itself as a kind of soft power through expressions such as "culture as soft power". (cf:Wang Huning,1993:91-96) Influenced by Joseph Nye, some scholars believe that culture is one of the important sources of soft power. Xu Wanxiao and Xu Fangxiong believe that cultural soft power should be derived from cultural resources, which can be divided into tangible cultural products such as movies, cultural heritage, food and intangible cultural concepts such as ideas, values and systems. (Xu Wanxiao, Xu Fangxiong, 2021) Wei Enzheng and his partners pointed out that cultural soft power refers to the internal cohesion, mobilization, spiritual power and external penetration, attraction and persuasion of a country's traditional culture, values, ideology and other cultural factors. (Wei Enzheng, Zhang Jin, 2009) From the Angle of the power form, Hong Xiaonan divided the soft power into five parts: powerful cohesion and centripetal force of the national culture to stimulate a country; national cultural attraction making other countries follow; cultural innovation to promote the development of a nation; national culture integration which organizes the cultural elements into the maximum organic effectiveness; the cultural radiation to correctly express intention of national culture to the world. (Hong Xiaonan, Qiu Jinying, Lin Dan, 2013)
Redefining and summarizing the domestic scholars' views on soft power, Cai Libin and Wang Chenlin summed up China's "cultural soft power" : the definition of "cultural soft power" refers to a country or a nation's traditional culture, values, ideology, cultural resources or cultural factors such as internal cohesion and mobilization force, spirit power and external attraction and persuasion, influence and so on.(Cai Libin, Wang Chenlin,2020)

===Methods===
From the definition of cultural soft power, this paper qualitatively analyzes the internal and external difficulties encountered by Chinese cultural classics and Further discusses the reasons behind. Finally the paper tries to find some corresponding solutions from the author's own perspective.

===Chinese Cultural Classics and cultural soft power===
In English, the word "classics" originally referred to the literature of ancient Greece and Rome. As we all know, the civilization of this period is the fountainhead of western civilization. Accordingly, for China, Chinese cultural classics are collections of literature that can represent Chinese civilization. Dianji/典籍(Chinese Classics) literally means "classic books" in Chinese, and there is a similar concept in Chinese dictionary ''Han Dian''《汉典》, which refers to important documents such as ancient codes and books, and refers to ancient books in general. In the modern sense, cultural classics refer to those timeless works that are exemplary, authoritative and dominant in the field of culture. They are perfect works that, after years of washing and historical screening, have always been at the top of a certain field or industry. (Liu Jinxiang,2022) For example, the four Great Classical Novels of China (''Water Margin''《水浒传》, ''Romance of The Three Kingdoms''《三国演义》, ''Dream of the Red Chamber''《红楼梦》and ''Journey to the West''《西游记》), as well as ''the Analects of Confucius'' 《论语》and ''Mencius''《孟子》. These classics are not only a summary of the author's personal wisdom and life experience, but also reflect the characteristics of an era and the inner spirit of a nation. They embody the national spirit and culture of a country. The culture and spirit of a nation is the most direct source of cultural soft power, and even it is a kind of cultural soft power itself.

===The Plight of Cultural Classics in China===
A country with strong cultural soft power must also have a high level of national cohesion, which can effectively protect and preserve the cultural achievements of its predecessors, as well as generate heartfelt feelings of awe and care for all the cultural achievements of past people. That is to say, cultural inheritance is of great significance. Reading classics is the first step in passing on culture. But in modern and contemporary China, people's enthusiasm for reading classics has always been low. Although the Chinese government has always included the study of classics in the curriculum of primary and secondary schools, these are mostly fragmented learning, and students' learning of classics is not comprehensive. Take college students for example. Although Chinese language is a compulsory subject for students, reading classics is not the main content of students' learning. According to a survey report on classic reading of college students, only 14.40% of them often read classic works, 84.10% read them occasionally, and 1.50% never read classics. (cf:Zhang Junxiong, 2022:87-89) It can be seen that as a group receiving higher education, college students still lack enthusiasm for reading classics. On this assumption, the number of people in China who insist on reading will only be smaller. Without reading classics, we cannot understand classics, nor can we understand the spiritual connotation behind classics, nor can we carry forward traditional Chinese culture.
In addition, I logged on dangdang(当当网), a popular Chinese book sales website, and looked up the top 10 best-selling books in recent years. Only a few literary classics were on the list. In terms of the 2021 list, the number one book on the list is ''Counselling For Toads:A Psychological Adventure'' (a classic Introduction to Psychology in The UK), followed by ''Historical Records for Young Readers''《少年读史记》(a history book for children), and the third was ''Educated'', an autobiographical book about her family and education by US author Tara Westover. The rest of the top 20 included classics from the West, mystery novels from Japan and works by contemporary and contemporary Chinese authors. But traditional literary classics are nowhere to be seen. The second most popular book, Historical Records for Young Readers o, shows that some Chinese parents are consciously cultivating the habit of reading ancient literature in their students, but in general, the sales of cultural classics still account for a small proportion in the Chinese market as a whole.
Such a situation is fatal to a country in urgent need of developing cultural soft power. If a country wants to develop its culture, it should first be based on its own country. If fewer and fewer Chinese read the classics, how can a country convince other nations that its own people do not value its own cultural heritage?

===The Plight of Chinese Classic Books in the West===
Acceptance of a certain culture will often cause psychological and emotional yearning, rational identification. Anything that comes from this culture has a certain influence. Obviously, the more widely a country's culture is spread, the greater its potential soft power is likely to be.But obviously Chinese cultural classics are far less influential in the international community than western literary works.
According to current research, ancient Chinese cultural books were translated into European languages for the first time in 1592. Juan Cobo (1546-1592), a Spanish missionary, translated ''Ming Xin Bao Jian'' 《明心宝鉴》, a textbook for learning compiled by Fan Liben（范立本）, a Chinese scholar in the late Yuan and early Ming Dynasties, into Spanish for the first time. In modern China, we have been committed to introducing Chinese culture to the world. On October 15, 2014, General Secretary Xi Jinping（习近平） of China stressed at the Forum on Literature and Art Work held in Beijing that artists should tell China's stories well, spread China's voice well, and fully present China's image so that people around the world can better understand China through appreciating China's excellent literature. Supported by China's "going out" strategy, some Chinese classics have been successfully translated abroad, but these are rare cases. At the same time, there are several obvious problems in the translation and dissemination of classic books. Taking the Chinese-English version of The Great China Library as an example, literature accounts for 50% of the 110 classic books, followed by philosophy 19.1%, technology 13.6%, history 9.1% and military 8.2%. Second, the main composition of the translation is not reasonable. Besides,It shows that all the translations with wide influence outside the region are mainly written by western missionaries or Sinologists, and there are few works widely spread outside the region by domestic and local translators, especially in the modern and contemporary times, the translations with great influence outside the region are scarce. Some Domestic scholars conducted a survey on the sales of Chinese classics in 2019 on Amazon, the largest book sales website in the western world. The amazon website does not show sales volume, but only review stars. The higher the star rating, the more popular the product. Among Chinese cultural classics on sale, ''the Art of War''《孙子兵法》, a classic Chinese military work written by Sun Wu（孙武）, a General of the State of Wu（吴国） who was originally from Le 'an(乐安), Qi（齐国） during the Spring and Autumn Period（春秋时期）, has the highest star rating of 7,763, while the second most popular book has only 740 stars. In addition, ''the Art of War'', the bestselling Chinese classic translation, ranks 532 among all books on Amazon. (c.f:Gu Chunjiang, 2020) This shows that, on the whole, the spread of Chinese cultural classics in the Western world is still in a small range, and the acceptance of Chinese classics in the western world is still at a low level.

Another problem with the dissemination of Chinese cultural classics is that many of the translations that are out there are not Chinese translations, but works of foreign translators. Similarly, according to the statistics of Amazon website, taking The Art of War as also an example, almost 90% of the translations on Amazon website are those of overseas Sinologists, while those of domestic translators only account for less than 2%. (c.f:Gu Chunjiang, 2020)Overseas Sinologists who understand the language style and culture of the target language country preference, will make western readers accept the Chinese classics, but they always not the first users of Chinese language. In the process of translation, in order to make the western readers adapt to the original culture, they will be more likely to lose the characteristics and flavor of the original works.The connotation of Chinese culture in the classics received by western readers will also deviate, which is detrimental to the external dissemination of Chinese cultural classics. That means that western people always understand Chinese classics and Chinese culture with their own wisdom, so such cultural communication is invalid in a sense, and the influence of Chinese culture can never reach the height of western culture.

===The Possible Reasons===
1. It is difficult to read cultural classics.

There is a big reason why young people in contemporary China do not want to read cultural classics. These classics are written in classical Chinese, which is difficult to understand and requires a certain level of knowledge and education. During the period of the Republic of China, some advanced intellectuals, in order to break the passive situation of the old China, introduced advanced foreign ideas and cultures, and got rid of feudal and superstitious ideas, launched the New Culture Movement, advocating vernacular Chinese and opposing classical Chinese, with the purpose of introducing new culture and ideas. Since then, vernacular Chinese, also known as putonghua, now widely used in China, has gradually become the mainstream language of The Chinese people, and ancient Chinese is no longer taught in schools. The whole Chinese society has entered a new era. However, at the same time, ancient prose was no longer popular in Chinese society and became a language mastered by a few professionals, which greatly increased the difficulty for people to read classic ancient books. Although modern Chinese evolved from ancient Chinese, modern Chinese has developed into a system of its own after nearly 100 years of development, which is very different from classical Chinese. Without professional and systematic learning, it is difficult for ordinary people to fully understand classical Chinese. Because of the difficulty of reading these classics, it takes more energy to read them, which makes many people stop reading them. On the other hand, with the development of the times, Chinese modern and contemporary literature has emerged a lot of works, known as the new classics, these works are also very excellent works, at the same time, the vernacular or modern Chinese writing, more easy to understand, that is, become the reading choice of many people. In addition, due to the development of the Internet world, there are many online novels and popular works. Compared with the classics, these works do not need to spend time thinking, and they are also pleasant and popular with many people.

2. Cultural innovation capacity still needs to be developed

Cultural innovation refers to the creative vitality of culture, which belongs to the independent innovation, absorption and re-innovation of culture. National cultural innovation is the ability to reprocess the cultural elements and materials absorbed and influence the market. (Cai Libin, Wang Chenlin,2020) Cultural classics are difficult to understand, but we can use innovative means and innovative communication forms to convey the original connotation of classic books, so as to attract people to read classic books again. But from the point of the current Chinese market, the adaptations of Chinese cultural classics give priority television works, and in the past two years there have been some cultural TV programs, such as "China in classic books" (in the form of a play to deduce classics story), "the Chinese poetry conference" (it takes "enjoy Chinese poetry, cultural genes, taste the beauty of life "as the basic principle, through the competition and appreciation of the knowledge of poetry, sharing the beauty of poetry, feeling the interest of poetry, absorbing nutrition from the wisdom and feelings of the ancients and cultivating the soul, etc.)Although these programs have aroused some domestic online discussions, they still can not get widespread attention. In addition, in the film art with international influence, Chinese cultural classics are few and far between. In 2019, ''Ne Zha''(哪吒之魔童降世), adapted from the classic Chinese mythological novel ''The Legend of Gods''《封神榜》, set a record in The history of Chinese animated films, grossing more than 5 billion yuan. Nezha has become a hot topic for a while, and the Classic novel The Legend of Gods has also come into people's sight again. The following year, however, ''Jiang Ziya''《姜子牙》, a film also adapted from the mythological novel , earned only 1.6 billion yuan at the box office and received far less critical and influential reviews. From this we can see that there are still great deficiencies in China's cultural and creative ability, which cannot become a long-term driving force to promote the inheritance and development of Chinese classics and even Chinese culture.

3. The challenge of Western ideology

What cannot be denied is that western ideology has always occupied the dominant position in the world. Western powers spread their values and beliefs to other countries through their powerful media advantages, and to a large extent reshape their values, behavior, social system and identity, and ultimately achieve the purpose of protecting themselves. Especially with the rapid development of the Internet, it provides a new platform for the western society to carry out cultural communication. With the advantages of economy, technology and extensive application of English, western powers spread their own cultural values and behavior patterns to the outside world, which to a large extent affected the influence of local culture. The cultural mainstream of western powers seriously threatens the dominant position of Chinese culture in the hearts of the people and is a severe challenge to the development of China's cultural soft power. (Ning Deye, Shang Jiu, 2010) At present, many young people in China are obviously "Westernized" in terms of lifestyle and values. For example, iPhone is very popular among Chinese young people, western traditional festivals such as Christmas are very popular among Chinese young people, and they pursue foreign luxury brands. All of these are manifestations of the young generation's detachment from Chinese culture, and also obstacles to the development of China's cultural soft power. In addition, Joseph Nye, after the end of the Cold War, "lost no time" in putting forward the theory of soft power, pointing out and emphasizing the importance of soft power in the era of peace and information, which in essence sounded the horn for the Western society to enter the cultural field, leading to greater investment in cultural expansion of the Western society. It is difficult for China to develop cultural soft power and maintain the subjectivity and independence of national culture. (Ning Deye, Shang Jiu, 2010)
As China is also in the international community, it will inevitably be influenced by western mainstream culture, and more people are willing to read western classics. This can also be seen from the best-selling books on the aforementioned domestic book sales website in China. Eight of the top 20 best-selling books, or almost half, are foreign classics. The author consulted the summary of high-scoring books in 2021 on a popular book rating app in China, and found that seven of the top ten books with the highest rating were foreign works, while the top three were not Chinese works. This is enough to illustrate the influence of western mainstream culture in China. (douban.com)China's cultural soft power is not strong enough to equal the realm of the western world. If popular culture is still western one, Chinese cultural classics will face greater difficulties. In addition, it is not very optimistic that the translation of Chinese cultural classics can be recognized by foreign cultures. Quite a number of Chinese and Foreign translations are facing the fate of "export to domestic sales". These translations are not taken out for exchange with foreign countries, but become the translator's self-appreciation or for the study and reference of the Chinese people.

4.Hard power support is relatively weak

When participating in international competition and international affairs, those with strong hard power are more likely to win the dominant power and the right to speak, to control the development direction and trajectory of events and current situations, and to reflect and enhance their national cultural soft power. In addition, cultural communication is a basic link in the development of cultural soft power. Under the conditions of modern information communication, the support of hard power derived from technology is a necessary condition for cultural communication. In short, the development of national cultural soft power must rely on the support of hard power. In recent years, China's economy has developed rapidly and its hard power has been greatly improved, but there is still a big gap between China and western developed countries. When participating in international affairs and competition, the supporting force of hard power is still relatively weak, and it is difficult to win the dominant power and the right to speak, which restricts the development and improvement of China's cultural soft power. The relatively weak supporting force of hard power is a fundamental challenge facing the development of China's cultural soft power, which should arouse high vigilance.
This is also reflected in China's talent training and overseas publishing industry.
China's current employment of translation professionals is far from adequate. There are more people who take translation as a part-time job or hobby. In recent years, more and more people are engaged in translation, but how many people are really devoted to the translation of Chinese classics? Although we have made great achievements, the realization of the true value of Chinese classic culture has been reduced due to the limitations of translators' skills, publication organization, quality and promotion.
On the other hand, good translations also need good overseas channels and proper marketing to attract overseas markets. However, at present, few Chinese enterprises have overseas publishing channels, and even if they do, the scope is not wide enough, which increases the difficulties for the translation and dissemination of Chinese cultural classics.

===Countermeasures===
1. Develop a reading habit

Since it is difficult to read classic books, schools should set up corresponding courses and treat the study of classic books as a part of daily learning, not just the content of exams. In this process, we should guide students to develop good reading habits and cultivate students to understand, read and learn classics from childhood. Appropriately increase the proportion of Chinese classic books in students' book list, and at the same time, and open some related activities centering on the reading of classic books, such as reading clubs, knowledge contests, speech contests and composition contests, which can not only enrich students' learning life but also increase their interest and motivation in learning cultural classic books. And gradually they can absorb the nutrients of Chinese culture from the learning process of classic books, form China's own values, and enhance cultural confidence.

2. Increase investment in cultural and creative undertakings

The state should further strengthen investment in cultural innovation and encourage practitioners to create more and more excellent works to spread cultural classics and the spiritual culture contained therein. In addition, the country should train innovative talents and further strengthen the cultural innovation ability of the whole country. With a new way to deduce the story of the classic books, we can bring out rich connotation and vitality of Chinese cultural classic books.

3. Learn the advantages of Western culture

Western culture can cause great influence in the world because of its own quality culture. At the same time of western culture shock, we should also learn the advantages of western culture, and absorb and transform, so as to form our own advantages. For example, we can learn from the development model or successful cases of western culture to promote Chinese cultural classics to the world.

4. Improve "hard power"

Only by further developing the economy and perfecting the social system can we provide professional security for translators and attract more translation talents. We should strengthen foreign exchanges, help Chinese publishing enterprises to go out, improve publishing channels and marketing strategies, so as to expand the foreign market of Chinese cultural classics, further spread Chinese culture, and enhance the influence of Chinese

===Conclusion===
Chinese cultural classics are the essence of Chinese traditional culture and are closely related to cultural soft power. After this paper the author found that the inheritance and transmission of Chinese culture classics still exist many problems, we must attach great importance to it, and take corresponding measures to solve these problems to help our cultural books to go into people's study life,to concentrate the power of culture, thus further to go into the world and influence the world. Only in this way can China improve its cultural soft power, enhance its competitiveness and gain recognition in the world.

===References===
*Nye, J. S. (1990).''Soft Power''.''Foreign Policy'',80,153–171pp.

*Cai Libin, Wang Chenlin 蔡礼彬,王晨琳.(2020).''世界遗产与中国文化软实力''[A World Heritage Site and Chinese Cultural Soft Power].''中国文物科学研究''Chinese Cultural Relics Scientific Research (01), 17-23.

*Gu Chunjiang 顾春江.(2020).''中国典籍英译本海外传播研究''[A Study on the Overseas Communication of the English Translation of Chinese Classics].''文教资料''Cultural and educational materials (31), 7-10.

*Hong Xiaonan, Qiu Jinying, Lin Dan 洪晓楠,邱金英,林丹.(2013).''国家文化软实力的构成要素与提升战略''[The Constituent Elements and Promotion Strategy of National Cultural Soft Power].''江海学刊''Jianghai Journal,202-207.

*Liu Jinxiang 刘金祥.(2022).''文化经典的主要特征和当下价值''[The Main Characteristics and Current Values of Cultural Classics].''书屋''Library (02),13-15.

*Shi Zuhui施祖辉.(2000).''国外综合国力论研究''[A Study on Foreign Comprehensive National Strength].''外国经济与管理''Foreign Economy and Management (01), 13-19.

*Xu Wanxiao, Xu Fangxiong徐宛笑,徐方雄(2021).''文化软实力的概念、实质及构成要素探究''[Explore the Concept, Essence and Constituent Elements of Cultural Soft Power].''文化创新比较研究''Comparative Research on Cultural Innovation (10), 8-11.

*Wang Huning王沪宁(1993).''作为国家实力的文化:软权力''[Culture as a National Power: soft power].''复旦学报(社会科学版)''Fudan Journal (Social Science edition) (03), 91-96 + 75.

*Wei Enzheng, Zhang Jin魏恩政,张锦(2009).''关于文化软实力的几点认识和思考''.[Some Understandings and Thoughts on Cultural Soft Power].''理论学刊'' Theoretical Journal (03),13-17.

*Zhang Junxiong张军雄.(2022).''大学生经典文献阅读情况调''[Investigation on the reading situation of classical literature by college students].''合作经济与科技''Cooperative Economy and Science and Technology (11), 87-89.

*图书畅销榜-2021年畅销书排行榜Book bestseller-2021-Dangdang (dangdang.com)http://bang.dangdang.com/books/bestsellers/

*豆瓣2021年度读书榜单Douban Reading List 2021 (douban.com)https://book.douban.com/annual/2021

==英语笔译胡良明 Hu Liangming 202170081570 MW==

<center>'''A study on Lin Yutang’s translation of Six Records of a Floating Life'''</center>

<center>Hu Liangming</center>

===Abstract===
Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

===Key words===
Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

===Introduction===
For a long time, in the process of English translation of classical Chinese, translators usually follow the cultural background and reading habits of English readers to understand Classical Chinese and translate them to English, so that the English translation of such articles has lost the unique literary style and form of the original text. What’s more, some translators and readers may find such articles changed in sense, sound and form. Once the Classical Chinese are translated to English, the logic always becomes muddled and the artistic value will be diminished, even though there are no grammatical errors in the translation. Still, during the translation of such articles, it is unavoidable to make some misunderstandings due to translator’s deviation from Chinese. The special style and form are quite independent and original that they can not be found in traditional western literature. To do the English translation of Classical Chinese well, the sound, sense, and form must be taken into consideration. And this thesis aims to connect English translation of Classical Chinese with Three Beauties Principle.
Like Chinese classical poetry, Chinese classical prose has the characteristics of beautiful and condensed language, rich literary talent, and rich and profound artistic conception. Therefore, when translating Chinese classical prose, the translator can not only be satisfied with faithfulness and reciprocity, but also focuses more on the presenting the aesthetic perception of the original text into the target language. This article adopts the comparative method and the case analysis method, and uses Xu Yuanchong's Three Beauties principle as the framework to study the English translation of Six Records of a Floating Life.
Six Records of a Floating Life" is a collection of essays by Shen Fu, a writer in the Qing Dynasty. The language is plain and natural, and the content is rich and interesting. It fully embodies the author's leisurely spirit, the taste of life and the unswerving love between the author and his wife Chen Yun. The English translator of this book, Lin Yutang, is a well-known writer and translator who has studied Chinese and Western culture deeply.
This thesis is divided into three parts. First of all, the research background and significant points of this thesis will be presented. Then chapter two mainly makes a brief introduction to the Three Beauties Principle and its presenter as well as Lin Yutang and his translation strategies. And the rest of the thesis mainly focus on the research of Lin Yutang’s English translation Six Records of a Floating Life under Three Beauties Principle. This thesis aims to make a profound study of the English translation of Classical Chinese and hopes to help the future researchers and learners with the practices.

===Literature Review===
Although the translation of Classical Chinese into English has been several centuries, it seems that the theoretical research on this kind of translation is not yet very popular. There are several reasons to explain this situation. First of all, Chinese is a totally different language from English, not to mention the Classical Chinese. Chinese is a non-inflectional language, while English is an inflectional language. It means that there are some differences when it comes to the transformation of two different languages. Secondly, Chinese is parataxis while English is hypotaxis. Chinese sentences are connected together by the internal logic and semantic relations. While English sentences are connected together by using conjunctions and verbal morphology. As a result, it requires translators to master the essence of both English and Chinese to do the translation work well. It is for the above reasons that there are very few scholars who are proficient in both Chinese and English. Nevertheless, in the history of translation in China, a group of excellent translators have emerged. Most of these translators have studied ancient and modern and are very proficient in Eastern and Western cultural knowledge. It is precisely because of the existence of these translators that we can bring excellent Chinese works abroad, and let people all over the world appreciate the charm and long history of Chinese culture.
Chinese classic works are the historical crystallization of Chinese civilization and an important part of Chinese culture. For thousands of years, these excellent cultures have deeply influenced the descendants of the Chinese nation from generation to generation, and have played a role in inheriting culture and educating future generations. These classic works have not only social and historical significance, but also cultural construction significance. Chinese culture with a history of thousands of years belongs not only to China, but also to the world. It is the social responsibility and historical mission of each of us Chinese to spread Chinese culture and let the world truly understand China to enhance exchanges between different cultures. In this context, it is more practical to conduct research on the English translation of Chinese classics. Under the current economic and cultural globalization, the dissemination of excellent Chinese Classics barely matches our country’s comprehensive national strength and international status. Therefore, how to better spread the culture of 5000-year-old should be put into the first priority for English learners. The English translation of classics is an excellent way for the world to understand China and allow China to participate in global cultural exchanges. At the same time, it is of great benefit to enhance our country's cultural charm and cultural soft power. The Chinese nation is a nation that is open to all different cultures and is eager to learn from these differences. In the long process of spreading Western learning to the east, we have translated and learned a lot of Western culture in politics, economy, culture, technology and so on. We have successfully learned Western culture, and now the key is to spread our own culture and actively participate in the exchange of world culture, so that the people of the world can learn more about Chinese culture in order to maintain the inherent cultural identity of the Chinese nation. The English translation of classics enables Chinese classical works to be presented to people again, and can make the essence of charm across the ocean, allowing Western people to appreciate the elegance of Chinese culture, enhance the national pride of Chinese descendants, and at the same time better promote foreign language learning and cultural exchange.

===Three Beauties Principle===
Three Beauties Principle was put forward by Professor Xu Yuanchong, who has created such a translation standard from his diligent working and a great number of translation practices. Undoubtedly, such a translation theory has exerted great significance in translation circles and provided a new perspective for us English learners to study literary translation. Three Beauties Principle means beauty in sense、beauty in sound、and beauty in form. Beauty in sense emphasizes that the profound meaning hidden in poems are kernels of poems, and the major job of translators is to translate the sense, which will be of great importance for target readers to understand poems（Xu，1984）. Beauty in sound indicates that poems are in rhyme, assonance, alliteration, and the heroic couplet and so on. So when doing translations, translators are required to keep the rhyme as stringently as possible. Beauty in form keeps a watchful eye on poems that are written in some forms, like traditional Chinese seven-character octaves that there are only seven characters in each line. Xu （Xu ，1984）holds the opinion that the three beauties are not equally important. Xu once said: “Of the three beauties, beauty in sense is of the greatest significance and should be placed in the first place; beauty in sound is of secondary importance; beauty in form is of least weight and can be put in the third place.”(Xu，2006：81）
The first principle of poetry translation is to retain the meaning of the original text to the highest degree, so as to achieve the same effect as the original text to move the reader. In other words, poetry translation should lose the beauty of the original text as little as possible. It not only means translating the denotative form of the original text, but more importantly, translating the connotative meaning of the original text. Poetry translation should retain the artistic beauty of the original poem. Poetry is rich in appreciation value and is the highest state of literary creation. It uses the most concise language to express the most profound meaning. The artistic conception embodied in a good work is often amazing, and it will make people keep tasting the charm of it even unforgettable for a lifetime. However, the rich connotation of poetry will make different readers and translators have different feelings, and this different understanding will make the translated works appear very different in the reproduction of the original works. Therefore, under the principle of aesthetic beauty, translators are required to integrate into the environment of poetry, gain insight into the author’s mood, and appreciate the author’s true intentions.
The beauty in sound can be tasted in rhyme and rhythm, which are the indispensable parts of classical prose and poetry. As we all know, poetry and music are closely related to each other. From life experience to emotional expression, music is integrated with poetry, producing unlimited artistic charm. In the poetry works, the harmony of voice, the ambiguity of tones, and the musical beauty produced by the rhythm of sentence patterns make the emotions expressed more intense, the portrayed images are more vivid, and the works are more appealing. Music breaks through the conventional thinking mode through poetry, which can not only improve the musician's sensibility and comprehension, enrich his imagination and emotional experience, but also make his works have a deeper depth of thought. Poetry not only has an impact on music creation, but also plays an important role in music performance. Therefore, in poetry translation, translator must try their best to convey the beauty of the original works. As we all know, Chinese is a tonal language, with a single character as the unit of rhythm, and the pronunciation of each Chinese character is almost the same, and the difference is only in tones. Therefore, in the process of translating ancient poems and prose, it is necessary to take into account both Chinese and English prosody, and vividly reflect the Chinese phonology with English phonology.
Xu Yuanchong suggested that beauty in form refers to “line length, verse rhyme, repetition of words, couplet and parallelism in structure, etc.”(Xu,1992：25）. This means that in the process of poetry translation, the translator needs to take into account the beauty of the original poem's form. The so-called form means to keep the translation consistent with the original text in terms of words, sentence structure, expression techniques, and rhetorical means in the translation of poetry and poems. Therefore, the form refers to the whole of the poem, and the corresponding relationship of various forms is extremely complicated and difficult in the article composed of different languages. Especially for poetry works, most of the beauty of its form cannot be completely translated, and it needs to be recreated. The original poem has the beauty of the text itself, so the translation of the poem also needs to have the beauty of the text itself.

===Reflection of Beauty in Sense in Lin Yutang's translation ===
3.1.1 Choice of Words
In Lin Yutang's translation, the accuracy and fluency of his words show his proficiency in Chinese and English. Chinese literati pay attention to the choice of characters when they write poems and lyrics. In their creation, if they can use characters cleverly, they can make the whole article unique. In the process of translation, translator also needs to pay attention to precise and proper wording. In order to faithfully reproduce the meaning and charm of the original text, Mr. Lin Yutang has painstakingly studied the choice of words and sentences during the translation process, so as to expect to convey the essence of the original text faithfully and smoothly. Here are some examples showing the accurate choice of words.
Chinese Version 1: 刺绣之暇，渐通吟咏。
English Version 1: Between her needlework, she gradually learned to write poetry.
Although “Between” is the most common preposition in English, it is used in this place to make the original meaning easy to understand, and there is no lack of vividness and beauty in the plain and simple text. It expresses the original meaning of the original text, that is, because her father passed away early, Yun had to rely on embroidery to support her family. Therefore, free time is naturally hard-won for her. Therefore, this word here fully shows the hardship and arduousness of Yun's life. The time she spends on recognizing characters and writing poems is squeezed out, which is completely consistent with the meaning of leisure in the words and sentences implicit in the original text.
Original text 2: 时但见满室鲜衣，芸独通体素淡，仅新其鞋而已。
English Version 2: At this time, the guests in the house all wore bright dresses, but Yun alone was clad in a dress of quiet colour, and had on a new pair of shoes.
The word “quiet” completely expresses the meaning that the original writer intended to express. It was originally a very ordinary and inconspicuous word, but when matched with the “color” in the text, it looks very apt and vivid. It not only expresses the elegant and light color of the clothes, but also expresses the protagonist’s gentle and introverted character. In order to conform to English expression habits, sometimes quantifiers do not need to be accurately expressed in the translation. Therefore, the translation also adopts flexible processing methods when dealing with the translation of some quantifiers.
Original text 3: 秋侵人影瘦，霜染菊花肥。
English Version: Touched by autumn, one’s figure grows slender,
Soaked in frost, the chrysanthemum blooms full.

In these two verses, Lin Yutang drew a picture in English, the externalization of sad autumn emotions, the coolness of autumn makes people shrink up, but frost tinges the chrysanthemum and aggravates the color of the chrysanthemum. In the contrast between people and chrysanthemums, we have a very vivid picture in our minds. Because of these precise words, readers of the target language can also clearly feel what the original author wants to express.

===Reflection of Beauty in sound in Lin Yutang's translation===
In Lin Yutang’s view, artistic texts include poetry, lyrics and music. In the process of translation, translator must first note that poetry is one of the cultural forms with Chinese characteristics. So they must be able to fully understand its artistic conception and master the form of the original text. Only in this way can they be as vivid as possible and express the connotation of the word. In addition, Chinese classical literature also focuses on phonology. Therefore, Lin Yutang uses the method of combining alliteration and ending rhyme in the translation process, and uses the repetition of syllables to fully express the beauty of the original phonology and rhythm.
3.2.1 Rhythm
Original Text1: 清斯濯樱，浊斯濯足。
English Version1: When water is clear, I will wash the tassels of my hat; and when the water is muddy, I will wash my feet.
This sentence in the original text is a standard antithetical sentence. It means that I can choose to wash my hat here where the river water is clean, and I can choose to wash my feet here where the river water is dirty. During the translation process, Lin Yutang also translated the symmetry of the original text, and the sentence patterns were consistent. Therefore, when the target reader reads the target text aloud, he can also clearly feel the sense of rhythm. Moreover, the last words, “hat” and “feet” , of the translation formed the end-rhyme.
Original Text2: 曾经沧海难为水，除却巫山不是云。
English Version2: It is difficult to be water for one who has been the great seas, and difficult to be clouds for one who has been the Yangtze Gorges.

Once having seen the best, the rest is not worthwhile looking. The meaning of this sentence: People who have experienced the incomparably deep and wide sea, the water elsewhere can hardly attract him; except for the clouds of Wushan where the clouds are steaming, the clouds everywhere are eclipsed.
The water of the sea and the cloud of Wushan are metaphors for the depth and breadth of love. I have seen the sea and Wushan, but the water and clouds elsewhere are hard to see. Except for the woman whom the poet thinks and loves, there is nothing that can make me fall in love. The original text here uses allusive rhetoric as a metaphor for my loyalty to love. When Lin Yutang dealt with this sentence, he used the same sentence pattern in both clauses of the translation. Therefore, readers of the target text will feel catchy when reading, which enhances the appeal of the article, which not only greatly increases the beauty of the original text, but also vividly expresses the precious feelings between the original author and his wife.

===Reflection of Beauty in Form in Lin Yutang’s translation===
Sentence layout and cohesion are an important part of text organization in translation, and are closely related to translation. Sentence layout mainly refers to the fit of language means and logical relations in a sentence. Cohesion mainly refers to the external connection of language, which is mainly related to the tangible components of language connection. In many literary works, the author will use many different sentence patterns. These different sentence patterns can be used to express different functions, including grammatical functions. Therefore, the appropriate sentence pattern will add beauty to the form of the target words and sentences annotations. Here are some examples.
Original Text1:芸曰:“世传月下老人专司人间婚姻事，今生夫妇已承牵合，来世姻缘亦须仰借神力，盍绘一像祀之？”
English Version1:Yun said ：“It is said that the Old Man under the Moon is in charge of matrimony. He was good enough to make us husband and wife in this life, and we shall still depend on his favor in the affair of marriage in the next incarnation. Why don’t we make a painting of him and worship him in our home?”

We can see from the original sentence that this sentence has an obvious feature, that is, there is a rhetorical question at the end of the original sentence. In the translation, the rhetorical question here is also accurately translated. Therefore, the translator here has fully achieved the formal correspondence, and readers of the translation will not feel any doubt when reading this.
Original Text2: 芸双目闪闪，听良久。
English Version2: Yun stared at me, listening for a long time.

In the original text, there are two motions made by Yun, which are stare and listen respectively, and the first motion mentioned is more important obviously and the latter is accompanied. In the translation, the translator made the second motion an accompany adverbial which accords with the original text.

===Conclusion===
From the above content, we know the importance of translating Chinese classics into English, and we also clearly understand that we will encounter many difficulties in translating excellent classical cultural works. However, we can still see from Lin Yutang's translation that this difficulty can be overcome. Lin Yutang is proficient in two languages and devoted his life to spreading Chinese culture to the West. In his translation process, he not only obeyed the principle of being faithful to the original text, but also expressed the unique charm and beauty of the original text. The beauty in translation is mainly expressed in meaning, sound and form. And in Lin Yutang’s translation of Six Records of a Floating Life, we can appreciate the profound meaning contained in the short words and sentences of classical Chinese.
This thesis is supposed to delve into Lin Yutang’s translation of Six Records of a Floating Life and pays much more attention to the sense, sound and form of the translation. Through the study, we may study more useful methods and strategies to translate Classical Chinese into English properly. What’ more, through the work, many more classic works can be spread to other countries and the charm and beauty of Chinese can also be shared by the rest people of the world.

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==英语笔译黄琼 Huang Qiong 202170081571 CE==
<center>'''The Translation and Spread of Yu Hua's Works in Europe'''</center>

<center>黄琼 Huang Qiong</center>

===Abstract===
Yu Hua, a famous contemporary author in China, wrote a lot of novels such as ''To Live''《活着》, ''Cries in the Drizzle''《在细雨中呼喊》, and ''Chronicle of a Blood Merchant''《许三观卖血记》. He is one of the pioneers of Chinese avant-garde literature in the new period. As a contemporary Chinese writer, this paper will explore the translation and dissemination of Yu Hua’s works（''Brothers'' as an example） in Europe with an emphasis on France and Germany. This case is to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.

===Key words===
Yu Hua, ''Brothers'', Chinese contemporary literature, translation.

===Introduction of Yu Hua and His works===
Yu Hua is a famous writer in contemporary China. When describing his novels, Chinese readers often use words like "misery" and "sadness", saying that he left the pain to the readers. In recent days, he has given a number of interviews, including detailed interviews with several Up （Up is short for "upload", a content sharer on the video website Bilibili which is a well-known video bullet screen website in China and is very popular among young people.）on Bilibili's knowledge section, in which Yu presents a humorous image to readers. Previously, ''To Live'' was adapted by the famous Chinese director Zhang Yimou, starring Ge You and Gong Li. In 1994, the film won the Grand Jury Prize and the Best Actor Award at the 47th Cannes International Film Festival, and the novel ''To Live'' also became very famous in China. In his interviews, he is humorous. He is nothing like his novels that has a sense of sadness. Many of his funny stories are circulating on the Chinese Internet. For example, when he worked as a dentist for several years, he saw the people in the county cultural center do nothing but roam the street every day. He thought this job was very good, so he wrote a novel and published it, and then entered the cultural center to work. Humor seems to be the latest impression of Yu Hua.

Yu Hua's novels have been bestsellers. ''To Live'' （《活着》）has been popular for nearly 20 years since its publication. From 1992 to 2020, the sales volume exceeded 20 million, creating a new record in the contemporary Chinese literary field. Yu Hua's new book, ''Wen Cheng''(《文城》), has already printed 1 million copies in just three months（Li Chunyu 2021, 143）Openbook is a professional commercial organization providing consulting, research, and survey services for the book industry, and also the founder of the continuous tracking and monitoring system for the retail data of the Chinese book market. According to the China Book Retail Market Report 2021 released by the institute, Yu Hua’s new book ''Wen Cheng'' ranked 10th on the 2021 fiction list and first on the new fiction list, apparently thanks to Yu Hua’s status among Chinese writers. ''To Live'' was the seventh best-selling book. In 2020, ''To Live'' was the fourth best-selling fiction series, and in 2019, ''To Live'' was the no. 1 fiction series, which also topped the overall list for a second year. ''To Live'' topped the list for 11 consecutive months from March 2018 to January 2019, and also topped the list for nine months in 2019. Among the sales reports in recent years, only Lu Yao’s ''Ordinary World'' in the serious literature category ranked fourth on the fiction list in 2019. On top of that, ''To Live'' has been published for more than 20 years and has been on the bestseller list every year, which is not easy.

Yu Hua has many readers. According to Douban, a Goodreads-like website, ''To Live'' has received more than 690,000 comments, with a score of 9.4 points. ''Brothers'' has more than 50,000 reviews. ''A Dream of Red Mansions''(《红楼梦》), one of China’s four most famous novels, received only 370,000 comments, while the ''Three-Body Problem'' (《三体》), a popular science fiction novel, received 400,000 comments. Compared with other contemporary writers' books of China, ''Frog'' (《蛙》)by Mo Yan, China's first Nobel Laureate in literature, received only 20,000 comments, while ''Life and Death are Wearing Me Out'' (《生死疲劳》)received only 18,000. Lu Yao’s novel ''Ordinary World'' has received more than 60,000 comments. All the above data show that Yu Hua is a very famous writer in contemporary China, and his appeal to readers is also very strong.

Yu Hua is also famous abroad. Wu Yiqin, president of Writer publishing House(作家出版社), commented that Yu Hua was the first contemporary Chinese writer who really "went out" in the sense of literary noumenon. In a sense, he corrected the bias that the Western world was usually keen on "reading China" rather than "reading literature" when facing Chinese literary works. He has received many foreign awards, including the James Joyce Award, and France's Prix Courrier International. In 1998, ''To Live'' won the highest prize in Italian literature — The Grinzane Cavour. The earliest foreign language translation of Yu Hua's novel is the 1992 German translation ''To Live''. However, it is more suitable to regard 1994 as the first year of the full spread of Yu Hua's novels, because in this year, his representative work ''To Live'' was translated into many languages and published separately, and his works were widely translated and introduced to other countries successively. For example, ''To Live'' was published by Hachette Publishing Company in France, published by De Geus in the Netherlands; Livani in Greece also published ''To Live'' (Liu Jiangkai 2014, 134).

Yu Hua is a prolific writer. Shortly after his debut as a fiction writer in 1983, his first breakthrough came in 1987, when he released the short story ''On the Road at Age Eighteen''（《十八岁出门远行》）. In 1990, his first novel, ''Cries in the Drizzle'' （《在细雨中呼喊》）, was published. In 1992, ''To Live'' was published. In 1995, the full-length novel ''Chronicle of a Blood Merchant'' （《许三观卖血记》）was completed. From 2005 to 2006, two parts of ''Brothers'' （《兄弟》）were published successively. In 2013, the full-length novel ''The Seventh Day'' （《第七天》）was published. Yu Hua has written five novels, six collections of stories, and three collections of essays. His novels have been translated into English, Spanish, Portuguese, French, German, Russian, Italian, Dutch, Czech, Polish, Romanian, Swedish, Hungarian, Korean, Mongolian Malayalam, and Danish.

===Literature Review===
1. Domestic Literature Review of the Translation Research of Yu Hua’s Works in Europe

As a famous contemporary writer in China, Yu Hua has been studied very extensively in the Chinese academic circles and achieved very fruitful results. Using “Yu Hua” as the keyword to search articles in the Chinese National Knowledge Infrastructure （CNKI 中国知网）, a total of 6679 articles were found. Using “Yu Hua overseas dissemination” as the keyword to search, 287 articles were found. Using “Yu Hua translation” as the keyword to search, 112 articles were found. Mo Yan, China’s first Nobel Prize winner in literature, is about 2-4 times more popular than Yu Hua.

Liu Jiangkai’s article The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance（当代文学诧异“风景”的美学统一:余华的海外接受） systematically introduces the translation situation of Yu Hua’s works in various countries, arranges the literature review of Yu Hua at home and abroad, and discusses the differences between the domestic and foreign comments on ''Brothers''. Hang Ling, Xu Jun’s article Different Interpretations and Acceptance of Yu Hua’s ''Brothers'' in The Context of French Culture（《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介）. The translation and reception of the Brothers in France are analyzed. Another article by Hang Ling, Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media（《法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论》）, analyzes the views of mainstream media and academic circles in France on Yu Hua. Sun Guoliang and Li Bin’s article Overview of Research on the Translation and Translation of Modern and Contemporary Chinese Literature in Germany（《中国现当代文学在德国的译介研究概述》）, made quantitative statistics and qualitative analysis on the translation of contemporary Chinese literature in Germany by referring to some data and the journal materials collected by the authors during their visiting study. His other article on Germany, A Study of Yu Hu’s Translation and Acceptance in Germany, focuses on Yu Hua（《余华在德国的译介与接受研究》）. Chen Daliang and Xu Duo’s article The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media（《英国主流媒体对当代中国文学的评价与接受》） is based on the first-hand reports on contemporary Chinese writers and works by British mainstream media, and tried to answer several questions from four aspects: basic situation, evaluation emphasis, problems, and reflections. As for the situation in Spain, the Netherlands, Italy, Norway, and other European countries, most researchers only regard Yu Hua as a part of contemporary Chinese writers and do not have a deep study of Yu Hua’s works.

2. Foreign Literature Review

There are many foreign scholars who are interested in Yu Hua and did much research about him. Chen Jian Guo’s Violence: The Politics and the Aesthetic: Toward a Reading of Yu Hua in the American Journal of Chinese Studies explores that our life is surrounded by a world capable of what Dostoyevsky called the “variety of sensations” for vicious violence. Deirdre Sabina Knight publishes the article Capitalist and Enlightenment values in 1990s Chinese fiction: The case of Yu Hua’s Blood Seller. Through interpreting the social, economic, and moral foundations of selfhood and autonomy in Yu Hua’s novel, the author thinks that analysis of the uses of self-ownership diminishes its attractiveness as a primary value in favor of values less complicit with capitalist principles. Wedell-Wedellsborg, Anne’s Multiple Temporalities in the Literary Identity Space of Post-Socialist China: A Discussion of Yu Hua’s Novel Brothers and its Reception. The acceptance of Brothers in various countries was discussed. Overseas scholars Yang Xiaobin also wrote many papers on Yu Hua. The above are overseas scholars who focus on Yu Hua, and their research ideas can be roughly divided into works, themes, and comparative studies. It involves Yu Hua’s long, medium and short works.

===The Translation and Spread of Yu Hua’s Works in Europe===

On the whole, the influence of Chinese contemporary literature in world literature is low. Compared with the fellow Asian countries like Japan, there are huge differences. For example, Japanese writer Haruki Murakami's English translation of ''Norwegian wood'' (《挪威的森林》) on the Amazon has more than 6500 comments. By comparison, China's first Nobel Prize winner, Mo Yan's ''Frog'' (《蛙》) just has more than one hundred comments. The Nobel Prize in Literature only promoted Mo Yan's overseas acceptance and did little to change the overall situation of contemporary Chinese literature. The whole overseas dissemination of Chinese contemporary literature is in a marginal position. However, although the overall situation of Chinese literature is not optimistic, there are a few contemporary Chinese writers, such as Yu Hua, Wei Hui, and so on, whose influence is expanding abroad. Due to a large number of Yu Hua's works and limited space, this paper focuses on the analysis of the translation and reception of Brothers in Germany and France. For ''Brothers'' alone, there are many languages and a large number of translations. ''Brothers'' was short-listed for the Man Asian Literary Prize, and a winner of France's Prix Courrier International. It is an epic and wildly unhinged black comedy of modern Chinese society running amok. With sly and biting humor, combined with an insightful and compassionate eye for the lives of ordinary people, Yu Hua reappears the history, showing his criticism of the power in the 1960s and 1970s, and his concern about the lack of spiritual life in the people in the early stage of Reform and Opening-up and some human concern.

1. France

France is the country that publishes the largest number of contemporary Chinese literature, surpassing the number of English translations. Compared with other countries, France has a broad market prospect. As a major country of Sinology, France has always paid close attention to the development of Chinese contemporary literature and actively translated Chinese contemporary literature. The French version of ''Brothers'' was published in 2008, whose translators are Angel Pino and Isabelle Rabut by the famous publishing house Actes Sud. Isabelle Rabut translated many of his books. She is a professor in the Department of Chinese literature at the National Institute of Oriental Languages and Cultures in France, specializing in the study of modern and contemporary Chinese literature. She is also one of the most active translators of modern and contemporary Chinese literature in France, as well as a member of Actes Sud's "Chinese Literature" section as chief editor. After ''Brothers'' was published, she made the first contact to acquire the rights, and with her husband, Sinologist Angel Pino spent a year translating the novel. ''Brothers'' is Yu Hua's seventh book published in France. It set off a wave of enthusiasm in France, and some important media, such as Le Monde, Liberation, and so on, devoted rare space to promoting a foreign writer and a foreign novel to the French-speaking world and generated 50-60 comments.[ For detailed information in 王侃,蔡丽娟,朱志红.《兄弟》在法语世界——法语书评翻译小辑.] Many newspapers praised the novel for its complete portrayal of complex contemporary China, but that was not the case at home, where it received mixed reviews. Most of the criticism in China was that this novel was too vulgar. For example, the novel begins with li Guangtou(李光头), the main character, peeking at a woman's arse while going to the toilet. It is also worth discussing why there is such a wide gap between domestic and foreign opinions in the book.

Sales of Yu Hua's books in France did not start well. According to Eva Chanet, far East literature editor of Actes Sud, sales of Yu Hua's works were limited in the early days, with only 500 to 900 copies sold. (Eva Chanet mentioned this figure in a lecture given in January 2011 at the International Centre for Literary Translators in Arles, southern France.) But they did not give up on Yu Hua and looked at the long-term benefits, so Yu Hua gradually built his reputation in France. In 2008, with the publication of the French translation of ''Brothers'', Yu Hua began to receive intensive attention from the French mainstream media. Up to now, it has sold more than 50,000 copies, far surpassing Yu Hua’s previous works. The hardback edition of ''Brothers'' has more than 700 pages and has been printed more than a dozen times. The previous bestselling book in France, ''Chronicle of a Blood Merchant'' sold only a few thousand copies(Ji & Zhou 2015, 39 ). There are some comments on Amazon. "An exceptional book.(Un livre exceptionnel.)" "It works well. The 700 pages form a "beautiful" history of the history of contemporary China.( ça marche bien, les 700 pages défilent et forment une “belle” histoire de l'histoire de la chine contemporaine. )." The ratings are mostly four to five stars. Modern and contemporary Chinese literature works have a place in France, but it is far from rising to mainstream literature. Even in the translation literature, British and American literature still attracts more attention. Therefore, Chinese contemporary literature still has a lot to go.

2. Germany

According to statistics from Bochum University, about 900 works of Chinese literature were translated into German between 1827 and 1995. Most of them were published in the 1920s and 1980s, with 40 translated into German in 1987 alone (Ulrich Kautz 2005, 8). In 2012, the publishing house Fischer Taschenbuch released the German version of ''Brothers''. The translator is Ulrich Kautz, winner of the "Special Contribution Award of Chinese Books" and a famous German translator. He has translated Yu Hua's ''To Live'', ''Chronicle of a Blood Merchant''(《许三观卖血记》), ''Brothers'', ''China in Ten Words''（《十个词汇里的中国》）, ''The Seventh Day''（《第七天》）, and ''Cries in the Drizzle''（《在细雨中呼喊》）, all of which are of high quality. In addition, five of Yu Hua's short stories have been translated into German by Hefte fur Ostasiatische Literatur and other famous German sinologists.

According to Yu Hua himself, in his own book ''To Live'' is the most popular novel in the United States, Spain, and Italy, while ''Brothers'' is the most popular novel in France and Germany. ''Brothers'' sold more than 27,000 copies between 2009 and 2015. Yu Hua's ''China in Ten Words'' sold about 7,000 copies. On Goodreads, there are German comments. "Brilliant book. A different world, and it's very well written." (Geniales Buch. Eine andere Welt und so toll geschrieben. ) On Amazon, the rating is 4.4. "The development of this fictitious city is followed in this novel over a period of several decades, which opens up interesting insights into the development of Chinese society for us."(Die Entwicklung dieser fiktiven Stadt wird in diesem Roman über einen Zeitraum von mehreren Jahrzehnten verfolgt, was durchaus interessante Einblicke auch für uns in die Entwicklung der chinesischen Gesellschaft eröffnet.)

2009 is a milestone year for the translation and dissemination of Chinese literature in German. For the first time, China participated in the Frankfurt Book Fair as the guest of honor, the largest and most influential in the world. Tie Ning, Su Tong, A Lai, and other famous Chinese writers visited the Frankfurt Book Fair and had in-depth exchanges with the world publishing industry. It is hoped that China will participate more in these book fairs in the future, strengthen national cooperation and exchanges, and spread Chinese classic literature.

3. Other Countries

The following table shows some of the translations of ''Brothers'' in European countries(except England). From the table ''Brothers'' have a lot of translation versions. Spain, Italy, Norway, Denmark, and so on have translated the book. There is no special study of Yu Hua's articles in other European countries except in Britain, Germany, and France. In 2017, the Italian press Feltrinelli Editore published the Italian version. The translator is Silvia Pozzi. However, Mo Yan, Yu Hua, and Su Tong, among the most well-known Chinese writers, have sold less than 10,000 copies in Italy. Spain's Seix Barral publishing house mainly promotes Yu Hua's works and released ''Brothers'' in 2009.

The dissemination of Yu Hua's works mainly follows two basic laws. One is the well-developed economy and culture. For example, the countries in Europe have relatively developed economic levels and cultural traditions, and rich spiritual life of their people. The other is the historical and cultural connection, which is highlighted by the spread of Asian countries such as Japan, South Korea, and Vietnam, which have a close cultural origin with China and form a common cultural circle (Liu Jiangkai 2014, 135).

[[File:hdhd jzjzj.jpg]]

===The Opinions about the Dissemination of Chinese Contemporary Literature ===
Some suggestions are summarized from Yu Hua’s overseas dissemination to help Chinese contemporary literature to the world.

1. Excellent Translator and Publisher

Generally speaking, many well-known Chinese writers have a regular translator in each different language. Finding a suitable and stable translator is very important for the overseas dissemination of writers. So much the better if the translator is influential, for example, Howard Goldblatt to Mo Yan, Ken Liu to the ''Three-body Problem''. As for Yu Hua, Ulrich Kautz became the official translator of the German version of Yu Hua's works. Wolf Baus speaks highly of the quality of the translation: "His fidelity to the drama of the original, his ability to control the tone with the confidence of an ordinary citizen, and his amazing hues, make the book irresistible thanks to the translator's intelligence, simplicity, and openness."(Wolf Baus 2000, 164) Newspapers in the French-speaking world also praised Angel Pino and Isabelle Rabut. "The image of the novel is fully reflected in the French translation. Thanks to the erudition of these two translators, they can accurately and easily restore the original novel in the real Chinese context."（Le temps 2008）They have a solid foundation in the Chinese language and good literary quality. Meanwhile, they have a relatively comprehensive and in-depth understanding of Yu Hua and hold an attitude of recognition and appreciation of Yu Hua's works, which lays a foundation for their excellent translation. With a regular translator, the communication between the author and the translator will be smoother.

The press also played a great role in the dissemination of Chinese contemporary literature. Since 2000, Yu Hua's works have changed from multiple presses to regular press in Actes Sud. The translation of Yu Hua's works has gone from disorganized to systematic. With the continuous efforts of this publishing house, Yu Hua has become one of the most translated Chinese writers in France. The long-term and stable cooperation with Actes Sud laid a good foundation for the establishment of Yu Hua's literary image in France. Seix Barral in Spain attaches great importance to the translation and introduction of Chinese literature and has formulated a long-term and systematic publishing plan for Chinese literature. The Spanish edition of ''Brothers'' was published by their press. In 2014, Wuzhou Media Publishing House cooperated with Planet Publishing House, the largest publishing house in Spain, to translate and publish Mai Jia's work ''Decode'' (《解密》). With large-scale publicity, this work set a record for the first release of modern and contemporary Chinese literary works with 30,000 copies（Lan Bo 2020, 45）. An excellent publishing house with reliable marketing ability and strong financial support can play a positive role in the dissemination of the translation. The combination of Chinese and foreign publishing houses is conducive to the mutual promotion of writers of the two countries and the further integration of foreign literature and domestic literature.

2. Film Adaptation

Mo Yan, Su Tong, and Yu Hua have all received film adaptations by Zhang Yimou. Zhang Yimou's 1991 film ''Raise the Red Lantern'' （《大红灯笼高高挂》）, based on Su Tong's novel ''Wives and Concubines'' （《妻妾成群》）, won the Silver Lion at the 48th Venice Film Festival and in 1992 was nominated for Academy Award for Best Foreign Language Film. ''To Live'' was adapted into a film by director Zhang Yimou, which won the Grand Jury Prize at Cannes in 1994. In 1988, ''Red Sorghum'' （《红高粱》）, adapted by Zhang Yimou, won the Golden Bear at the West Berlin Film Festival, attracting the world’s attention to Chinese films and greatly promoting novel translation. Undeniably, the adaptation of the novel into a film by the internationally renowned director Zhang Yimou does contribute to the spread of the novel. After all, Chinese literature is still read by a small number of people outside China, mostly scholars. And movies have opened up a certain market. "''To Live'' was not popular before the film adaptation, and many foreign versions of ''To Live'' had Gong li's picture on the cover," Yu said in an interview. This shows that the film adaptation did have a certain impact on overseas acceptance, which reduces the publishing house to the reader acceptance and market sales concerns.

3. Literary Features of the Novel

As mentioned earlier in the article, ''Brothers'' were generally well-received abroad but received mixed reviews in China. Some people think the content is vulgar, shallow, and in bad taste. Yu Hua wrote dirty and cruel things and is lack humanistic care and critical awareness. It holds that the bestselling of ''Brothers'' lies in the fact that ''Brothers'' buttons the secret code in the hearts of the masses and conforms to the emotional trend and reading habits of the masses. It is believed that the attitude of ''Brothers'' towards world history and the changes of the times does follow the trend, losing the value of judgment or the pursuit of meaning to the world (Wang & Zhu 2009, 13). There are also many praises. The dirt, cruelty, and vulgarity criticized by people contain very rich social content, reflecting Yu Hua's strong critical edge.

Some scholars attribute the success of ''Brothers'' in France to its Rabelaisian approach. Since Rabelais's indulgence and vulgarity is a paradigm already existing in the French literary tradition, many French critics will spontaneously associate ''Brothers'' with Gargantua and Pantagruel, thus forming a kind of identification with them （Hang Ling 2010, 136 ）. Some works that conform to the mainstream aesthetic standards of China are often considered to have a tendency to serve ideology in the perspective of French culture, which arouses the aversion of readers and media and leads to low acceptability. Cheng Baoyi, a Chinese scholar, said when talking about the differences between Chinese and Western literature and cultural concepts, "Westerners pay attention to imperfections, breakthroughs, and the existence of evil. They always believe that the relationship between man and nature is not so harmonious and complicated, and they do not hesitate to reveal the cruelty of the human world... This is caused by the different philosophical pursuits and aesthetic standards of the East and the West."(Qian Linsen 2000, 9) Although the story of Yu Hua takes place in the special historical background of China, it can show the beauty and tragedy of life, which can be shared by anyone. Therefore, how literary works grasp the present, reflect the spirit of times, the author how to transcend time and space to let foreign readers feel the life of Chinese people, or let them experience the common situation of human beings in the process of globalization, is an important prerequisite for the success of contemporary Chinese literary works going abroad. But that doesn't mean catering to other people's tastes. On the other hand, if writers excessively consider western readers' expectations of Chinese novels, they are likely to lose their "Chinese characteristics", which will lead to failure (Ulrich Kautz 2015, 9).

===Conclusion===
It is undeniable that when Chinese literature goes abroad, there is an obvious phenomenon that foreign countries pay too much attention to political issues. Yu Hua often answers questions about the censorship of China when he attends lectures and recitals abroad, although he has responded to this question. Objectively speaking, some western publishers, media, and even scholars still have an impression of Chinese literature as the stagnant closed countryside, political persecution, or twisted sex. The political misreading of Yu Hua's works in the process of translation and acceptance is an unavoidable topic. Only by treating Chinese literature as literature, not curiosity, and giving respect to Chinese literature, can we discover its real value beyond the superficial surface(Sun & Li 2021, 152）.

Through the study of the overseas reception of Yu Hua's works, it can not only better reflect on his creation and canonization process, but also observe the achievements and problems of contemporary Chinese literature in a broader world literature context（Liu Jiangkai 2014, 134）. "Chinese writers like me have limited influence even though some of our works have won awards and been published abroad," Yu said modestly. "Literary influence is a slow process. Because of that, its influence reaches across time and space." "It will take time," he said of how Chinese writers approach the world. French newspaper ''Liberation'' praised Yu Hua "The author of Brothers has a remarkable talent. He looks at the world with a caring eye. When we read his work, our emotions change from sneer to tears, from comical to tragic, from barbaric to global." There is no shortage of good works in Chinese literature, and there are many talented authors in China. It hopes that more and more excellent writers can go out and let the people of the world read Chinese works and feel the excellent Chinese literature.

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*Yu Hua 余华：必须忘掉以前的小说才可能写出新的小说[必须忘掉以前的小说才可能写出新的小说]_Retrived June 6th 2022 from 中国作家网 (chinawriter.com.cn)
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*Baus, Wolf (2000). Yu Hua-Der Mann，der sein Blut verkaufte，in：Hefte für ostasiatische Literatur，Heft 29. München：Iudicium Verlag，S. 164

==英语笔译邝雨琪 Kuang Yuqi 202170081572 MW==
<center>'''A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology '''</center>

<center>邝雨琪Kuang Yuqi</center>

===Abstract===
Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”, namely, the transformation at linguistic dimension, cultural dimension and communicative dimension. Mao Zedong's poetry holds an important place in the history of Chinese literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to provide a new perspective for the study of the English translation of Mao Zedong's poetry and demonstrate the feasibility of the guidance of ecological translation, which has guiding significance to translation discipline construction, translation studies and translation practice.
===Key words===
Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation
===Introduction===
With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. There are also more and more interdisciplinary studies on translation. In 2001, the notion of eco-translatology was firstly put forward by Chinese scholar Hu Gengshen, which provided a brand new angle for translation studies and pushed interdisciplinary research of translation studies to a new stage.

In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature. This thesis intends to provide a new perspective for the study of the English translation of Mao Zedong's poetry and apply the translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

The thesis consists of five parts. After the introduction, Chapter One is the theoretical framework, which covers the origin of eco-translatology theory and some core concepts of ecological translation including “the translator’s subjectivity”, “selection and adaptation”, “ecological environment of translation”. Then it introduces the "three-dimensional transformation" principle which is mainly used in this thesis. Chapter Two focuses on the general review of Mao Zedong's Poetry and its C-E translation in Xu Yuanchong's version. It will introduces the two main characteristics of Mao Zedong's poems, that is, heroic style and abundant allusions. Then it looks into its translation strategies used in the C-E translation of Mao Zedong's Poetry, including domestication and free translation. Chapter three analyzes the application of eco-translatology in Xu Yuanchong's translation, and explores the translation of Mao Zedong's poetry from the linguistic dimension, cultural dimension and communicative dimension. Then comes to the last part, the conclusion. The last part serves as a summary, and points out some limitations of this thesis.
===Literature Review===
Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong's Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong's poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.
===Methods and Theories===
This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it. Besides, Xu Yuanchong's translation of Mao Zedong's poetry is mainly used as an example, because of its high quality and complete quantity.
===I A Brief Introduction to the Eco-translatology Theory===
Eco-translatology theory is a translation method. Before going to the analysis of the C-E Translation of Mao Zedong’s Poetry from the perspective of eco-translatology, meaning and methods of eco-translatology theory are discussed first.

1.1The Eco-translatology Theory

Eco-translatology is a systematic and complete translation theory. This section will briefly introduce its original, meaning and its main viewpoints.

1.1.1The Origin of Eco-translatology Theory

Based on Darwin's biological evolutionism, that is, survival of the fittest, Hu Gengsheng put forward the theory of eco-translatology, the most important part of which is the theory of adaptation and selection. “ ‘Adaptation’ and ‘Selection’ is the basic mechanism to adjust human behavior”(Lopreato& Crippen 1999:85). Liu Aihua(刘爱华) argued that “the core content of Darwin's theory of natural selection is that ‘the most basic rule of adaptation of organisms to the ecological environment is survival of the fittest’”(Liu Aihua, 2010, translated by the author). While adapting to the natural environment, organisms will also be restricted by the natural environment. If apply this basic principle to translation studies, it is surprisingly to find that the same is true for the translators. The translators and the translation should adapt to the translation ecological environment and be restricted by it.

Eco-translatology was put forward by Professor Hu Gengshen in the 21st century. It is an interdisciplinary study of eco-translation, text ecology and "translation community" ecology and their interaction and relationship. Eco translation pays attention to the integrity of translation ecosystem. From the perspective of eco translatology, it gives a new description and explanation of the criteria, procedures, methods and principles of translation. Professor Hu's eco-translatology means that all elements of translation, including the original text, the source language and the target language, should be coordinated to achieve a dynamic ecological balance and form a harmonious and unified eco translation environment. Therefore, the translators should consider the connection and influence of all factors, adapt and make the best choice in the whole process of translation, and finally produce an ideal translation.

1.1.2 The Main Viewpoints of the Eco-translatology theory

There are some main viewpoints on eco-translatology. The first is Translator- centeredness. Eco-translatology thinks highly of the translator-centeredness, and regards it as a positive factor. Cha mingjian(查明建)defined the translator's subjectivity as “the translator, on the premise of respecting the object of translation, expresses his subjective initiative in translation activities in order to achieve the purpose of translation. Its basic characteristics are conscious cultural consciousness, humanistic character and creativity of cultural aesthetics”(Cha Mingjian, 2003:22, translated by the author). Zhang Zhizhong(张智中) believes that “translation is an art of compromise, let alone the poetry translation. The translatability of poetry embodies the translator's subjectivity and creativity”(Zhang Zhizhong, 2015, translated by the author).

Besides, the other major viewpoint is “translation as adaptation and selection”. “Adaptation” and “Selection” are the most important words through the eco- translatology. On the one hand, from the perspective of humanities, translation is also a human behavior, so the translator need to make lots of adaptations and selections in the process of translation in order to choose the suitable translation. On the other hand, from a macro view, there must be some similarities between the natural law of “seeking survival and merit” and translation activities.

According to eco-translatology, translation is the translator's adaptation and choice to the ecological environment. Ecological environment includes all the factors related to translation. The nature and process of ecology not only provide new interpretation for translation, but also provide new principles, methods and criteria for translation. Eco-translatology has its own translation principles, such as: text ecology; multidimensional integration; symbiosis; translator's responsibility. However, the essence of eco-translatology principle is “multi-dimensional adaptation and adaptive selection”.

Then is the “three-dimension transformation” principal that most people analyzed in this theory.

1.2Eco-translation Method: Three-dimension Transformation

The main translation principle in eco-translatology is three-dimensional transformation. It includes the transformation at linguistic dimension, cultural dimension and communicative dimension. The translation criterion derived from eco translatology is the adaptability of the three dimensions of language, culture and communication. In other words, translators should do themselves justice in translation, fulfill their subjective initiative, and comprehensively consider the balanced transformation of "three dimensions", so as to ensure that the translation can conform to the target language environment and be understood by the target readers.

1.2.1Linguistic Dimension

Hu Gengshen(胡庚申) explained that “the ‘adaptive transformation from the linguistic dimension’ refers to the translator's adaptive choice transformation of language form in the process of translation. This transformation takes place in different stages, levels and aspects of the translation process”(Hu Gengshen, 2011(2):8, translated by the author).

In poetry, language is very important. There are many kinds of Chinese poetry, and different kinds have different language requirements. Different genres express different emotions. And when change a word, the meaning and charm will be different. After all, poetry is very short, but it carries no less content and thoughts than a novel. Therefore, the language of poetry is required to have strong tension and cohesion. Besides, Chinese poetry is very particular about rhyme, rhythm is very important, because it will make people read catchy. Chinese poetry is quite distinct from foreign poetry, so in translation, language conversion and selection is very important.

1.2.2Cultural Dimension

Hu Gengshen(胡庚申) defined the“‘adaptive transformation from the cultural dimension’ as the translator's emphasis on the transmission and interpretation of bilingual cultural connotation in the process of translation”(Hu Gengshen, 2011(2):8, translated by the author). The translator needs to take note of the differences of the bilingual culture, make full understand of the source culture so as to avoid misunderstanding. In the translation of poetry, this kind of cultural transformation is particularly important. Because Chinese culture is broad and profound, and there are many allusions and rhetorical devices in poetry, and the expression of poetry is diverse. When translate the poetry, there are lots of factors need to be considered, especially in cultural dimension, so it is particularly important to explain its cultural sense and deep meaning of poetry.

1.2.3 Communicative Dimension

Hu Gengshen(胡庚申) interpreted that the “ ‘adaptive transformation from the communicative dimension’ means that in the process of translation, translators pay attention to the adaptive choice of bilingual communicative intention. It requires the translator to focus on the communicative level and pay attention to whether the communicative intention in the original text is reflected in the target text”(Hu Gengshen, 2011(2):8, translated by the author).

Translation is not only the transformation of words, but also the transmission of ideas. The main purpose of translation is communication. The translator is like a bridge between two languages so that two different cultures can communicate freely. It can make us appreciate the excellent culture of other countries, and can also spread our excellent culture to the whole world.
===II General Review of C-E Translation of Mao Zedong’s Poetry===
This thesis mainly studies the translation of Mao Zedong poetry. First, it analyzes its characteristics of Mao Zedong's poetry; then taking Xu Yuanchong's translation as an example, it analyzes several translation strategies used in C-E translation of Mao Zedong’s poetry.

2.1 Characteristics of Mao Zedong's Poetry

In the long history of the Chinese nation, there are many splendid poetry works. Poetry of each dynasty has its own characteristics, and poetry of different eras is even more different. Mao Zedong had experienced a lot of turbulence at his time, and his poetry expresses various emotions due to the different creative backgrounds. This thesis mainly discusses its two characteristics: heroic style and abundant allusions.

2.1.1 Heroic Style

The most important characteristic of Mao Zedong's poems is the heroic style. Ancient and modern writers can be roughly divided into two categories, one is pure literati, the other is politicians. Pure literati's sentiment is better than reason, while statesman's reason is better than sentiment. The reason lies in the author’s thoughts. To write an article is to express one's own thoughts. Mao Zedong is a politician, and only politicians can sum up the laws of society and publicize their political opinions in turbulent times. This kind of writing is not written with pen, but the fruit of the author's social practice. They experience it, feel it, reflect on it, and finally turn it to an article. The article is only a part of his career, such as the tip of the iceberg.

Mao Zedong's heroism can be seen from his childhood. When he was 16 years old, he wrote a poem “To My Father”(《七绝·呈父亲》) as follows:

ST: 孩儿立志出乡关，学不成名誓不还。
埋骨何须桑梓地，人生无处不青山?

TT: Determined is the child to go out of his hometown,
And the pledges not to come back without studying to the fame.
A land of mulberry and Chinese catalpa is not necessary for burying bone,
And human life sees nowhere without green mountain.
(Translated by Zhang Chunhou)

From this poem, his lofty ambition and ideal was well expressed. He wanted to go out to study and armed himself with knowledge. There are many more such examples. It can be seen from these poems that Mao Zedong is very bold, optimistic and confident, and his poetry has a distinctly heroic style.

2.1.2 Abundant Allusions

Besides the heroic style, there is another distinguishing feature of Mao Zedong’s poems, that is abundant allusions. The traditional way of studying in our country is to inherit. As the leader of the party, he needed to use the new practice to annotate the old familiar knowledge, which was what he often said about the Sinicization of Marxism. There are 19 poems about history in Mao Zedong's poems. And in his poems, there are many characters from history, literature and legend. These characters have rich cultural connotations and are closely related to historical events. For example, in the poem “Tune :Spring in a Pleasure Garden-- Snow”

ST: 惜秦皇汉武，略输文采;
唐宗宋祖，稍逊风骚。
一代天骄，成吉思汗，只识弯弓射大雕。
《沁园春·雪》

TT: But alas! Qin Huang and Han Wu
In culture not well bred,
And Tang Zong and Song Zu
In letters not wide read.
And Genghis Khan, proud son of Heaven for a day,
Knew only shooting eagles by bending his bows.
(Xu Yuanchong, 2015:36.3-8)

Here, Mao Zedong mentioned “秦皇汉武”, “唐宗宋祖”, “成吉思汗”, which were all great emperors in Chinese history. By describing them, Mao Zedong expressed his regret for these historical figures. Although they unified the country, they failed to stick to it. Through enumerating these historic images, Mao Zedong hoped that young people could manage China well.

These are the two main features of Mao Zedong's poems, which should be paid special attention to in translation. The following section will analyze several different translation strategies used in C-E translation of Mao Zedong’s poems taking Xu Yuanchong's translation as an example .

2.2 Strategies in C-E Translation of Mao Zedong’s Poems

In translation, different translation strategies should be used for better translation. Various translation strategies are also used in the translation of Mao Zedong's poems. Next, this section will focus on the domestication and free translation used in C-E translation of Mao Zedong’s poems.

2.2.1 Domesticating Translation

Domestication and foreignization are two main translation strategies. In the English translation of Mao Zedong's poems, domestication is mainly used. According to Venuti(2004),“domestication means bringing the foreign culture closer to the reader in the target culture, making the translated text recognizable and familiar”. Domestication is to localize the source language, take the target language or the target readers as the destination, and express the content of the original text in the way that the target readers are accustomed to.

In the poem “贺新郎·别友”, the translation of this title is “Tune: Congratulation to the Bridegroom - To Yang Kaihui”(Xu Yuanchong, 2015:4). In this sentence, the word “友” is not translated as friends, but as the name of Yang Kaihui. Mao Zedong wrote this poem in a more subtle way. Actually, he wrote the poem for his wife Yang Kaihui. But in the title, he wrote “to friends” instead of pointing out her name. However, here Xu Yuanchong translated it as “Yang Kaihui”, and made a detailed remark about her at the end of the poem, which made it better for readers to understand Mao Zedong’s melancholy and sorrow. It not only about the lingering love, but also about the unremitting commitment to the revolutionary cause. It vividly depicts the unique and rich emotional world of Young Mao Zedong.

Besides, the translation of mume blossom is also the embodiment of domestication. In Chinese culture, plum blossom is loved by scholars for its tenacity and bravery in the cold winter, but it doesn’t have such meaning in English. Therefore, when translating the title “卜算子·咏梅”，Xu Yuanchong translated it as “Ode to the Mume Blossom”(Xu Yuanchong, 2015:129) instead of “Mumeplant”.

2.2.2 Free Translation

Different from literal translation, free translation usually tries to express the original meaning, instead of restricted by the original pattern or figure of speech. Literal translation is to convey the content of the original text in strict accordance with the format of the original text, especially to retain the rhetoric and some special cultural expressions of the original text. However, each country has its own culture and way of expression. Therefore, sometimes when the expression or implied meaning of the original text is different from that of the target culture, it is easy to cause ambiguity. At this time, literal translation should not be used.

Free translation is based on the main idea of the original text. In the C-E translation of Mao’s poems, there are many examples of translation according to meaning rather than word by word. Take the poem “Capture of Nanjing by the People’s Liberation Army” as an example:

ST: 天若有情天亦老，人间正道是沧桑

TT: Heaven would have grown old if it were sentient;
The proper way on earth is full of ups and downs.
(Xu Yuanchong, 2015:81.3-4)

Here, the word “沧桑” didn’t translate into “vicissitudes”. Originally, it refers to the great changes in nature or the changeable world and the impermanence of life. However, in this sentence, this word is used to describe the hardships and twists on the road of revolution, so it was translated into “ups and downs”. Cultural information is complex and difficult to understand in depth in a short time, so free translation is adopted to make this kind of information not become an obstacle in reading.
===III Applications of Eco-translatology in C-E Translation of Mao Zedong’s Poetry===
From the Perspective of Eco-translatology, this thesis takes Xu Yuanchong's translation of Mao Zedong’s poems as an example. Xu Yuanchong is a famous and excellent translator. He has been engaged in literary translation for more than 60 years, mainly translating ancient Chinese poems into English, and has also translated Mao Zedong's poetry. There are many research perspectives in the theory of eco translation. This section mainly uses the three-dimensional transformation principle to analyze his translation.

3.1 Transformation at Linguistic Dimension

Translation begins with the transformation of language form. First of all, translators should follow the linguistic norms of the source language and the target language, and make adaptive choices at the lexical, syntactic and poetic levels. In order to achieve the dynamic balance of translation, the right vocabulary and the right language form should be chosen.

Therefore, the translation of words needs to be analyzed according to specific sentences. For example, in Mao Zedong's poems, the word "去" appears many times， but there are different translations of this word according to different sentences. For example,

ST: 黄鹤知何去？

TT: Where is the yellow crane in flight?
《菩萨蛮·黄鹤楼》
(Xu Yuanchong, 2015:11.7)

ST: 此行何去？

TT: Where are we hurrying?
《减字木兰花·广昌路上》
(Xu Yuanchong, 2015:31.1)

ST: 陶令不知何处去，桃花源里可耕田？

TT: Were the poet Tao still in the Peach-Blossom Village,
Would he not find the fertile land there good for tillage?
《七律·登庐山》
(Xu Yuanchong, 2015:112.7-8)

Obviously, the word “去” in the above poems has three different translations: “in flight”, “hurrying”. And in the third poem, the translator did not translate the word “去” in one word, but translated its meaning of the sentence.

Besides, many rhymes are used in Xu Yuanchong's translation, which is very rhyming and easy to read, for example:

ST: 屈子当年赋楚骚，手中握有杀人刀。
艾萧太盛椒兰少，一跃冲向万里涛。
《七绝·屈原》

TT: “Qu Yuan”
Qu Yuan had rhymed his griefs long, long ago;
He had no sword in hand to kill the foe.
Wild weeds o’ergrown, few sweet flowers could blow;
He plunged into endless waves to end his woe.
(Xu Yuanchong, 2015:217.1-4)

The original text is a kind of modern poetry with strict rules, named “七绝”. It has a fixed length and strict rhyme. In this poem, the last word in each line is rhymed. The second and fourth lines in quatrains must be endowed with the beauty of rhyme. In Xu Yuanchong’s translation, the last word of the second line “foe” and the last one of the fourth line “woe” is rhymed. Xu abides by the rhyme requirement of quatrains. He vividly remained the form of the original text, and successfully applied the adaptive transformation from the linguistic dimension.

3.2 Transformation at Cultural Dimension

Due to the cultural differences between English and Chinese, in order to avoid the target readers from misinterpreting the original text from their own cultural point of view, the translator should pay attention to the conversion of Chinese and English in the process of translation, as well as the transmission and interpretation of bilingual cultural connotation. So the utilization of the adaptive transformation from the cultural dimension is needed.

There are many allusions in Mao Zedong's poems, which should be handled well in translation, so that readers can understand the true meaning of Mao's poems. Take one of the poems as an example:

ST: 洒向人间都是怨，一枕黄粱再现。
红旗跃过汀江，直下龙岩上杭。
收拾金瓯一片，分田分地真忙。
《清平乐·蒋桂战争》

TT: “Tune: Pure Serene Music- The Warlords Fight”
Sowing on earth but grief and pain,
They dream of reigning but in vain.
O’er River Ting our red flags leap;
To Longyan and Shanghang we sweep.
A part of golden globe in hand,
We’re busy sharing out the land.
(Xu Yuanchong, 2015:20-21.3-8)

There are two allusions in this poem. The first is “一枕黄粱”, which refers to unattainable dreams. So the translation is “They dream of reigning but in vain”. And the another allusion is “金瓯”, which refers to the integrity of territory , but also to the territory only. Therefor, its translation is “golden globe”. Under these translations, readers can better understand the meaning of this poem.

Take another example in “Tune: Charm of a Maiden Singer- Mount Kunlun”

ST: 夏日消溶，江河横溢，人或为鱼鳖。

TT: When summer melts your snow
And rivers overflow,
For fish and turtles men would become food.
(Xu Yuanchong, 2015:68.6-8)

From the literal meaning of the original text “人或为鱼鳖”, it may mean that people will become fish and turtles. In fact, his real meaning is that people may be eaten by fish and turtles. From these two examples, transformation from the cultural dimension has been well used.

3.3 Transformation at Communicative Dimension

The adaptive transformation at communicative dimension requires the translator to pay attention to the communicative level and whether the original author's communicative intention is clearly expressed. It means that the translator attaches importance to the adaptive transformation of communicative intention in the translation process.

In translating poetry, it is more important to show and convey the spirit to the target readers. In the poem “Tune: Spring in a Pleasure Garden- Changsha”
恰同学少年，风华正茂；书生意气，挥斥方遒。

TT: When, students in the flower of our age,
Our spirit bright was at its height,
Full of the scholar’s noble rage,
We criticized with all our might.
(Xu Yuanchong, 2015:9.3-6)

In this translation, the translator added “our”, “we”, showing that they are young and vigorous, full of ambition and dreams. It describes the liberation of the youth in the new era from the shackles of the old ideas and their free and unrestrained minds. From this translation, Mao Zedong's ambition and the spirit of the young people are well reflected.

In conclusion, the communicative dimension of eco translation focuses on the intention of the original author, which requires the translator to make appropriate integration and transformation with the participation of the original author, the translator and the readers, so as to achieve the communicative purpose.
===Conclusion===
Mao Zedong, as the most influential politician and revolutionist in China, is also a very outstanding poet. His poetry is an important part of Mao Zedong Thought and a mirror of the history of Chinese revolution and construction after the founding of new China. The translation of Mao Zedong's Poetry not only enables foreign readers to understand the Chinese poetry culture, but also allows them to understand the difficulty of China's development and the strength of China.

Eco-translatology is a new perspective of translation studies, which enriches the types of translation theories. It contains many important viewpoints, including translator's subjectivity, the ecological environment of translation, the principle of three-dimensional transformation, and etc. Eco-translatology adopts a new perspective to analyze translation and improve the quality of translation to a certain extent.

This thesis analyzes the English translation of Mao Zedong's poetry from the perspective of eco-translatology, and focuses on Xu Yuanchong's translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”. Some examples are used to make the analysis more perfect. And some translation strategies used in Xu Yuanchong’s translation are also analyzed and clearly explained. The thesis summarizes the translation strategies of Mao Zedong's poetry in the hope that their application can be promoted to more other poetry translations.

However, due to personal limitations in translation theory and practice, there still exists some deficiencies, which are mainly reflected in the following aspects. First of all, the selected theoretical perspective is limited. This thesis explores the translation of Mao Zedong's poetry mainly from the perspective of “three-dimensional transformation” theory of eco-translatology. There are many other perspectives in eco-translatology that can be used to. Secondly, restricted by space, the number of instances picked out from Mao Zedong's poetry is not rich enough to make a comprehensive study. And the analysis of these examples is also not comprehensive enough. Thirdly, eco-translatology theory is still developing. There is still room for improvement in the theoretical analysis of this thesis.
===References===
*Lopreato, J.&T. Crippen. Crisis in Sociology: The Need for Darwin [M]. New Brunswick /London: Transaction Publishers, 1999.

*Cha Mingjian, Tian Yu查明建,田雨. 论译者主体性--从译者文化地位的边缘化谈起[On Translator's Subjectivity -- From the Marginalization of Translator's Cultural Status]. 中国翻译Chinese Translators Journal, 2003, (1) : 19-24.

*Hu Gengshen胡庚申. 生态翻译学的研究焦点与理论视角[Research Focus and Theoretical Perspectives on Ecological Translation Studies]. 中国翻译Chinese Translators Journal, 2011, (2) : 5-9.

*Liu Aihua刘爱华. 生态视角翻译研究考辩 --“生态翻译学”与 “翻译生态学”面对面[Translation Studies From an Ecological Perspective -- "ecological translatology" face to face with "translation ecology"]. 西安外国语大学学报Journal of Xi'an Foreign Studies University, 2010.

*Li Zhengshuan, Tao Sha李正栓,陶沙. 国外毛泽东诗词英译研究[A Study on the English Translation of Mao Zedong's Poems Abroad]. 河北师范大学学报Journal of Hebei Normal University, 2009, (2) : 104-109.

*Xu Yuanchong许渊冲. 许渊冲英译毛泽东诗词[Xu Yuanchong's English Translation of Mao Zedong Poetry]. 北京:中译出版社Beijing: Chinese Translation Press, 2015.

*Zhang Zhizhong张智中. 汉诗英译的主体性[The Subjectivity of Chinese Poetry Translation]. 外文研究Foreign Studies, 2015.

==英语笔译黎溢佳 Li Yijia 202170081573 CE==
On the popularity of Three Body abroad

==英语笔译李思敏 Li Simin 202170081574 MW==
A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

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==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

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==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

===Abstract===
苗语是苗族文化的主要载具。在文化历史发展的过程中，由于受经济、地理、科学技术等方面的限制，苗语没有得到很好的继承和保护。本文主要介绍苗族的概况、分布情况以及苗语的基本特点。近十年来，对苗语进行研究的专家学者和相应著述越来越多，本文主要从介绍最基本的与苗语相关的情况，试图引起更多人对苗语以及更多少数民族语言的关注，从而对少数民族语言和文化进行保护。

===Key words===
Miaoyu, Hmong,language protection

===Introduction===
20世纪30年代，美国一些学者开始关注美洲印第安语和澳洲土著语言的大规模灭绝现象，并由此引发濒危语言研究的热潮。根据1996年，教科文组织发布的世界濒危语言地图显示，目前全世界大约有2500种语言存在不同程度的濒危情况。而面临濒危情况的语言主要由于一些语言是因为使用人数仅存一人而濒临灭绝，比如巴西的阿皮亚卡语（Apiaka）、迪亚霍伊语（Diahoi）以及中国台湾的拔泽海语（Pazeh）等都极度濒危，因为这些语言在2009年前大多只剩一人会说。同样我国是一个少数民族众多的国家，因而会有众多少数民族特有的语言，比如蒙古语，客家话，土家族语等。语言不仅是一种交际工具，更是一个民族文化的传承，每一种语言都是一个族群独特文化和族群特征的重要体现和表现形式。少数民族语言也面临着同样的现象，因此想对离自己生活比较接近的语言进行了解和研究。

===Literature Review===

===Methods and Theories===

===Subtitle 1 The Motivation of the Miaoyu===
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.

===Subtitle 2 Miao Nationality ===
1.The Source of the Name “Miao”
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.
2.The Distribution of Miao Nationality
(1)Domestic Distribution
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.
(2)Overseas Distribution
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.

===Subtitle 3 The origin of the Hmong and the historical formation of the Hmong===
1. Origin of the Miao
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."
2. Historical formation of the Hmong
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.

===Subtitle 4 Miao Folk Beliefs===
phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".

===Conclusion===
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
The Translation and Reception of Sunzi: The Art of War in the West

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

Abstract:
Vanity Fair is a long novel written by William Makepeace Thackeray. With his special sarcasm, this novel hit the nail in his age and the ages below. Its reception in China is an important topic as there had already been many versions, but few understandings of these versions exist. This thesis will introduce the versions and compare and contrast some of the versions under the Reader’s Response Theory so as to see how this novel is accepted in China.

Keywords:
Vanity Fair; Reception; Reader’s Response Theory

Introduction
Vanity Fair is a long novel written by the nineteenth-century English critical realist writer William Makepeace Thackeray. The author, with a rounded and spirited hand, paints a picture of the aristocratic bourgeoisie of nineteenth-century England in all its extravagance and rivalry, ruthlessly exposing the shameless and corrupt nature of the feudal aristocracy and the hypocrisy of the bourgeoisie in pursuit of fame and fortune.
The novel is a true depiction of the ugly faces and the weak and deceitful interpersonal relationships of the decadent aristocrats and bourgeois profiteers of the British high society during the Regency period of 1810-1820. The protagonist of the story, Becky Sharp, is a pretty girl with a good sense of humor. She has tasted poverty and is determined to take control of her own destiny and escape from her predicament. She does whatever she can to get to the top by flattery and backdoor, forming a caring and emotional story.
Vanity Fair" takes the life of two young women, Becky Sharp and Amelia Settles, as the main line, showing the life of the upper class in early 19th century England. The story of "Vanity Fair" unfolds in two threads, starting from the same starting point, intertwining, and finally reaching the same end. One of them is about a kind, clumsy woman, Amelia Settasa, who lives in a rich family; the other is about a witty, selfish and debauched orphan girl, Becky Sharp. Both left Pinkerton School for Girls in the same carriage in 1813, and both married in 1815, over the objections of their families, to two British officers about to fight in the Battle of Waterloo. Shortly after their marriage, the historic battle was fought. Amelia Settasa's husband died on the battlefield, and Becky Sharp's husband survived the battle. For the next ten years, Becky Sharp lived a smooth life, climbing the social ladder until she had the honor of meeting with the king, while Amelia Setkasa suffered great misfortune due to her father's bankruptcy. In 1827, fate reverses and Becky Sharp's life falls into the abyss of ruin, which she actually deserves, while Amelia Setkasa becomes rich and happy.

Versions of Vanity Fair in China
Up to now, there are quite a lot versions in China.
The 1957 version translated by Yang Bi, which is also the most classic version, was published by the People's Literature Press; the 1996 version by Peng Changjiang was published by the Hunan Literature and Arts Press. Their translations are the two translations that have received the most academic attention and comparison. There are also some lesser-known translations, including the 2001 translation by Jia Wenhao and Jia Wenyuan published by Yanshan Publishing House in Beijing; the 2001 version by Ji Jianlin of Inner Mongolia Culture Children and Youth Publishing House; the 2003 version by Gao Yuqi and Zuo Zhiqun published by China Zhi Gong Publishing House; the 2007 version by Rong Rude published by Shanghai Translation Publishing House, the 2007 version by Xie Ling published by Guangzhou Publishing House in 2007, and Xie Ling's version published by Guangzhou Publishing House in 2007; Zhao Feikiang's version published by Inner Mongolia People's Publishing House in 2010.
In this thesis, the Author will mainly focus on the first two versions, the Yang’s version and Peng’s version. By making comparison, the author hopes to reveal the novel’s reception in China.

Reader’s Response Theory by Nida
Nida, a famous translation theorist, assimilates the main idea of reader response criticism into his own translation theory and puts forward the distinction of “dynamic equivalence". He stressed the concept of “reader s response" theory that regarded the target readers as important factor in evaluating translation, which was a significant step forward in the study of the role of the target readers. Dynamic Equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.
This response can never be identical, for the cultural and historical settings are too different, but there should be a high degree of equivalence of response, or the translator will have failed to accomplish its purpose. (Nida: 1964,24)
This concept attempts to move away from the old idea that a word had its meaning towards a functional definition of meaning in which a word had a fixed meaning through its context and could produce various responses according to culture. He also came to realize that the meaning could not be divorced from the personal experience and the conceptual framework of the person receiving the message. The viewpiont that the message of the original text can be determined and can elicit the same response is based on the two assumptions he makes.
Firstly, the universalists view that “anything which can be said in one language can be said in another language, unless the form is an essential element of the message”. Secondly, the communicative view that the focus of translation is shifted to the role of the receptor. (Nida &Taber, 1964:4) Thus, through defining Dynamic Equivalence from this perspective, Nida states that the significance of their approach lies in the shift of focus in translating: “The new focus, however, has shifted from the form of the message to the response of the receptor' "(Nida&Taber:1969,1). Equivalence is measured through the comparison between the receptor' s response to the translated text and the original text.
Then what the translator concerns is no only whether he is faithful to the original message, but also that he must determine what is the response of the receptor to the translated message and then compare it with the way in which the original receptors presumably react to the message when it was given in its original setting (Nida&Taber:1969,1). In other words, the measurement of the correctness of the message is not in the form itself, but in how the target readership responds to the translated text. It is the target reader s response that decides the correctness of the message. Since translating belongs to a type of reciprocal communicating, the final effect depends on what is received by the audience when it is hearing or reading a translation. “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciate it". So Nida also stresses that judging the validity of a translation cannot stop with a comparison of corresponding lexical meanings, grammatical classes, and rhetorical devices. What is important is the extent to which receptors correctly understand and appreciate the translated text (Nida: 1993,117).
The introduction of the dynamic equivalence is crucial in introducing a receptor-based orientation to translation theory. In order to achieve the intended response, a translator has the license to change and simplify the procedure, and all potential difficulties are elided to solicit a unified response, which is equivalent to the fact that the meaning and response have been completely identified by translator. To some extent, this theory is reasonable, because if the translator does not take the reader s response into consideration, his translation would not .be called a successful one. However, the readers of translated literary works have different responses to the same literary work because they often have a large imaginative space and the growth of his age and experiences and so on. It is obvious that the readers of the target text can hardly obtain equivalent responses because they have different cultural backgrounds, different aesthetic tendencies and different ideologies.

General Review of the Two Versions
Nida (1964:154) says:" Intellectual honesty requires the translator to be as free as possible from the personal intrusion in the communication process. The translator should never tack on his own intellectual and emotional outlook. He must exert every effort to reduce to a minimum any intrusion of himself which is not in harmony with the intent of the original author and message." It may be recognized that literature is a sort of art of language; and literary translation is the re-creation of language's art. In fact, what is called for is a proper word in a proper place. It is the same for the Chinese translation of Vanity Fair. "Literature is an art of language and translation and a translation of a literary work is a re-creation of the art of language. The reason why Vanity Fair is universally acknowledged as a fine translation is that the translator has, on the other hand, tried his utmost to keep the charm of the original and on the other taken the law and usage of his mother tongue into full consideration. As a result, so pure, natural and colorful a Chinese translation is achieved that the reader can be inspired, moved, and aesthetically entertained in the same way as he reads the origna."(孙致礼，“评《名利场》中译本的语言特色”，《翻译通讯》，1984, 10.) Yang's version of Vanity Fair has been not only applauded by the common readers but also commended by the translators. The Chinese version by Yang Bi reads very smooth. Though it is not perfect, it is outstanding in the diction and well-organized sentences. There are reasons for it. On one hand, Yang does not stickle to the original work, but changes the sentence structures and sentence components flexibly and neatly according to the norms and practices of modern Chinese. On the other hand, Yang is not constrained or restricted by the given corresponding explanation in the dictionary. Observed from the perspective of reader's reception theory, the reason why all those above-mentioned and some other characteristics of Yang's translation are worthy of praise is that they could arouse Chinese readers' great interest in reading this book from the beginning to the end without a single sense of ennui, and may also bring them to a much better understanding and quite similar aesthetic enjoyment of the novel. It is no surprise that Peng's version makes some improvements over Yang's, for the latter was published about forty years later. As analyzed above, Peng is superior to Yang in the translation of the characters' names. Naming characters is an important rhetorical technique for satire and humor in this novel of Thackeray's, and Peng's special way of renaming the characters can awaken Chinese readers' reception, and thus make them mentally involve in the re-creation of the work and reproduce the similar rhetorical effect in practice. As for Yang, she simply gives the battle at this point by the practice of pure transliteration. As the newly translated product forty years later, Peng's version has something surpassing besides the name's translation.
Peng's understanding of “Vanity Fair" is evidently further than that of Yang's with the advance of the times. His means of expression in translating is more diversified and has achieved satisfactory effect(尹伯安:2000,79).
Generally speaking, of the two Chinese versions of Vanity Fair, each has its distinctive characteristics worthy of study. Taking one with another, however, it might be seen through the comparative studies of the above examples that Peng’ s translation does not agree with the whole satirical and humorous context of the original book because of his frequent stickling to the exterior appearance of the writing. Then, from the reader' s reception perspective, his version might be hard to nourish the reader' s reading interest as a whole, and thus in a certain extent hampers the Chinese reader from understanding and appreciating of the novel.

Case Study of the Versions
1. In the beginning, Thackeray uses a lot of vivid words to describe the characters in the marketplace, making them very vivid. The first character who appears in front of readers in the article is the Manager of Performance, for which Yang translates as "foreman", which is closer to the background of the time and more suitable for the identity of people who make a living by selling arts in the marketplace. Li's "舞台监督" and Jia's "演出编导" are more in line with the customary names of people in the 21st century, but they seem too advanced in the environment of the early 19th century. In addition, the use of "supervisor" or "choreographer" is also too formal and does not fit the identity and status of the character. Therefore, the choice of words cannot be separated from the specific context of the time, and the British translation theorist Newmark says that no word is an island entire to itself (1990: 100). (1990: 100). Our scholar Mr. Wang Zuoliang also says that context is not just a matter of language, but speech is a social act, and the context actually provides a social occasion or situation, and it is it that determines the meaning of words. Therefore, when we translate, we must find a word that fits the context.
2. In this paragraph, there is this sentence: "there are bullies pushing about". Yang translates it as "到处横行的强梁汉子the strong beams of men who roam everywhere", but "strong beams of men" seems to be unfamiliar to readers nowadays, because the frequency of this word is very low in the language nowadays, and it is difficult for readers to understand its precise meaning, and they can only rely on It is difficult for readers to understand its precise meaning, and they have to rely on guessing. In contrast, Li's and Jia's translations are very clear and unambiguous.
Li translates the word as "有人横行霸道，恃强凌弱”, which means: someone who is domineering and bullying. Jia translates it as "暴徒thugs", which is very easy to understand.
3. For the word "quacks", the three translators differ again.
Yang translates it as "走江湖吃四方的those who go around the world and eat the four directions". The literal meaning of "quacks" is "江湖医生", and the translation of "doctors of the jungle" is equivalent to those who walk in the jungle, which means that the translators have extended the meaning of the original work, and thus do not follow the meaning of the original text well. The translation of Jia as "卖假药的sellers of counterfeit medicines", where the "jianghu doctors" are generally classified as "sellers of counterfeit medicines", is that the translator has narrowed the scope of the meaning of the original work. In this case, it is easy for the reader to fail to understand the meaning of the original work because of the translator's mistranslation. Li's direct translation of the word as "charlatan doctor" is the most accurate, and is completely faithful to the content of the original, with natural and clear expression. The reader can read it clearly and easily. According to Neda, "translation is a kind of intercultural communication, in which it depends on what people get when they listen, speak and read the translation. The usefulness of a translation should not be judged by the corresponding lexical meanings, grammatical categories and rhetorical comparisons, but by the extent to which the recipient correctly understands and appreciates the translated text". (Eugene A Nida. 1991:156- 159). Since translation is a kind of communication, no analysis of communication is complete without a comprehensive study of the message of the receiver of the message. The emphasis on reader response is intended to enable the reader of the translated text to understand and appreciate a text in much the same way as the reader of the original language. The expression of the translated text is perfectly smooth and natural. A smooth and natural translation can enable readers to better understand the original text, avoid cultural conflicts, eliminate cultural barriers, and ultimately achieve the purpose of cultural exchange. (2) The language should be vivid and formally beautiful Next, let's look at the activities of various characters in the marketplace.
1. "There is a great quantity of eating and drinking, making love and jilt ing, laughing and the contrary, smoking, cheating, fighting, smoking, cheating, fighting, dancing, and fiddling."
Yang translates, "市场上有的在吃喝，有的人在调情，有的得了新宠就丢了旧爱，有的在笑，也有的在哭，还有在抽烟的，打架的，跳舞的，拉提琴的，诓骗哄人的。"
Jia: "人群中食客在大吃大喝；喜新厌旧的情人在调情打趣；有人放声大笑，有人伤心落泪；有人抽烟，有人闲聊，有人跳舞，有人拉琴。"
Li translates, "市场上，有人在大吃大喝，有人在打情骂俏，另寻新欢，有人在大笑不止，有人在哭得死去活来，有人在猛抽烟，有人到处行骗，有人在大打出手，有人在手舞足蹈，有人在到处胡闹。."
According to the author, it was a chaotic marketplace. When translating, you have to find out the right words to describe those characters in their backgrounds in order to make the characters more distinctive. Yang and Jia's translations are more formal, such as "得了新宠就丢了旧爱losing old favorites when you get new ones" and "调情打趣flirting and joking", which are very elegant expressions. In contrast, Li's "flirting and finding a new love" is more in line with the vulgarity of the common people in the city, and the wording is more apt. In addition, especially in the area of crying, Yang's translation is the word "苦crying", and the reader cannot well appreciate the extent to which people in the marketplace cry, while Jia's "伤心落泪sadness and tears" seems to be a more static word, giving people a feeling of silent tears and gloom, which is not in line with the This is out of place in the crowded market. Li's translation of "哭得死去活来weeping to death" accurately allows readers to experience the characteristics of crying in the market. In the article "Aesthetic Effect is Important in Literary Translation", Zheng Dahua mentioned that the expression in literary works must be accurate and expressive, and the language has vividness and formal beauty. Therefore, this sentence of Li's translation fully reflects the expressiveness of Li's language and makes the readers deeply feel the vividness of the language that the author of the original wanted to reflect.
For the translation of "cheating, fighting, dancing, and fiddling", Yang translates it as "打架的，跳舞的，拉提琴的，诓骗哄人的fighting, dancing, playing the fiddle, swindling and coaxing", first of all, "swindling and coaxing". Firstly, the word order of the phrase "swindling and cajoling" has been adjusted in the translation; secondly, the structure of these parallel phrases is not symmetrical with that of the translation he made earlier. The sudden change in the form of the sentences will make the readers feel abrupt and produce incoherence in their understanding when the original author is describing the same scene. On this point, Li and Jia have grasped it very well, and there is no problem of sentence structure. As Lu Xun says, "凡是翻译，必须兼顾着两面，一当然力求其易解，一则保留着原作的丰姿All translations must take into account both sides, one of which is to strive for easy comprehension and the other to preserve the richness of the original work." (1984: 244- 250) This requires that while conveying the ideological meaning of the original work, we also pay attention to maintaining the formal beauty of the original.

Conclusion
In literary translation, there are great deal of valuable and illuminating views and theories about translating. We can find the approaches of semiotics, pragmatics, semantics, and etc. There is no one as a fixed and everlasting law of translation. There can be and are various theories of translation. But, first of all, given the inherent linguistic and cultural barriers involved, the act of translating is expected to provide a transparent window to the audience on how the textual gaps are bridged or the potential is realized. As Nida says: “different theories of translating can help people understand aspects of communication which would remain otherwise obscure or elusive." It might, from all that has been said so far in this thesis, come as no surprise that the orientation toward the receptor's reception can not only help the translator to avoid awkwardness in expression, but, much more significantly, it helps him to create a comparatively more comprehensive version, in which the target language reader can work out the true meaning of the source language text in the cooperative process of interactions. In fact, only with the active participation and processing effort of the reader can the re-creation and aesthetic appreciation of the literary work be finally and successfully completed. This idea is as helpful to the literary research and production as to translation theory and practice. Since translation is the reciprocal communication bridging different peoples and cultures, great attention has to be paid to the audience as well as to the writer or speaker. Taking into consideration the expecting response of the reader and regarding him as the active receptor, the translator will be able to survey the translating process all-sidedly, to fix on as many as possible the problems worthy of care, and then to dope out the strategies in point so as to transfer the closest translation to his readers. As for appreciating the novel of Vanity Fair, in which satire is the main rhetorical force, the operation of reader's reception seems exceptionally significant. The understanding and interpretation of satire itself requires the reader to work out the underlying meaning behind the appearances of expression with his own experience and intelligence. In other words, compared with that of the other figures of speech, the appreciation of satire depends all the more on the reader's active effort. Satire works in various ways. Through the above observations of certain main employments of satire in this paper, i.e. naming characters, irony,' and rhetorical question, one might come to see that when translating the satire in Vanity Fair, the translator should always work for the sake of both the novel's whole settings and the reader's reception. He should be obliged to activate his reader's reaction on the basis of the whole environment of the book in every possible way. Thus the satirical sense can be rightly achieved and appreciated in the end.
Admittedly, no laws are dictated here and the reception theory cannot and will not become the exclusive criterion for translation, since the gap between emphasis on source language and target language would perhaps still remain as the overriding problem in translation theory and practice. Furthermore, how successfully this idea can be practiced in translating works other than Vanity Fair is perhaps moot. This study, however, does introduce a fresh perspective for the translation theorists and translators to investigate and undertake the practice of translation. And it will be a significant dimension for judging the products of translation. A translator has to always cherish the consciousness of his readership in his mind. Attaching importance to the reader's reception, the translator will be able to create a relatively superior version; taking it lightly, he may as likely as not produce a less effective one. Clearly, literary translation is an endless task. This study is only at a tentative but seemingly promising start. Much has still to be done to dig into the significance and impact of the reader's reception criticism in the field of translation.

Reference
[1] Nida, E. A. Toward A Science of Translating. [J] Leiden: E. J. Brill, 1964: 24,154。
[2] Nida, E. A. and Charles R. Taber. [J] The Theory and Practice of Translation. Leiden: E. J. Brill, 1969.1
[3] Nida, E. A. Language. Culture, and Translating. [M] Shanghai: Shanghai Foreign Language Education Press, 1993，117.
［4］李明.翻译批评与赏析.武汉：武汉大学出版社，2006.
［5］李运兴.语篇翻译引论［M］.北京：中国对外翻译出版公司，2000.
［6］鲁迅“题未定”草［C］.中国翻译工作者协会《翻译通讯》编辑部选编.翻译研究论文(1894- 1948).北京：外语教学与研究出版社，1984.
［7］［英］萨克雷著，贾文浩，贾文渊译.名利场.北京：北京燕山出版社，2005.
［8］［英］萨克雷著，杨必译,名利场.北京：人民文学出版社，2000.
［9］［英］萨克雷著，彭长江译,名利场.湖南人民文学出版社，1991.
［10］郑达华.文学翻译重在审美效果［J］.中国翻译,1999(6).

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
This is a paragraph. (Wang 2021:423)

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Study on the Canonization of Chinese Modern Poetry'''</center>

<center>Liu Ting</center>

===Abstract===

It has been more than a century since the birth of Chinese Modern Poetry, also known as the new poetry. As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to Chinese ancient poetry and songs, which have a long history and cultural accumulation. So, its canonization has always been the common concern of writers, scholars and researchers. In any country, canonization of any literary work is a long and complicated process in terms of time and mechanism. The canonization of new poetry has rich texture in the synchronic and diachronic aspects of literary history. This paper analyzes the essential characteristics of the so-called "classic" works and points out the problems faced by the canonization of new poetry and only by solving these problems can the canonization of Chinese modern poetry be put on the right track.

===Key words===

Chinese modern poetry, canonization, classic work

===1. Introduction===

Chinese Modern Poetry, also known as the new poetry, refers to the poetry genre that emerged around the May Fourth Movement, which is different from the Chinese classical poetry and uses vernacular when it is composed.

During the development of Chinese literature, poetry, including Han Fu, Tang poems, Song Ci, Yuan Qu, had achieved great successes. However, in modern times, the creation of classical poetry gradually became rigid, using lots of clichés, and the words used in classical poems were seriously disconnected from modern spoken language. The strict restrictions on the form including the verse style, rhyme, allusions etc., were a great constraint on poetry's ability to express the ever-changing and increasingly complex social life and to express people's true thoughts and feelings. Therefore, the new poetry revolution became the first and most important part of the New Literary Movement in the May Fourth period.

As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to the old poetry and songs, which have a long history and cultural accumulation. But with its freedom, flexibility, and versatility, new poetry has maintained its creative vigor and vitality over the past century. From form to content, from creation and dissemination to influence, new poetry can be said to be relatively complete, vigorous and uncompromising.

The issue of literary classics and the canonization of literary works is a hot issue that has always been of concern to academics. In terms of the classical quality of poetry, the power that new poetry has contributed to the history of Chinese poetry over the past century should not be underestimated. As far as the century of Chinese new poetry is concerned, the modern new poetry classics and the rationality of their canonization have been gradually recognized in recent studies, while the issue of its canonizaton is quite controversial. Canonization is actually a process rather than a result. Many scholars have doubts about whether "Canonization" of new poetry is a valid term, because the time of generation and development of them is still short compared with that of Chinese classical poetry, and "classics" must go through layers of elision by years and readers, and through the heavy burden of generations. The reason is that the generation and development of contemporary new poetry is still short compared to that of modern new poetry, and the "classics" must go through the test of time. Of course, this is the general understanding of the generation of classics, but while seeing the ephemeral nature of the generation of "classics", we should also see the commonality of the generation of them.

By clarifying the defining characteristics of Chinese new poetry and classic works, this paper points out the difficulties and misunderstandings encountered in the canonization of Chinese new poetry today, and only by solving these problems and breaking these misunderstandings can the canonization of Chinese modern poetry be put on the right track.

===2. Chinese Modern Poetry===

To solve the problem of canonization of Chinese modern poetry, first and foremost, it is necessary to have an understanding of it. This chapter introduces the development of new poetry, its representative figures, the literary characteristics of poetry and its achievements.

2.1 Development of Chinese Modern poetry

Compared with drama, novel and prose, the century-long development of Chinese modern poetry is relatively weak. Novel and prose, after all, still has Lu Xun, Ba Jin and Lao She; drama has Cao Yu, Lao She and; all these writers have been recognized by the world. Poetry, on the other hand, lacks such figures. New poetry faces two peaks that are difficult to surpass: one is Chinese classical poetry and the other is the poetry achievements of the West since Shakespeare. The existence of poetry requires the existence of a refined and mature national language, and poetry is most closely connected to language, while modern Chinese has only been existed around for a century. Nevertheless, achievements of Chinese modern poetry are remarkable. The most important development stage of it was the first thirty years after its birth.

2.1.1 The first decade

At the experimental stage, Hu Shi was regarded as "the first vernacular poet." His Trying Collection (1920) was "a bridge” between the old and new poetry. Individual poems at this time had modern lyrical forms, but most of them still could not escape from the formal tradition of classical poetry. The techniques of the new poetry were firstly, "line drawing" and secondly, metaphorical symbolism. The early vernacular poems are thus divided into two categories: the first is the objective realistic tendency of using white description; the second is the modernist tendency of putting things into context. The latter is not common in traditional poetry.

At the foundational stage, Guo Moruo's "Goddess" (1921) was the foundation of Chinese new poetry. The lyrical nature of poetry and the individuality of it were given full attention and play, and the strange and daring imagination really made the wings of poetry soar. " The free spirit of the May Fourth Era and the artistic rules of poetry itself are fully reflected in this collection.

At the normalization stage, if "Goddess" broke the traditional poetic rules with the spirit of "absolute freedom and absolute autonomy", the New Moon School was born in response to the need, with Wen Yiduo, Xu Zhimo, Zhu Xiang and Lin Huiyin as its representatives, advocating "rational moderation of emotions". " Wen Yiduo advocated the metrical and standard patterns of the new poetry and proposed the theory of "three beauties" of poetry: music beauty (level and oblique tones and rhyme), pictorial beauty (the theory that Chinese poetry and painting are connected), and architectural beauty (proportionality of stanzas and evenness of sentences).

2.1.2 The Second Decade

The Chinese Poetry Society was a mass poetry group led by the Left League, inheriting the early proletarian poetry tradition of Jiang Guangci from the previous decade, with Yin Fu as its representative. The characteristics were: first, reflecting the revolutionary struggle and major events of the times; second, emphasizing the ideologization of poetry, the subject of poetry was not the poet himself but a fighting collective; third, focusing on realism in artistic expression. This somewhat deviated from the essence of poetry, which is the catharsis of individual's emotions.

In the later period, the poems of the New Moon School shifted the focus of their lyricism to the "trembling of the soul" and the alienation of the modern human spirit. Xu Zhimo's "Collection of Fierce Tigers" and "Collection of Cloudy Travels" are representative of this. "Farewell to Cambridge Again" belongs to this period, but its mood is still a remnant of the previous one. New poets, such as Chen Mengjia and Fang Wei De, were students of Xu Zhimo. And the poetry at this period, borrowed the form of sonnets.

Shi zhe was another poet at this period. He emphasized the need to write purely modern poetry, which is genealogically related to the early Symbolist poetry and used modern rhetoric to arrange modern poetic forms. The "leaders of the poetry world" at this time is Dai Wangshu and Bian Zhilin. Dai Wangshu was known as the "Rainy Lane Poet" with his poem "Rainy Lane". Bian Zhilin, on the other hand, was influenced by Xu Zhimo and Dai Wangshu, and provided something new to the new poetry, namely, a shift from the main emotion to the main intellect. He was one of the poets in the history of new poetry who was consciously philosophical, and his poetry was surprising in its simplicity because he was good at penetrating and exploring the phenomena of daily life philosophically.

2.1.3 The Third Decade

Ai Qing accomplished the task of "synthesis" in the history of Chinese poetry. On the one hand, he insisted on developing the realistic and fighting tradition of the poets of the Chinese Poetry Society, on the other hand, he overcame and abandoned their weaknesses of "childish shouting", and at the same time, he critically absorbed some of the achievements of the modern poets in their artistic exploration of new poetry, further enriching and developing the art of poetry. He drew on the passion of Guo Moruo and the pursuit of external forms of the New Moon School, and Ai Qing began to pursue an inner beauty in Chinese new poetry. He became the most influential poet of the third decade. He was also one of the first new Chinese poets to go global.

At the beginning of the war, the Chinese Poetry Society, the New Moon School, and the Modernist poets all sang the battle hymn of national liberation. During the war period, the debate over the aesthetic and artistic characteristics of poetry and political propaganda brought people to a new level of understanding of the content and form of poetry. There were many academic works that raised the artistic discussion of new poetry to a theoretical level: Ai Qing's "Essay on Poetry", Zhu Ziqing's "Miscellaneous Discussions on New Poetry", Li Guangtian's "The Art of Poetry", and so on. Zang Kejia wrote "Songs of the Clay" and Dai Wangshu wrote "Years of Catastrophe", and there was a transformation of style, integrating the "small self" into the "big self". The most influential poetry school during this period was the July Poetry School. Under the influence of Ai Qing, this school of poetry was formed by Hu Feng as the center, with July and other publications as the main base. It advocated revolutionary realism and free verse as its main banner, and had a great influence in the National Unification Area.

After the end of the war, the new poetry took on a new life. In literary history, the Nine Poets school led by Mu Dan are known as the "New Chinese Poetry School". They emphasized, first, the modernization of the way of thinking about poetry. The second was the extreme importance attached to the application of everyday language and the rhythm of speech. "Only words and rhythms that are varied, flexible, fresh, and vivid can properly and effectively express the strange sensitivity of the modern poet's senses and the rapid changes in his thoughts." The emphasis on the basic transformation of poetic thinking and language, which characterized the Chinese New Poetry School, also concentrates on its rebelliousness and heterogeneity, which precisely echoed the claims of early vernacular poetry in a distant way.

2.2 Value of Chinese Modern poetry

The value and significance of modern Chinese poetry does not only lie in the depth and breadth of thought and emotion expressed in the works of its outstanding writers and artistic thinking, but is also closely related to the cultural characteristics it reflects. As representatives of modern Chinese intellectuals with the most prominent self-awareness, the cultural consciousness of modern Chinese poets and their many outstanding creations not only provides readers with a rich and unique scope of understanding and propositions at the level of ideology, but also gives a taste of the free power and will of their individual lives in the vibration of the intersection of different cultures and the care of national emotions.

Chinese modern poetry has been following the changes in the future and destiny of the nation, and has been deeply concerned with the suffering of the masses, especially the creation of realistic poetry, which integrates realism and lyricism into one, has gained great significance. Guo Moruo's "Phoenix Nirvana", Wen Yiduo's "Dead Water", Dai Wangshu's "I Use My Broken Palms", Zang Kejia's "Old Horse" and Ai Qing's "Snow Falling on the Land of China" all belong to this category, and they are all typical modern poems with the theme of worrying about the country and the people. As a "social discourse for the masses" with strong, sharp values and realistic concerns, they indeed disclose the heavy and oppressive environment of the time and the sense of suffering and crisis caused by the increasing destruction of modern China by the real oppressors and invaders, and those politicized complaints of grief and anger processed by the authors' reason and emotion also inherit the sense of historical mission of classical Chinese poetry: "Essays are written for the time, songs and poems are written for the matter. "The poetry of modern poets, however, is not as good as that of classical poetry. However, in contrast to classical poetry, modern poets have been able to consciously strengthen their "self-awareness" in the midst of successive social changes, national suffering, and political turmoil, thus examining the close relationship between the changes of the times, public suffering, and the poet with the poet's real identity and vision, and integrating the poet's independent "self-awareness" into the "self-awareness" of the poet. The poet's independent "self-consciousness" is integrated into the "social discourse of the masses"

Since the real feeling of individual independence and emancipation and its cultural and psychological structure have gained a dominant position in modern China, the modernization of Chinese poetry is gradually free from the traditional aesthetic thought's domination and bondage to the poet's personalized historical experience and unique feeling in the continuous farewell to the traditional consciousness of classical poetry. In other words, many modern poets have become the most important poets. In other words, many modern poets have achieved complete emancipation from the classical poetic consciousness with a very distinctive personal character. Nevertheless, modern poetry has clearly increased its tendency to express "motherly emotions" accompanied by sorrow and grief. Bing Xin's small poems, for example, have a great deal of motherly love and tenderness molten into the artistic world she has constructed, fully reflecting the modern woman's self-consciousness, and vividly embodying the modern intellectual woman's painful independent personality of "living in evil but loving goodness", which is a struggle of the inner soul. Classical poetry generally does not reveal the oppressive factors of women's existence from the perspective of women's care, and often examines women's lives with a tragic vision and a sense of suffering. In contrast, the new poetry tries to explore women's unique life consciousness, emotional imagery and their inner flashing moments of perception, in order to replace the vague and hazy or generally suppressed monotonous and long-lasting sadness of classical poetry, whose overall sense of life and overall mood underline the poet's deep concern for women's cultural consciousness. In this sense, modern poetry has gained its own vitality because of the significance of women's cultural awakening.

To sum up, the general awakening and vigorous exploration of the self-consciousness of modern Chinese poets has given modern poetry a more independent, profound, liberating and new way of thinking and value of thought and art, different from the classical poetry.

===3. What is Classic===

From the reality of Chinese literature in the 20th century, both the discussion on whether there are classics in modern literature and the sense of anxiety crisis about the classics of modern literature are greatly related to the understanding of the meaning of classics. I have the following four understandings of the connotation of the classics.

First of all, in terms of spiritual meaning, literary classics shine with the light of thought. It is often rooted in the times, showing the distinctive spirit of the times, with the character of historical reality, but also outlines and reveals the far-reaching rich cultural connotations and human implications, with the transcendent open character. It often raises fundamental questions about human spiritual life, such as man and nature, man and society, and man and himself. At the same time, classics and classical interpretation have a close relationship, and classics must be continuously compiled and organized, accepted and disseminated, and revered in order to become classics. Original classics also need original interpretation, and original interpretation may become new classics or have new classical characteristics.

Secondly, from the point of view of artistic aesthetics, literary classics should have a "poetic" connotation. It is the creation of an irreducible artistic world permeated by the writer's unique worldview, which can provide some kind of aesthetic experience that no one has ever provided before. It is a unique aesthetic grasp of the world based on sensual life, spiritual needs, and even the individual and collective unconscious. This aesthetic grasp, through original efforts, incorporates the rich and colorful world of the mind and the vivid and rich real life, and also absorbs the past and future life into the present with the "time field of presence" that is generated and acted upon. The literary classics created in this way can make the human nature and human heart connected, and the heart of literature and poetry connected, so that the culture and literature of different periods can get deep communication.

Thirdly, from the perspective of national characteristics, literary classics often open a new chapter in the history of national literature, with the value of "history". That is to say, the literary classics can promote a nation's language and thought to a new platform. Just like Shakespeare's modernity in English and English literature, Pushkin's modernity in Russian and Russian literature, Lu Xun and the new literary classics in the May Fourth era also pushed our national language and thought to a new height and a new platform through the original artistic world of modern Chinese. This made it possible for the writers and theorists of modern literature to operate, communicate and create on this platform, and thus a series of classical achievements emerged.

Fourthly, from the acceptance of the classics, literary classics must be accepted and appreciated by the majority of readers. There are indeed many classics of highbrow literature, but those that are loved, recognized, appreciated and enchanted by a wide audience are the classics of classics. The "Three Hundred Tang Poems" have been printed countless times, with billions of readers. Therefore, a classic work must be a work respected by the public, and it must conform to the public's value orientation, respond to the public's will and pursuit, in order to constantly renew new vitality and vitality in order to be immortalized.

===4. Problems about Canonization===

Although a number of well-received classics of Chinese modern poetry have emerged or are being classicized in its hundred years of development, there are still many problems that need to be solved. Only by solving these problems and recognizing some misconceptions can we better promote the process of canonization of new poetry.

The first problem is the vision of the selector. As it mentioned above: the classics are often rooted in the times, not only displaying the distinctive spirit of the times, but also summarizing and revealing the far-reaching and rich cultural connotation and the meaning of human nature and having the character of transcendent openness. Therefore, there is a need for selectors and editors with vision, thoughtfulness, noble character and culture to select and recommend Chinese modern poems that can be regarded as classics for us. However, some selectors and editors lack a comprehensive, objective and fair vision when they compile anthologies such as "New Poetry Classics of 100 years". They choose poems according to their own preferences, and choose whoever I want to choose, and let whoever I want to stand aside stand aside. In this way, some fine and classic works with superior ideology and art are blocked and rejected by him, while some unknown works with low artistic achievement and simple connotation are regarded as classics by him. In view of this we should strictly screen the professionals to ensure that they can take a serious and responsible attitude, be unbiased, to prepare an excellent collection of selected new poetry classics for everyone to appreciate, read and taste, and promote the process of canonization of new poetry.

The second problem is the vision of a literary historian. As mentioned above: literary classics often open a new chapter in the history of national literature, with the value of "history". Therefore, literary historians play a crucial role in the process of canonization of Chinese modern poetry. If a poet's poems enter the history of literature and new poetry, and are recommended and analyzed as a key poet, it seems that he will definitely be a "classic poet" and his poems "classic poems ". However, it should also be recognized that many literary historians are unable to be unbiased, and the literary and poetry histories they have written have obscured and blocked many new poetry works that have had a significant impact, and inappropriately regarded some works that readers know nothing about as masterpieces.

The third problem is the selection of Chinese modern poems in Chinese textbooks. The role of Chinese textbooks is crucial to the canonization of poetry. In my personal experience, those textbooks are more inclined to poems with aesthetic nature, complex connotations, focus on the experience of life, the beauty of humanity, etc.. However, the sense of the times is often not strong enough. Some "purely lyrical" poems are necessary, but masterpieces that reflect the spirit of the times and real life should not be completely excluded. Language teaching materials are responsible for the canonization of new poetry.

The fourth problem is the education and teaching of new poetry. When it comes to the selection and editing of new poems in Chinese textbooks, the issue of education and teaching of new poems is naturally inseparable. The canonization of poetry is inevitably associated with poetry reading, and the level, form and state of poetry reading are obviously subject to the various stages and levels of contemporary poetry education and literary education, the latter's influence on aesthetic ability and aesthetic intuition is evident to all. In reality, few teachers are willing to make great efforts to guide students to appreciate the beauty of Chinese modern poetry, and few students are really interested in them. The reasons for this are many. The first reason is that modern poetry has a low status. Chinese modern poetry is far inferior to classical poetry, which has a cultural history of several thousand years, in terms of quantity and quality, as well as the number of poets. Another important reason for the low status of modern poetry in language teaching is that it is not considered as part of the test in China's exam-oriented education. The appreciation of ancient poetry, instead of modern poetry, is often taken as a key test in the examination of poetry appreciation, and when students are asked to write something, it is often explicitly state that the genre is not limited except for poetry, etc. Secondly, teachers' poetry literacy is not good enough. The poetry literacy of Chinese teachers directly affects the quality of poetry teaching. For a long time, modern poetry is a niche literature in Chinese literature, and people in general like to listen to stories but not to read poems, to read novels but not to read poetry collections, and even many Chinese teachers have very little experience of modern poetry, very little knowledge reserve of modern poetry, and not high poetry literacy. This directly leads to the fact that in order to complete the teaching plan, teachers will only boringly read from the text and cannot well guide students to appreciate the beauty of modern poetry. Some teachers even teach it quickly and do not seek for teaching quality, which greatly erases students' interest in learning poetry.

The fifth problem is the public's awareness. The making of "classic" new poems is closely related to society, media and education. The repeated selection and publication by publishers, the repeated broadcasting and promotion by TV, radio and newspapers, and the long-term "required reading" in Chinese textbooks are the most important channels for the creation of classics. In addition, the awareness of the public is also an important factor. However, Chinese modern poetry is still far from being publicized, and only a certain circle of people knows about the new poems, while the rest of the people can only recite or memorize few poems that are selected for language textbooks, which is far from enough. The most important factor in the highest achievement of Tang poetry in ancient China lines in the its high quality and higher production, while new poetry, except for the rapid development in the first thirty years, has seen fewer and fewer excellent poets emerge in the later period, gradually fading out of the ordinary people's view. In view of this, relevant institutions can organize some programs and activities, so as to publicize Chinese modern poetry; hold related competitions, so as to reward the creation of new poems.

===5. Conclusion===

For Chinese poetry, it is a remarkable thing to leave so many influential, distinctive and standard works to posterity with only a hundred years of development. And the study and research of the canonization of Chinese poetry is also very meaningful. But the canonization of modern poetry is a long way to go and requires a lot of efforts.

In this paper, we analyze the development and value of modern Chinese poetry, introduce the elements of excellent classical works, and point out five problems in the canonization of modern poetry nowadays. The author hopes that these five problems can be properly solved in the future, so as to promote the process of poetry canonization. The classic poems we select are not necessarily the most valuable works, nor are they necessarily the works with the greatest room for interpretation, nor are they necessarily of high literary achievement, nor do they necessarily reflect the characteristics of the times most accurately, but the selection of classic poems should reflect the basic consensus of readers and be widely accepted. The new poetry classics can look for excellent works that can serve as spiritual resources, value formation and value cultivation for our younger generation and our public, while also taking into account the characteristics of the Chinese language itself. Canonization is not something that can be accomplished by any one generation, and the process of canonization requires different or the same efforts from different generations.

In short, excellent works will overcome the test of time and be immortalized and enshrined as classics.

===References===

===Terms and Expressions===

Chinese modern poetry 中国现代诗歌

Canonization 经典化；承认为圣典

Synchronic 共时性的

Diachronic 历时性的

Go global 走出去

Vernacular poem 白话诗

Lyrical poems 抒情诗

Highbrow literature 高雅的文学作品；阳春白雪

Chinese textbook 语文课本

Knowledge reserve 知识储备

Rhythm 格律；韵律

Artistic aesthetics 艺术审美

===Questions===

1. Who was regarded as "the first vernacular poet"?

2. New poetry faces two peaks that are difficult to surpass. What are they?

3. In China's exam-oriented education, which one is more likely to be examined, ancient poetry or modern poetry?

===Answers===

1. Hu Shi.

2. One is Chinese classical poetry and the other is the poetry achievements of the West since Shakespeare.

3. Ancient poetry

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On Mo Yan’s Representative Works Translated Overseas'''</center>

<center>Liu Yao 刘瑶</center>

===Abstract===
With the implementation of “Going Global” strategy of Chinese literature, more and more works of outstanding Chinese writers have been translated and published in countries around the world, and Mo Yan’s works are representative of them. In 1988, The Dry River was published in Japan, which started the overseas publishing of Mo Yan’s works. As of October 2019, there are 388 kinds of Mo Yan’s works published in 41 countries and Mo Yan has become a representative of contemporary Chinese writers to the world. A comprehensive discussion on the development history, geographical and language distribution, and audience acceptance of Mo Yan's representative works translated overseas is an important topic that can summarize some features of Chinese literature translated overseas, from which to gain some revelation related to Chinese literature's going global. This paper collects relevant papers and journals on the translation and dissemination of Mo Yan's works, based on which this paper reaches a conclusion of information related to Mo Yan's three representative works —''Red Sorghum''《红高粱家族》, ''Frog''《蛙》, ''Big Breasts and Wide Hips''《丰乳肥臀》. Taking masterpieces of well-known writers as examples, this paper is in the hope of offering new ideas for the translation and dissemination of Chinese literature.Through study and research on the topic, this paper concludes that the significance of Mo Yan's works translated overseas is mainly reflected in the following three aspects: first, showing the global influence of Chinese contemporary literature; second, contributing to the further development of the dissemination of Chinese culture; third, setting a model for cultural communications between China and other countries. The translation and dissemination of Mo Yan's works also inspire us that the spread of Chinese literature needs not only policy support from the government, but also high level translation from translators, both of which are key factors in terms of Chinese literature's going global.

===Key words===
Mo Yan; representative works; translation; dissemination

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘珍 Liu Zhen 202170081588 MW==

<center>'''A Study of Strange Stories From a Chinese Studio from the Perspective of Skopos Theory'''</center>

<center>刘珍</center>

===Abstract===
Liao Zhai Zhi Yi written by Pu Songling is a famous collection of more than 400 peculiar short stories. As a work coming into being at the very beginning of the 17th century when the classical Chinese writing was on the wane, the appearance of Liao Zhai Zhi Yi (or Liao Zhai in abbreviation) injected vigor and vitality into the classical Chinese literature. Among the many foreign translations of this book, the English version named Strange Stories from a Chinese Studio translated by Herbert Allen Giles is the most popular and influential one so far, thus becoming an indispensable part for the study of the English translation of Liao Zhai. At a time that we are calling for Chinese culture going global, as a successful case of Chinese literature work well-accepted by the foreign market, the English translation if sure of high research values and guiding significance. This thesis attempts to take Skopos theory as the theoretical basis, and take Giles’s Strange Stories from a Chinese Studio as the main research object to study the translator’s aims, the choices of translation strategies and the achievement of translation function.

===Key words===
Strange Stories from a Chinese Studio; Herbert Allen Giles; Skopos theory; Reader Expectations

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译马艳焕 Ma Yanhuan 202170081591 CE==
The Translation and spread of Su Tong 's works Abroad

<center>'''The Translation and spread of Su Tong 's works Abroad'''</center>

<center> Ma Yanhuan 马艳焕 </center>

===Abstract===
Su Tong is one of the famous contemporary Chinese writers, whose works have been translated into a variety of languages and widely spread abroad. therefore, the writer Su Tong has also become one of the top three foreign translators of novels in China. Based on the present situation of the foreign translation of Su Tong's works, this paper will explore the reasons for the success or failure of its overseas dissemination, and put forward some countermeasures to provide a reference for the going out of Chinese literature.

===Key words===
Su Tong; Translation； Spread

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592 MW==

<center>'''Translation of Idioms in Howard Goldblatt's ''Life and Death are Wearing Me Out'''''</center>

<center>Nie Wei 聂薇</center>

===Abstract===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is full of vivid and interesting idioms, which make the language of this novel so unique and characteristic. Howard Goldblatt's translation of this novel has been a great success in the English-speaking world. In the translation of idioms in this novel, he mainly adopts the methods of foreignization and omission, and follows the translation principles of preserving the foreign culture and insisting on semantic correspondence in order to present the heterogeneity of the idioms, so that the Chinese culture contained in the idioms in ''Life and Death are Wearing Me Out'' is well presented to Western readers. His translation provides a more objective platform for Western readers to know the diverse cultures of the world. The study of Goldblatt's translation of this novel can help guide the English translation of Chinese literature, thus providing references for promoting Chinese culture abroad.
===Key words===
''Life and Death are Wearing Me Out''; Howard Goldblatt; translation of idioms; creative treason
===Introduction===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is not considered the best novel in China, but Goldblatt's English translation has received much attention in the English-speaking world, won many international awards, and is even considered one of the most important works for Mo Yan to win the Nobel Prize in Literature. One of the most distinctive features of this novel is its unique language style. Goldblatt’s exquisite translation enables Mo Yan's style to be reproduced, and the strong local flavor and magical realism to be manifested, all of which is an important factor for the success of the English translation of ''Life and Death are Wearing Me Out''. This paper discusses the translation methods and principles adopted by Goldblatt in his translation of the idioms in this book, and analyzes its influence on the dissemination of Chinese culture, so as to provide reference for future translations of Chinese classics. (Shi Chunrang 2019, 94)
===Literature Review===
I searched CNKI with keywords "''Life and Death are Wearing Me Out'' and translation" (searched until May 29, 2022) and found 355 related papers. These papers analyzed the translation methods, strategies and Goldblatt’s translation style of ''Life and Death are Wearing Me Out'' from different perspectives, such as relevance theory, Bourdieu’s theory of field, Reception Aesthetics Theory, eco-translatology, translation aesthetics, the post-colonialism perspective, rewriting theory, translation ethics, hermeneutics and translators' subjectivity.

Among them, there are five papers related to the study of proverbs ( idioms). Wang Yiting and Lin Mei point out that Goldblatt mostly uses literal translation to translate idioms in the linguistic dimension, chooses both literal and free translation in the cultural dimension, and uses rewriting in the communicative dimension. Liu Geng and Lu Weizhong, with the help of conceptual metaphor theory, point out that the English translation of the idioms in ''Life and Death are Wearing Me Out'' has certain translator's subjectivity, and the translator's metaphorical way of thinking affects the use of different translation strategies. Ye Pingting, based on the cultural translation view, uses the idioms in Goldblatt’s version as a corpus to explore how translators effectively convey cultural information. Chen Qiansa analyzes the use of idioms and their translation methods in this novel based on the Chinese-English parallel corpus. Shi Chunrang and Shi Yan analyze the role of idioms in ''Life and Death are Wearing Me Out'' in constructing the "image of the other" for Western readers, as well as in deconstructing the cultural psychology of western readers.

The study of idioms’ translations in Goldblatt's version includes both case studies, in which a single idiom is selected for discussion, and quantitative analyses supported by definite statistics. This paper provides an overall study of the methods and principles of translating idioms, and suggestions for improvements to the mistranslations in Life and Death are Wearing Me Out, so as to provide a reference for the English translation of Chinese literary works in the future.
===Methods and Theories===
This paper focuses on the study of Goldblatt’s translation based on Venuti's theory of domestication and foreignization and the concept of creative treason.

Lawrence Venuti firstly formulated and introduced the theory of domestication and foreignization in the book ''The Translator’s Invisibility''. According to Venuti, domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target readers, while foreignization refers to the type of translation in which a target text deliberately breaks target conventions by retaining something of the foreignness of the original.

The domestication method can express the language and culture of the source language with the language and culture familiar to the target language readers, and the translation is fluent and easy to read and accepted by the readers, but the "domestication method" tends to distort the facts of the original text, which is not conducive for the target readers to feel the "exoticism" of the foreign culture. On the other hand, the "foreignization method" can better maintain the style of the original text, convey the author's original intention, and let the target language readers truly feel the difference between the two cultures, but the disadvantage of it is that the translation may be obscure and difficult to understand, and may sometimes make the readers have cultural misunderstanding. (Zhu Zhouxain 2013,155)

Professor Xie Tianzhen published a book entitled ''Translation Studies'', in which he elaborated on the creative treason in literary translation in depth. In his book, he clearly pointed out that "the most fundamental characteristic of creative treason in literary translation is that it introduces the original work into a receptive environment that the original author did not originally anticipate, and changes the form originally given to the work by the original author."

Due to the specific differences in social, historical and cultural factors between the source language and the target language, the translator will certainly make appropriate and comprehensive "adjustments" to the specific differences in semantics between the two languages in different contexts during the whole process of translation. These "adjustments" are, on the surface, a "treason" against the original work, but it is not the translator's trampling on the original work at will, but the translator's attempt to make the translation convey the same meaning as the original work in the translated language environment. (Zhang Liyun 2019,141)

===1.Idioms in ''Life and Death are Wearing Me Out'' and their characteristics===
Idioms are simple and concise folk languages that are widespread and easy to understand. Most of them are short sentences that are transmitted orally by the laboring people, reflecting their experiences in production and life vividly. Idioms contain a great deal of background information and culture, and it is a form of language that has been developed over a long period of historical development and real life.

''Life and Death are Wearing Me Out'' is filled with lively and amusing idioms that bring uniqueness and vitality to the novel's language. This novel tells the story of joys and sorrows experienced by the landlord Ximen Nao’s family and the farmer Lan Jiefang’s family for more than half a century. The theme of the novel is closely related to the farmers and the land, which of course requires the use of a large number of idioms to narrate the story. (Shi Chunrang 2019,94)

Clearly, the idioms in this novel are diverse in form and peculiar in presentation. For example, when the donkey reincarnated from Ximen Nao bragged about being favored by the county chief, it said, "人们都知道，侍候好了县长的驴，就会让县长格外高兴。拍了我的驴屁，就等于拍了县长的马屁。" The translation is "Everyone knew that taking special care of the county chief's donkey made him very happy. Patting my rump was equivalent to patting the county chief's behind with flattery." Here cleverly, the common saying "拍马屁" in people's daily life is used as “拍驴屁”, which highlights the identity of the donkey, and also vividly and humorously depicts the complacency and arrogance of the donkey, while expressing its contempt for those who strive to curry favour with people in authority.

In addition, when the ghosts in the hell sneered at Xinmen Nao, they said, “猫改不了捕鼠，狗改不了吃屎”. The translation is “You can’t keep a cat from chasing mice or a dog from eating shit.” The language, though vulgar, is very common in people’s daily life and fits the overall style of the novel.

This kind of linguistic style is both traditional and innovative, both unbridled and unrestrained, and is highly effective for shaping the characters and plotting.
===2.Goldblatt’s translation methods of idioms in ''Life and Death are Wearing Me Out''===
(i) Foreignization

The method of foreignization is to deliberately make the translation violate the conventional linguistic models in target language and retain the exotic atmosphere of the original text, with the aim of "injecting the linguistic and cultural differences in the foreign text into the target language, sending the readers abroad" and providing them with an "unprecedented reading experience”. Goldblatt deliberately uses the method of foreignization to translate idioms in this novel.

Specifically, Goldblatt tries to convey the heterogeneity of idioms in the original text in the following ways.

First, he tries his best to show the target readers the meaning of Chinese idioms that is unique to China and not available in the Western culture. After all, idioms are developed in the production and life experiences of different peoples. Therefore, Goldblatt chooses literal translation whenever possible.

For example, “你是煮熟的螃蟹难横行了，你是瓮中之鳖难逃脱了” is translated into “You’re a cooked crab that can no longer sidle your way around，a turtle in a jar with no way out”. “瓮” is a unique Chinese utensil with rich Chinese cultural information. The image of "瓮" is missing in the English-speaking world. Therefore, he borrows the familiar apparatus "jar" from English to translate it, which is roughly similar to "瓮" in appearance. This translation uses an alternative image to convey the message of the original text, which reduces the connotative information of the original idiom but makes it easier for the target readers to understand the essential message of the idioms.

Second, for some idioms, Goldblatt translates them by literal translation with annotation. The literal translation is of course for presenting the original message of the idioms to the target readers, while the annotation is to help the readers better understand the essential message of the idioms, because some of them have complex metaphorical messages, so annotation is essential for understanding.

For example, “兔死狐悲，物伤其类” is translated into “When the rabbit dies，the fox grieves, for his turn will come.” This annotation “ for his turn will come” clearly illustrates the message of the original idiom and removes any confusion about why the fox grieves for the rabbit’s death. With annotation, the connotative meaning of the idiom becomes clearer.

Third, for some idioms that have exact equivalents in the target language, the translator deliberately translates them with explanatory literal translations instead of copying the idioms in the target culture. For example, “入乡随俗” is translated into “When you come to a new place，learn the local customs and follow them” rather than “When in Rome, do as the Romans do” in English. Obviously, the use of semantic equivalents of idioms in the target language cannot translate the information conveyed by the original context. An explanatory literal translation approach can help target readers better understand the plots of the novel and increase their interest in reading it. (Shi Chunrang 2019,95)

(ii) Domestication

Sometimes we may find that the Chinese idioms don’t have equivalents in the target language, so they can be translated through free translation, which means we can follow the principle of domestication by borrowing existing expressions in the target language, thus making the translation closer to the reading habits and cognition of the target readers. In Goldblatt's translation of idioms in ''Life and Death are Wearing Me Out'', about 30% of those idioms are translated through free translation. (Chen Qiansa, 2019,108)

For example, “洪泰岳你出口无信，食言而肥” is translated into “Hong Taiyue，your words meant nothing, you did not make good on your promise”. In this sentence, “食言而肥” and “出口无信” mean the same thing: not to keep one’s word. These two idioms came out of ''The Commentary of Zuo''. It is not possible for the translator to translate the allusions behind each idiom, which would result in a lengthy and unclear translation. So Goldblatt uses a phrase with similar meaning to express the idioms “食言而肥” and “出口无信”. He borrowed from the English idiom “not make good on your promise” and delivered an authentic translation cleverly.

Due to the differences between the English and Chinese languages and between Eastern and Western cultures, the “treason” of the original text in literary translation is inevitable. For example, in the novel ''Life and Death are Wearing Me Out'', there are many epithets such as "爷们" and "伙计", which are difficult to translate into English with full equivalence, and Goldblatt's creative "rewriting" of them also reflects his unique translation ideas. For example, according to different contexts, “伙计” is translated into “gentleman” “buddy” “old friend”; according to the specific meaning of the sentence, “掌柜的” is translated into “you are the head of the household” “my husband” “the old gentleman” “sir” and so on. (Zhang Qi 2019,329)

Although the domestication method changed the images or structure of the original sentence, Goldblatt's translation better conveys the original author's intentions and can be deemed as a kind of fidelity from a deeper level.

(iii) Omission

Omission means that the idiom is not translated from the original text. There are two kinds of idioms that Goldblatt did not translate. The first one is those idioms that contain distinctive local culture, which cannot adequately convey the content of the novel in the target language. For example, “我这哥，惯常闷着头不吭声，但没想到讲起大话来竟是‘博山的瓷盆——一套一套的’ ” is translated into “He was normally not much of a talker, so everyone was taken by surprise. To be honest, it turned me off.” The idiom “博山的瓷盆——一套一套的”(which means a set of porcelain pots from Boshan) has been omitted here because it contains an item known only to a small group of people, and the message it implies is so unique and unnecessary that the translator chose to omit it. (Shi Chunrang 2019,95)

In addition, Goldblatt chose to deliberately omit some idioms, such as “西游记”“小妖红孩儿”“封神演义”“哪吒”“天山童姥”. Because in his mind, "capturing the style, rhythm and imagery of the original work is the real task and challenge for the translator”. Omitting those idioms makes the storyline more compact and the language more straightforward and easily accepted by the target readers. (Zhang Qi 2019,329)

Second, some idioms that serve to add explanatory information and vividness to the original text are also often deleted by Goldblatt. For example, "出水才看两条腿" and "咱们骑驴看账本，走着瞧! " and other similar proverbs are omitted.

On the whole, however, the idioms in ''Life and Death are Wearing Me Out'' are very important for the novel’s general language style. Therefore, there are not many cases where the translators leave idioms untranslated.

(ⅳ) Mistranslation

In Xie Tianzhen’s article ''Mistranslation: Misunderstanding and Misinterpretation in Different Cultures'', he divides mistranslation into two types, namely intentional mistranslation and unintentional mistranslation. Intentional mistranslations are those in which the translator chooses to consciously misinterpret the meaning of the original text for some reason. Unintentional mistranslations can be divided into three types which are caused respectively by carelessness, poor linguistic skills and lack of knowledge of the cultural background of the original language. (Zhang Sen 2016,111)

Intentional mistranslation closely reflects the translator's creative treason and is also a major manifestation of the collision, distortion and deformation between cultures in literary and cultural exchanges. Therefore, this paper focuses on the current situation of intentional mistranslation in Goldblatt’s translation of ''Life and Death are Wearing Me Out'', and reveals how translators creatively fill the gaps between different cultures. (Zhang Liyun 2019,143)

For example, “……让老婆孩子吃糠咽菜的守财奴” is translated into “…made his wife and kids eat chaff and rotten vegetables”. The original text intended to use the idiom "吃糠咽菜" to depict the poor life of them, but in the translation it is translated into "eat chaff and rotten vegetables". In the original text, the word "菜" means "wild edible plants", because in the old days, Chinese people who could not afford to eat vegetables often used wild plants to fill the belly. But in the English version it is translated as "rotten vegetable". Why? Because with the improvement of people's livelihood, "wild edible plants" have become a delicious delicacy for people in both the East and the West. Therefore, in order to tell the target readers about the poor life of those people, he translated "糠咽菜" into "chaff and rotten vegetables", which makes it easier for the readers to accurately capture the meaning of the original text.

The translator plays an important role in this process, and the translator's personalized translations, mistranslations and omissions reflected in the translations are all manifestations of the translator's creative treason.
===3.Goldblatt’s principles for translating idioms===
(i) Preserving the culture of the original language

Generally speaking, idioms have deep semantic connotation and vividly reflect the material and spiritual culture with local characteristics. Therefore, when translating idioms, we should try to understand the deeper connotations of them and to express them clearly. By researching, communicating with the author and other methods, Goldblatt managed to understand the essential meaning of the idioms, their historical roots and the context in which they are used, so as to truly grasp their precise meaning. (Shi Chunrang 2019,97)

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopts the methods of foreignization and omission, so we can say that the principle he follows in translation is that of preserving the culture of the original language. He tries to highlight the heterogeneity of the original proverbs through literal translation, to reveal the uniqueness of Chinese culture, and to help Western readers understand the life experience of the Chinese people attached to the idioms through annotations.

Due to the cultural status of Europe and America, cultural differences and the marginal position of translated literature in the European and American literary world, European and American translators often choose to translate other countries' literary works by means of domestication, and the translation of ''The Story of the Stone'' by David Hawkes is an example of the use of domestication strategy. However, cultural hegemony and cultural colonization have led a group of translators with a sense of mission to choose a translation strategy that preserves the style of the original work, which is called foreignization.

The contradiction is obvious: the translator wants to preserve the taste of the original work, but the reader's difficulty in understanding the language and structure of the vernacular novel requires the translator to make concessions in the translation. Goldblatt's approach to translation reconciles this contradiction to a certain extent. He tries to strike a balance in the translated work so that it can be accepted by Western readers. (Tian Debei 2016,91)

(ii) Semantic correspondence

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt not only tries to reproduce the meaning of the idioms in the target language, but also strives to achieve an overall semantic correspondence between the proverbs and the context in which they are found. He helps to make the text more logical and readable by adding explanatory phrases, explicitly stating the implied meaning or adding connecting words. In achieving semantic correspondence, he tries to make the translation as close to the original text as possible, without adding or subtracting anything, and without creating ambiguity. In terms of choosing words, he tries to be as concise and appropriate as possible; in terms of sentence construction, he tries to achieve a sentence style that reflects some of the features of the original but is also in keeping with the conventions of the target language. (Shi Chunrang 2019,97)
===4.Implications of ''Life and Death are Wearing Me Out'' for the English Translation of Chinese Literature===
As mentioned above, guided by the principle of personalized translation, there is 'fidelity' in translating the idioms in ''Life and Death are Wearing Me Out'', as well as creative treason and omission of the original text. It can be seen that Goldblatt is not bound by the traditional dichotomy of literal translation and free translation. The language of his translation is authentic and fluent, reading like an original English novel but conveying exotic cultural imagery.

Goldblatt insists on translating for his readers, so he was selective in his translation strategies in order to make exotic Chinese literature accessible to western readers, thus allowing excellent literature to enter the field of foreign translated literature and achieving the effective dissemination of Chinese literature.

Compared with Western culture, Chinese culture is still in a disadvantaged position in the world cultural landscape. Therefore, if Chinese literature wants to “go global”, translators must take into account the special cultural background and general readers' acceptability.

Goldblatt’s choice and application of translation strategies carries with it the translator's subjectivity, and under the guidance of such translation principles, his translations meet both the literary standards of the Western world and the expectations of the Western readers for Chinese literature. (Zhang Qi 2019,330)

Whether Chinese literature has done a good job in “going global” is not only judged by the accuracy of their translations, but also by how well they are received by foreign readers. The difference between Chinese and Western cultures have resulted in readers’ different preferences for literary themes, so Goldblatt has paid great attention to the tastes of Western readers when selecting books he was going to work on, so that his translations can be better accepted by them. However, the mistranslation in his version has led to a deviation from the original Chinese works.

Compared with Chinese translators, Sinologists have a strong linguistic background, but their knowledge reserve of Chinese culture is still insufficient. So the best mode of translation is a kind of Chinese-foreign collaboration, in which the Chinese translators deal with the cultural challenges while the sinologists do the linguistic touch-ups, in order to ensure the integrity of Chinese culture in the West, and to achieve both fidelity to the original work and increased acceptance abroad, thus achieving success in the translation of Chinese culture. (Zhang Sen 2016,115)
===Conclusion===
In translating idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopted the strategies of literal translation (39.2%) and free translation(30.3%), supplemented by omissions, additions and borrowings, with a few mistranslations (about 10 cases). It is evident that he tends to retain the cultural image of the idioms in the source language, and tries not to add or delete; however, when those images in the source language don’t have equivalents in the target language, he will be bold enough to adopt free translation, so as to maintain the readability and fluency of the translated work. In the translation process, he stays true to the connotation of the text rather than the literal meaning, and stays true to the target readers rather than the readers of the source language. (Chen Qiansa 2019,110)

This helps us to reveal Goldblatt's faithful translation and reader-consciousness. In conclusion, in the process of translation, translators should preserve the style and image of the idioms in the original text as much as possible, so as to spread Chinese culture and enrich the English vocabulary; at the same time, they should take into account the readability of the translated work and adopt various translation approaches to deal with the Chinese idioms.

Goldblatt not only makes the message conveyed by the idioms and the proverb-rich language style of ''Life and Death are Wearing Me Out'' well presented to Western readers, but also makes them easily understood and accepted by Western readers. The translator does his best to spread Chinese culture and respect the culture clash between different cultures. His translation dares to face up to the cultural differences between China and English-speaking countries, and uses a unique translation method to strongly promote Chinese literature and culture to the Western world, which achieved good results, and also provides some useful references for us to do a good job in promoting Chinese culture to go abroad.

Therefore, we should not only consider the needs of Western readers at the expense of the dissemination of our own distinctive culture, instead, we should take the promotion of our own culture as our responsibility and take into account the reading needs of Western readers. The successful translation of idioms in Mo Yan’s novels is a good case in point. In the exchange between Chinese and foreign cultures, the translation of idioms in Mo Yan's novel adheres to the idea of faithful translation and mainly adopted foreignization, fully demonstrating the traditional Chinese culture with strong national flavor and distinctive regional characteristics, which is an important inspiration for the dissemination of Chinese culture today.
===References===
*Mo Yan 莫言. (2011). Life and Death are Wearing Me Out. tans. by Howard Goldblatt. New York: Arcade Publishing．
*Venuti, L. (1995). The translator’s Invisibility: A History of Translation. London and New York: Routledge．
*Xie Tianzhen 谢天振.(2012).创造性叛逆:争论、实质与意义[Creative Treason: Controversy, Substance and Meaning].''中国比较文学''Comparative Chinese Literature (2):33-40．
*Zhang Qi张琦.(2019).“创造性叛逆”:莫言《生死疲劳》英译特点及启示[Creative Treason: Characteristics and Insights of the English Translation of Mo Yan's “Life and Death are Wearing Me Out”].''上海理工大学学报''Journal of Shanghai University of Technology (04):327-330+337.
*Zhang Liyun, Wu Qingjuan张丽云,吴庆娟.(2019).创造性叛逆与葛浩文《生死疲劳》英译本的译介[Creative Treason and Goldblatt’s Translation of “Life and Death are Wearing Me Out”].''齐齐哈尔大学学报''Journal of Qiqihar University (10):141-143+172.
*Wang Yiting, Lin Mei王怡婷,林梅.(2014).翻译适应选择论视角下《生死疲劳》的习语翻译[The Translation of Idioms in "Life and Death are Wearing Me Out" from the Perspective of Translation Adaptation Selection Theory].''常州大学学报''Journal of Changzhou University (04):100-102+106.
*Shi Chunrang, Shi Yan石春让,石岩.(2019).葛浩文译《生死疲劳》中谚语的文化建构与解构[The Cultural Construction and Deconstruction of Idioms in Goldblatt's Translation of “Life and Death are Wearing Me Out”].''外国语文''Foreign Literature (01):94-99.
*Zhang Sen, Zhang Shijin张森,张世瑾.(2016).葛译《生死疲劳》中的误译现象与中国文化译介策略[Mistranslation in Goldblatt's Translation of Life and Death are Wearing Me Out and Strategies for Translating Chinese Culture].''河北大学学报''Journal of Hebei University (05):111-116.
*Liu Geng, Lu Weizhong刘庚,卢卫中.(2016).汉语熟语的转喻迁移及其英译策略——以《生死疲劳》的葛浩文英译为例[The Metonymic Migration of Chinese Idioms and Their English Translation Strategies - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''外语教学''Foreign Language Teaching (05):91-95.
*Chen Qiansa陈千飒.(2019).基于语料库的《生死疲劳》熟语英译研究[A Corpus-based Study on the English Translation of the Idioms in "Life and Death are Wearing Me Out”].''重庆交通大学学报''Journal of Chongqing Jiaotong University (01):105-111.
*Zhu Zhouxian朱周贤.(2013).论乡土小说翻译的难点——以葛浩文英译的《生死疲劳》为例[On the Difficulties of Translating Rural Literature - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''作家''The Writers (14):155-156.
*Tian Debei, Zhan Xuanwen田德蓓,詹宣文.(2016).入乡未能随俗:论葛浩文译《生死疲劳》的乡土气息[On the Local Flavor of Goldblatt's Translation of “Life and Death are Wearing Me Out”].''东北农业大学学报''Journal of Northeast Agricultural University (01):88-92.

==英语笔译孙丽君 Sun Lijun 202170081593 CE==

<center>'''An Analysis of English Translation of Luotuo Xiangzi from the Perspecctive of Rewriting Theory'''</center>

<center>Sun Lijun</center>

===Abstract===
Traditionally, translation is regarded as a kind of linguistic conversion, which means translating the source text from one language into another. And with further and deep study of translation, Bassnett and Lefevere went beyond the level of language, focusing on the mutual interaction between translation and culture, and the influences and restrictions of culture on translation. Therefore, the move from translation as text to translation as culture and politics is termed as the cultural turn. Rewriting Theory, proposed by Lefevere, is the representative fruit of the translation studies on culture, exerting profound influence on academia. Rewriting Theory shows that translation is regarded as rewriting, which is mainly constrained by the dominant poetics, ideology and patronage under certain backgrounds.
Luotuo Xiangzi, writtten by Lao She in the year of 1939, is one of the representative masterpieces of Chinese classics, gaining great popularity both at home and abroad since its first English version, translated by the American translator Evan King in 1945, came out. And this translated text obtained great success in America, which establishing Lao She’s reputation as a writer in the international literary circle. However, due to the inequivalence to the source text, Evan King’s translated work invited some critics from Chinese scholars even unsatisfied the original author Lao She himself. Thereafter, this short essay will briefly analyze the translation of Luotuo Xiangzi by Evan King from the perspective of Rewriting Theory, trying to find out the influences the dominant poetics, ideology and patronage exert on translation.

===Key words===
Luotuo Xiangzi; rewriting theory; translation

===Introduction===
As is known to all, translation is a kind of special and creative activity carried out in a certain context. And it is influenced by some certain activities of the society at one hand, while on the other hand, translation is also restricted by some factors of the works and the writers themselves. In a word, translation plays an essential and pivotal role in communicating and exchanging ideas in this global village. And with further cultural exchanges, some foreign masterworks have been introduced into China, broadening people’s horizon and enriching their daily life and spiritual life in China; also, some Chinese classics have been translated abroad and made foreign friends get a better understanding of Chinese culture. As one representative work of Chinese modern classics, Luotuo Xiangzi has been translated into several versions by some famous translators at home and abroad, including Evan King’s Rickshaw Boy, Jean M.James’ Rickshaw: The Novel Lo-t’o Hsiang Tzu, and Shu Xiaojing’s Camel Xiangzi. And due to the three English versions translated aboard, Luotuo Xiangzi turned out to be a huge hit as soon as it was published. However, as the first translated version in English, though wildly welcomed among American readers, it invited some terrible criticism made by the Chinese literary circles for Evan King broke the rule of equivalence and he did a lot of rewritings. Throughout the history of translation, we can tell that being true to the original text is of paramount importance no matter from the “faithfulness, expressiveness and elegance” proposed by the famous Chinese scholar Yan Fu or the “dynamic equivalence” or “functional equivalence” initiated by Eugene A. Nida. However, those translation theories concentrate on the source-text-oriented methods and techniques, paying much attention to how to translate the original text faithfully into the target text, which represents a kind of static status and mainly focuses on the linguistic level. However, as the march of translation studies, some scholars have studied translation approach from the perspective of culture, attempting to put translation into a larger context. Thus translation studies was labeled with cultural turn from then on. And the polysystem theory and rewriting theory were representatives in this regard. Taking the dominant poetics, ideology and patronage into consideration, Lefevere’s rewriting theory then exerted profound influence in the later translation studies, providing a brand new viewing angle for individuals who engage in the translation studies. Given the Evan King's translated version, it is of terrific significance to explore the underlying reasons why Evan King did a lot of rewritings to Lao She's Luotuo Xiangzi on the framework of Lefevere's rewriting theory.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594 MW==

<center>'''A Comparison of The Analects Translated by James Legge and Ku Hungming'''</center>

<center>Tong Yumeng</center>

===Abstract===
Confucius is a great thinker and educator in ancient China, the founder of the Confucian school, and one of the world's most famous cultural figures. As the only book recording the sayings and discourse between Confucius and his disciples, The Analects is a classic of Confucianism as well as of Chinese civilization. Up to now, there have been nearly forty English translations of The Analects, which indicates the importance of this work in China and western countries. This paper mainly focuses on two English translations of The Analects published in 1861 and in 1898 respectively. One is translated by James Legge, a Scottish protestant missionary of London Missionary Society. The other is the translation of Ku Hung-Ming, an extreme cultural conservative and a strong advocate of Confucianism at the turn of the 19th and 20th centuries. By comparing the two English translations, the paper tries hard to trace back their translating processes, find out the criteria used in interpreting the original text, and summarize the strategies adopted to resolve cultural conflicts in translation. Besides adopting the traditional translation theories, this paper conducts its investigation from the perspective of functionalist "skopos theory" and theories of Lefevere. At last, the paper also mentions the influence of the two English versions of The Analects and the images of Confucius they have helped construct.

===Key words===
Confucius, Legge, The Analects, English Translation

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译童略雅 Tong Lueya 202170081595 CE==

<center>'''A Brief Analysis of Reading Strategies of Chinese Classics in a Digitalization Era'''</center>

<center>Tong lueya</center>

===Abstract===
With the rapid development of the society and the in - depth application of science and technology, people’s traditional production and living habits have been gradually changed. And their reading habits, reading time, reading preferences and reading content have also shown new characteristics. Especially with the mature application of science and technology such as Internet, intelligent handheld device, cloud computing, big data and so on in various fields, the reading mode of readers has gradually changed from systematic reading to fragmented reading. Classic works are the crystallization of human civilization. Reading classic works is of great significance to individual growth and social development. It cannot be overemphasized to promote classic reading. This paper analyzes the status of classic reading in a digitalization era, and then attempts to put forward some suggestions in classics reading. In this way, it hoped that people could realize the significance of reading classics and then form good habits to reading them.

===Key words===
Classics reading; strategies; digitalization

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译庹树梅 Tuo Shumei 202170081596 MW==

<center>'''The Cantonization of the Dream of Red Mansions'''</center>

<center>庹树梅</center>

===Abstract===
As a treasure of Chinese literature and an important source of cultural confidence for the Chinese nation, Dream of the Red Chamber has been disseminated in the English-speaking world for two hundred years. Under the multiple views of traditional historiography, neo-Hanology, neo-history and neo-Songology, Dream of the Red Chamber has been transformed from a "historical text" to a "classic text" and has undergone an evolutionary path from an academic research classic to a literary classic and then to a cultural classic. The first chapter of this paper discusses what classicization is. The second chapter discusses why Dream of the Red Chamber has become a classic work and analyzes its intrinsic literary value. The third chapter discusses the impact of the classicization of Dream of the Red Chamber on the influence of Chinese culture in the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译王思琪 Wang Siqi 202170081597 CE==
A Study on C-E Translation of The Book of Songs from the Perspective of Xu Yuanchong’s Theory of Three Beauties

==英语笔译王亚娟 Wang Yajuan 202170081598 MW==

<center>'''On the Overseas Transmission Paths of Journey to the West'''</center>

<center>Wang Yajuan</center>

===Abstract===
The continuous development of Internet technology has not only changed the way of reading classics, but also the path of classical communication. According to American scholar Harold Lasswell's 5W communication model, medium is the basic component of the communication process. And in the present time of continuous media convergence, the multidimensional transmission paths of classical works are formed. It is necessary to study the development of communication paths. As one of the Four Great Works of China, Journey to the West has been disseminated overseas for hundreds of years. It has not only been translated into many languages such as English, French, German, Italian, and Russian, but also a large number of film and television dramas, stage plays, animation, video games and other works of that adaptation have been derived.
This paper takes the overseas transmission path of Journey to the West as the research object, first discusses the reasons why it was spread from the perspective of its value, and then clarifies the transmission path of Journey to the West in overseas by analyzing relevant books and papers, and finds that the print publication path mainly relies on paper media to publish translated works; with the evolving of transmission paths with help of new media, the multidimensional transmission path has emerged. And then talks about opportunities for the innovation of classics transmission paths brought by the times. Then studies effects of changing of transmission paths on the classic communication and its prospect, hoping that analysis of the transmission paths of Journey to the West, can provide reference for the continuous dissemination of other classic works.

===Key words===
Journey to the west; transmission paths; classic dissemination; medium; 5W

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译肖冬晴 Xiao Dongqing 202170081599 CE==

<center>'''On C-E Translation of Lexical Gaps in Teahouse from the Perspective of Reception Aesthetics Theory'''</center>

<center>Xiao Dongqing</center>

===Abstract===
Representing as a masterpiece of Lao She, ''Teahouse'' works as a monument in the history of Chinese drama. From the perspective of reception aesthetics theory, this paper studies the translation of lexical gaps in ''Teahouse'' translated by Ying Ruocheng. It briefly introduces the content of reception aesthetics and its main concepts, expounds the basic conception of lexical gaps and classifies them into four types. In this thesis, the author mainly focuses on the translation strategies adopted by the translator to deal with the lexical gaps in ''Teahouse''. It is found that in the translation of lexical gaps the translation strategy of domestication dominates while foreignization works as a supplement, a tactic which caters to its reader’s expectation horizon.

===Key words===
Reception aesthetics theory; ''Teahouse''; lexical gaps

===Introduction===
''Teahouse'' is a work of monument in the history of Chinese drama and a sensational one in the world. The key to investigating its reception overseas lies in the studies on its translated versions. Currently, there are two impactful translations in the literary community: the one translated by Chinese scholar Ying Ruocheng and the one translated by the prestigious American sinologist Howard Goldblatt. Over the years, researches and studies on ''Teahouse'' have never ceased. For instance, Lu Jun and Ma Chunfen (2009) studied from the perspective of cultural translation theory the translation of names and idioms in the two translated versions mentioned above, Yu Yanqing (2016) investigated the metaphors in the source text and elaborated on their translation in the two different versions as she deciphered some of the special connotations in them, while Jin Yan (2022) focused on some of the mistranslation phenomena in the English and Korean translated books based on cultural amnesia and memory reconstruction.

In cross-cultural communication, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.
Researches on the theory of vacancy and lexical gaps were initiated in the west when the distinguished American linguist Hockett put forward the idea of “random holes in patterns” (Hockett, 1954:106-123) in the comparison of the linguistic models between two languages. In the 1970s, the discussion over cultural vacancy attracted more scholars, among whom the American cultural anthropologist Hall took the lead. He used the term of “gap” (Hall, 1959:32) to describe the kind of absence in the study of the colour words of the aborigines when he noticed a lack of necessary colour words in the culture of those natives. In the 1980s, vacancy theory was officially put forward by Russian psycholinguists Jurij Sorokin and Irina Markovina as they conducted their research on the discourse and the characteristics of its national culture, dividing vacancies from the perspectives of linguistics, culture and discourse (Xu Gaoyu & Zhao Qiuye, 2008).

Reception aesthetics theory was first proposed in the 1960s in Germany. Unlike previous theories, it shifted its focus from the author and the original work to the role that the audience play in the process of cultural reception. The traditional translation view holds that translation is to convey the "meaning" of the original text into the target language. Reception aesthetics believes that the meaning of the text is uncertain, and it needs to be made concrete in reading by readers (including translators here). The most direct philosophical basis of reception aesthetics is philosophical hermeneutics. In China, many scholars have also worked a lot on this topic. For example, Qu Suwan (2019) studied on the translation of dialect words under the guidance of the reception aesthetics theory while Yu Shan (2015) conducted a comparative analysis of the translation strategies of culture-loaded terms in the two mentioned English versions.

From all the above, it’s clear that efforts have been made in the search of Chinese culture and Chinese classic translation based on aesthetics theory. Inspired by all the predecessors, this thesis is going to adopt the reception aesthetics theory to investigate the translation of lexical gaps in the English version translated by Ying Ruocheng. It will cover the basic outline of the theory itself, classify the lexical gaps in the work as it gives an overview of all the lexical gaps in the book and finally discuss the translation strategies used in Ying’s processing of the lexical gaps.

===Reception Aesthetics Theory===
Reception aesthetics is a theory of literary criticism raised by the German literature theoretician and aesthetician Hans Robert Jauss in the 1960s, in which the focus of literary studies is shifted from the author and text to the reader. It emphasizes reader's participation and acceptance during the text understanding, by shifting the central position of studies from the author and work to the reader. It claims that only the works that have been comprehended and delivered by readers possess artistic value and meaning.

'''2.1 The Role of Readers'''

“Literature and art only obtain a history that has the character of a process when the succession of works is mediated not only through the producing subject but also through the consuming subject, through the interaction of author and public” (Jauss 1989:43). Here the "consuming subject" refers to readers. Reader-centred status is underlined and more attention should be paid to reader's active role, subjective reception ability and creativity in literary works.

Reception aesthetics believes that the reader is an active or determinant factor in the process of text interpretation. In the process of translation, translator, as a reader, can only enter the world of text based on the vision developed by his pre-understanding and abilities. In the process of realization, the translator's pre-understanding plays an important role. The translator's pre-understanding and ability determine his understanding of the text world. It can be seen that in order to promote the meaning of the text, translators must pay attention to their own pre-understanding and the horizon of expectations of the reader. The translator must deeply understand the similarities and differences between the two languages in terms of language, history, and culture. They should use their subjective initiative and appropriately adjust their translation strategy to fill the gap in text understanding. After entering the text world, translators begin to analyse, judge and summarize until they are integrated with the text horizon. Iser believes that literary texts have a structural "blank". The so-called "blank" is the unwritten or unclear part of the text. Only in the specific process of reading and the reader's participation, these “blank” can be filled or explained.

To sum up, three points should be paid attention to in the process of translation. First of all, the interpretation of the original text is open. Secondly, the translator as a reader has a subjective position during the translation process. Thirdly, target readers' responses should be taken into consideration. Reception Aesthetics enables the translation work to centre on readers instead of texts. Therefore, the translator believes that the excerpts of this book can achieve its translation goal under the direction of reception aesthetics theory.

'''2.2 Blank'''

Reception aesthetic theory advocates the openness of the text, which undoubtedly helps to define the text in the process of translation. The text of literary works is a complex system full of blanks and uncertainties, which resonates well with the concept of “vacancy” or “gaps” this thesis is going to talk about. And according to Iser, the meaning of the works is not included in the text itself, but is obtained during reading.

Due to the uncertainty of the meaning of the text, there is no definite answer to the understanding of literary texts, so there is a saying that "a thousand readers have 1000 Hamlets". As far as translation is concerned, the uncertainty and openness of the text are the important reasons that lead to interpretative interpretation. It provides a broad space for translators to give full play to their imagination in the translation process, so that translators can interpret the text from different perspectives, thereby forming different translations.

'''2.3 Horizon of Expectation'''

Horizon of expectation is another important concept of reception aesthetics theory, which includes three kinds of meaning. Firstly, based on the readers experience, the horizon of expectations can be formed before reading. Secondly, even a literary work appeared in a new form, it cannot be regarded as absolutely new in the information vacuum. It reminds readers of the past reading memories and brings readers to a special feeling, and then calls for the expectations. At last, the horizon of expectations is changed accordingly.

There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text. As the source text is Chinese drama aimed for a larger audience abroad, more attention should be paid to its audience.

===An Overview of Lexical Gaps in ''Teahouse''===
''Teahouse'', a three-act play, is one of Lao She's most successful plays which represent the highest artistic achievement of Chinese drama writing. At that time, a teahouse is not only a place for the customers to kill time, but an epitome of Chinese society. The dialogue between characters has the unique national characteristics. It summarizes the sharp antagonism and conflict of various social strata and forces in China, and reveals the historical fate of semi-feudal and semi-colonial China.

'''3.1 The Definition of Lexical Gaps'''

As was mentioned in the first chapter, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field. Lexical gaps, therefore, are in essence the embodiment of cultural vacancies at the vocabulary level.

'''3.2 The Classification of Lexical Gaps'''

Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps. Here we will have a detailed discussion on them respectively.

Material lexical gaps refer to those words reflecting certain ways of life of a certain society, including things as daily material, tools of production and transportation, household appliances, products, food and so forth. For example, in ''Teahouse'', “盖碗茶” is unique to Chinese culture. Before the invention of this teacup, people could easily be burned or hurt when trying to drink from the tea bowl which was made of porcelain, and it could transmit heat quickly. To prevent getting hurt while drinking tea, ancient Chinese invented something similar to a wooden plate to support the tea bowl, which was becoming more and more delicate and eventually developed into the shapes and size that we see today. Obviously, “盖碗” is very culturally specific. The unique material life will produce the unique material culture. Here is a list of material lexical gaps appeared in ''Teahouse'':

盖碗茶 lidded cups of tea

绫罗绸缎 brocades

小叶茶 a cup of very best tea

马褂 jacket

满汉全席 imperial-style banquets

杂和面儿疙瘩汤 a bowl of dough drop soup with maize flour

五供儿 incense burner

纸钱 paper money

Social lexical gaps are the reflection of customs, ways of life, social life, historical background and behaviour of a nation or a country, including address and folk adage. The address can be a direct reflection of the personality of character. In ''Teahouse'', “唐铁嘴” is a fortune teller and a regular at the teahouse. His way of life was to persuade people to believe what he said, and to some extent he had to lie to make a living. “铁嘴” is literally a personal mouth made of iron, which is also a metaphor for the eloquent and plausibility of Mr. Tang. The list below provides an overview of social lexical gaps in the translated work:

相面/算命 fortune-telling

善扑营 Imperial Wrestler

说媒拉纤 go-betweens and pimps

庞太监 Eunuch Pang

唐铁嘴 Tang the Oracle

说评书的 story-teller

数来宝 improvised doggerel recitation

蹓鸟 strolling about with caged birds

北衙门 Northern Yamen

手相 palm-reading

“爷” master

旗人 bannerman

请安 bow

三教九流 people from all walks of life

Religious lexical gaps are those expressions relate to religion, for Chinese especially those words relate to Buddhism and Taoism. In ''Teahouse'', there are many lexical gap words related to the religious beliefs, for example, “念佛” means expressing sincere thanks to Buddha for all the good luck in your life. In Buddhism, “佛” refers to Buddha, an immoral person who is regarded by the Buddhists that can offer blessings to the human being. The following is a list displaying further religious lexical gaps in the work:

造化 a lucky fate

天师 Heavenly Teacher

“醉八仙” intoxicated eight immortals

财神龛 shrine of the god of wealth

念经 chanting Buddhist scriptures

八卦仙衣 special robes

Linguistic culture-loaded words and phrases reflect the characteristics of the phonetic, grammatical and formal systems of a certain language including pun and idioms. For example, in ''Teahouse'', the suffering Chinese drinkers who frequent Yutai always use “好死不如赖活着”(meaning “it is better to live in this world than to die under terrible circumstances”) to comfort themselves or others to show them the bright side and to endure seemingly persistent bad conditions. It is an idiom well reflects the wisdom and unremitting hope of the Chinese people in the act play, even when it was during the darkest times. Here are more examples of linguistic lexical gaps translated in the book:

化干戈为玉帛 restore peace

拿刀动杖 spoil for a fight

八仙过海，各显其能 try one’s best

“好死不如赖活着” a dog’s life’s better than no life

改良,改良,越改越凉!冰凉！ Reform indeed! Soon you’ll have nothing more left to reform!

“包圆儿” “it's all yours.”

According to calculation, there are altogether 34 lexical gaps in various in ''Teahouse'', of which the 14 social lexical gaps take the lead, accounting for about 41%, followed by 8 material lexical gaps which take up about 23%. There are only 6 religious and linguistic gaps, each of the two categories covering about 18% of all.

===The Translation Strategies of Lexical Gaps===
In 1995, American translator Lawrence Venuti discussed hand in hand invisibility in his work ''The Translator’s Invisibility'': domestication and foreignization. He (2008:15) bemoans the phenomenon of domestication since it involves ‘an ethnocentric reduction of the foreign text to receiving cultural values.’ Venuti allies it with Schleiermacher’s description of translation that ‘leaves the reader in peace, as much as possible, and moves the author toward him.’ Foreignization, on the other hand, ‘entails choosing a foreign text and developing a translation method along linnes which are excluded by dominant cultural values in the target language.’(ibid;242) From then on, domestication and foreignization were borrowed into the field of translation as two translation strategies.

According to calculation, of all the 34 lexical gaps in Teahouse, only three were translated using foreignization strategy, accounting for about 9%; the rest 31 lexical gaps taking up around 91% were translated under the guidance of domestication. Taking a closer look, there are 7 material lexical gaps out of 8, 13 social lexical gaps out of 14 and 5 religious lexical gaps out of 6 translated using domestication. All of linguistic lexical gaps were translated under the guidance of domestication strategy.
Given the translation by Ying Ruocheng was published and put into the market in the opening stage of the reform and opening-up in 1979, the sweeping domestication strategy applied in the translation is understandable.

'''4.1 Domestication'''

In the translation of lexical gaps, the translator adopted domestication strategy the most of times, which was especially true when it comes to the translation of linguistic lexical gaps. For example:

(1) ST：那总比没有强啊！好死不如赖活着，叫我自己去谋生，非死不可！

TT：Still that’s better than nothing! A dog’s life’s better than no life. If I were to earn my own living, I’d surely starve.

In this example, when dealing with the idiom“好死不如赖活着”，the translator didn't take it at face value reproducing it into“it is better to live in this world than to die under terrible circumstances”. Instead, he translated it based on his own pre-understanding as he took the readers’ expectation horizon into consideration. In selecting the similar expression“to live a dog’s life”from the target language, the translator managed to achieve fusion of horizons.

The phenomenon of homophones in Chinese linguistics is partly determined by the four tones in the language, each one containing a large collection of words capable of creating “puns” in daily use. For instance, the following marks a quotation taken from ''Teahouse'':

（2） ST：改良，改良，越改越凉！冰凉！

TT：Reform indeed! Soon you’ll have nothing more left to reform!

In the excerpt above, the Chinese characters“良”and“凉”are homophones with completely opposite connotations. Concerning this example, there was no equivalents in the target language able to convey exactly the same meaning. As a result, the translator dealt with the idiom liberally and represented the irony in the sentence thereby.

Unlike foreignization, domestication is more audience-friendly when it comes to understanding. However, this thesis believes that if the translator adopted the strategy of “overwhelming domestication” and used some expressions in the target language which failed to be the equivalent of the original, the meaning of the source text would be distorted, making it even harder for the translator to secure the readers’ horizon of expectation.

The following is an example taken from the translation of a material lexical gap “五供儿”:

（3）ST：娘娘，我得到一堂景泰蓝的五供儿，东西老，地道，也便宜，坛上用顶体面，您看看吧？

TT：Your Imperial Majesty, I managed to get hold of a set of cloisonne incense burners, five pieces in all. Antiques! The real thing! Dirt cheap too! Just right for the altar of our secret society. Why not have a peep of them?

Known as a set of vessels carrying the sacrifice during worship rituals in ancient China, “五供儿” first got its name from the amount of pieces of wares. In Teahouse, although the translation of “incense burner” kept some of its sacrificial usage, the actual meaning of the phrase was lost. After some research, therefore, the author believes it is more accurate if the translation would be changed into “sacrificial vessel”.

'''4.2 Foreignization'''

When it comes to the translation of “vacancy” or “gaps” in cross cultural communication, foreignization could help to narrow a bit through retaining the exotic feelings and traces of the original. However, little of lexical gaps in ''Teahouse'' were translated under the guidance of this strategy, which is partly due to the fact that most of the lexical gaps in the work were members of “absolute vacancy” which were unable to find their corresponding or even similar equivalents in the target language society. For instance, the material lexical gap“杂和面儿疙瘩汤”was translated literally into“a bowl of dough soup with maize flour”, an expression showing the ingredients of the snack. Meanwhile, the social lexical gap “北衙门” was translated into “Northern Yamen”, which combined both literal translation and transliteration conducive to meeting the innovative expectation of the audience of Beijing in modern China.

===Conclusion===
Drama is a unique literature genre with dual identities, both on the page and on the stage. The dual characteristics of dramatic text make drama translation distinct from other forms of literary translation. Reception aesthetics theory has practical guidance for the translation of drama works. Through the analysis of the translation strategies of various lexical gaps in ''Teahouse'', it has been found that at the early stage of reform and opening up when the Chinese literature was eager to go abroad and be well-received by the audience overseas, the translator had to adopt the strategy of domestication most of the time so as to cater to their horizon of expectation, even when it came to the translation of lexical gaps which may find no natural equivalents in the target language. Therefore, it could be concluded that translation literature is closely linked with politics, a notion echoing with the background witnessing the birth of reception theory.

The contents and key notions of reception aesthetics theory are discussed in this paper, which is helpful to have a more comprehension understanding of this theory. Then there is the definition and classification of lexical gaps in ''Teahouse''. As the treasure in the history of Chinese modern drama, the study of ''Teahouse'' is arousing more and more attention and academic interest both in China and abroad. Translation strategies --- foreignization and domestication in translation are highlighted in this paper, which has been elaborated by examples. In translation practice, only when the conceptual meaning and cultural meaning of lexical gaps are taken into account can the translator convey the meaning of words accurately and meet the readers’ horizon of expectation.

However, limitations are inevitable in this thesis due to the pressing time. Due to the writer’s limited knowledge and capacity, the analysis of the lexical gaps of ''Teahouse'' can never be all-inclusive. Yet it’s worth noting that researches on the Chinese drama ''Teahouse'' and the reception aesthetic theory should never come to a halt now that the background has changed from the way it used to be more than 40 years ago.

===References===
*Hall, Edward (1959). The Silent Language[M]. Garden City: Doubleday.

*Hockett, Charles (1954). Chinese Versus English: An Exploration of the Whorfian Theses[A]. Harry Hoijer(ed.). Language in Culture[C]. Chicago: University of Chicago Press.

*Jauss, Hans (1989). ''Question and Answer''[M]. University of Minnesota Press.

*Venuti, Lawrence (2008). ''The Translator’s Invisibility: A History of Translation''[M], London and New York: Routledge.

*Gao Fengxia 高凤霞. (2010). 跨文化交际中的文化空缺现象探讨[A Study of Cultural Vacancy in Intercultural Communication]. 社科纵横Social Sciences Review (03): 112-115.

*Lu Jun, Ma Chunfen 陆军, 马春芬. (2009). 从文化翻译观的角度看老舍《茶馆》两个英译本中文化信息的处理[Cultural information processing in Lao She's Two English versions of ''Teahouse'' from the perspective of Cultural Translation Theory]. 安徽文学Anhui Literature(10): 293-294.

*Jin Yan 金艳. (2022). 老舍《茶馆》翻译的文化记忆再现研究[A Study of Cultural Memory Representation in the Translation of Lao She's ''Teahouse'' ].中国朝鲜语文Korean Language in China(02): 83-89.

*Qu Suwan 渠苏婉. (2019). 接受美学视域下《茶馆》两译本中方言词汇的翻译[Study on the Translation of Dialect Words in ''Teahouse'' from the Respective of Reception Aesthetics]. 齐齐哈尔师范高等专科学校学报Journal of Qiqihar Junior Teachers' College (05):62-64.

*Xu Gaoyu, Zhao Qiuye 许高渝, 赵秋野. (2008). 俄罗斯心理语言学和外语教学[Russian Psycholinguistics and Foreign Language Teaching]. Beijing: Peking Univesity Press北京大学出版社.

*Yu Shan 于杉. (2015). 接受美学视角下《茶馆》两译本中文化负载词的比较研究[A Comparative Study of Culture-loaded Terms in Two English Versions of ''Teahouse'' from the Perspective of Reception Aesthetics].吉林大学Jilin University.

*Yu Yanqing 于艳青. (2016). 老舍作品《茶馆》的隐喻研究和文化解读——以霍华和英若诚英译版本为例[A Study of Metaphor Translation of Lao She’s ''Teahouse'' and Its Cultural Interpretation——A Case Study of Howard and Ying Ruocheng’s Versions]. 济宁学院学报Journal of Jining University(06):93-97.

===Terms and expressions===
Reception aesthetics theory 接受美学

Blank 空白

Horizon of expectation 期待视野

Fusion of horizons 视域融合

''The Translator’s Invisibility'' 《译者的隐身》

Material lexical gaps 物质类词汇空缺

Social lexical gaps 社会类词汇空缺

Religious lexical gaps 宗教类词汇空缺

Linguistic lexical gaps 语言类词汇空缺

===Questions===
1. How does the two reception activities work in the process of translation?

2. What is the definition of lexical gaps?

3. How many categories did the thesis divide the lexical gaps into?

===Answers===
1. There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text.

2. Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.

3. Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps.

==英语笔译肖佳莉 Xiao Jiali 202170081600 MW==

<center>'''The Canonization of Tao Te Ching'''</center>

<center>Xiao Jiali</center>

===Abstract===
Tao Te Ching can be divided into two parts.The first part of the moral Sutra is called the Taoist chapter, and the second part is called the moral chapter.The philosophical works written by Lao-tzu in Luoyang during the Spring and Autumn period.Taoism focuses on the view of the universe and nature.The moral focuses on social outlook and outlook on life. What does this mean?
First of all, we should know that all the schools of pre-Qin in China are concerned about the sociology of human relations, and almost no one cares about the problems of nature, which is in sharp contrast to ancient Greek philosophy. With the exception of Socrates, all the ancient Greek philosophers were concerned about the view of nature and the universe. Thales, the first philosopher in ancient Greece, left famous allusions, which were summed up by later generations into four words, called "looking up at the starry sky". However, it is strange that all the hundred schools in the pre-Qin period in China are all concerned with the sociology of human relations.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译谢晓莹 Xie Xiaoying 202170081601 CE==
<center>'''On the English Translation of The Analects in the Contemporary Era'''</center>

<center>谢晓莹</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译熊嘉玲 Xiong Jialing 202170081602 CE==
On the C-E Translation of The Book of Songs
<center>'''On the C-E Translation of The Book of Songs'''</center>

<center>Xiong Jialing</center>

===Abstract===
The traditional culture of the Chinese nation is a cultural treasure house with long history. In this treasure house, the variety of classical literature, especially the elegant, beautiful and profound ancient poetry, is undoubtedly the most dazzling pearl. As the source of Chinese literature and the prototype of classical poetry, The Book of Songs is one of the oldest collections of poetry in the world, dating from about the same time as Homer's Epics (about 8th to 6th centuries BC). The Book of Songs "embodies the Confucian thought of cultivating one's moral character, putting one's family affairs in order, and governing the country with rites and music" (Wang Rongpei, Ren Xiuhua,1995: Preface 1). As one of the Confucian classics and the oldest textbook in China, The Book of Songs plays a very important role in Chinese culture, so its English translation is bound to build a bridge for westerners to understand and appreciate traditional Chinese culture.
===Key words===
The Book of Songs; poetry; traditional Chinese culture
===Introduction===
The Book of Songs, the earliest collection of poems from the beginning of ancient Chinese poetry, has collected 311 poems from the early Western Zhou Dynasty to the middle of spring and Autumn Period (11th to 6th century BC), among them 6 for sheng poems, namely the title only, no content, known as sheng six poems. Some scholars argue that the poems actually date“from 1713 BC (hymn 304 'Rise of the House of Shang') to 505 BC(song 133 'Comradeship')"”(Xu,1994:17). The authors of The Book of Songs are unknown, and it is said to have been collected by Yin Jifu and compiled by Confucius. In the pre-Qin period, The Book of Songs was called Shi, or Three Hundred Poems. In the Western Han Dynasty, the Book of Songs was regarded as a Confucian classic.

Whether Confucius was in charge of the compilation of The Book of Songs is difficult to be verified, but it is true that this anthology was highly admired by him and has an indispensable position in Confucian classics. In The Analects of Confucius, he says that a man ignorant of the“three hundred poems”was “like one who stands with his face towards a wall，limited in his views, and unable to advance”(Legge,1960a:prolegomena 7). In his opinion, reading the songs can "enable us to incite other men to desirable courses, help us to observe accurately their inmost feelings and to express our won discontents, to do our duty both to parent and prince, and finally to widen our acquaintance with the names of birds, beasts, plants and trees”(Waley，1960:335). Thus, it was applied as one of the major textbooks by Confucius and his followers for moral educations.

To some degree, classical Chinese poetry is the most expressive and the most charming literary form in Chinese literature. The charm of ancient Chinese language comes from classical poetry, which mainly refers to Shi of the Tang Dynasty (618-907 AD), Ci of the Song Dynasty (960-1279 AD), and Qu of the Yuan Dynasty(1206-1368 AD). All these three forms had their origins in The Book of Songs. There appeared many prominent poets who have won immortal fame, such as Li Bai, Du Fu, and Bai Juyi, and the poems written by them have become the most precious literary relics in Chinese history.(Yan, 2006)

Besides its educational and literary function ,The Book of Songs is also like a window through which we can appreciate the splendor of Chinese civilization over 2,500 years ago. Those poems reflect various aspects of Chinese life at that time. Some depict emotion and feeling of people of different classes of the society, and some describe events and issues of state. Different kinds of buildings, food, musical instruments, metals, clothing, etc. are frequently reported by those poems. It is an invaluable resource for those who long to get a deep understanding of the ancient Chinese civilization.

In terms of content, In The Great Preface of the Poetry of Mao, there is the following statement: "Thus it is that in the [Book of] Poems there are six classes:-- first, the Fung; second, descriptive pieces; third, metaphorical pieces; fourth, allusive pieces; fifth, the Ya; and sixth, the Sung.(故诗有六义焉，一曰风，二曰赋，三曰比四曰兴，五曰雅，六曰颂。)(Legge,1960a:prolegomena 34)And in the same page, he adds,"... the names Fung, Ya, and Sung are those of the three Parts into which the She-king is divided，intended to indicate a difference in the subject-matter of the pieces composing them; while Foo, Pe, and Hing are the names applied to those pieces,intended to denote the form or style of their composition. They may, all of them, be found equally in all the Parts. (ibid.)

This is a common opinion held by most scholars. In other words, Feng, Ya and Song refer to the three sections of The Book of Songs; while Fu,Bi and Xing are the artistic features used by the poets in composing those poems.(Yan, 2006)

===The History of English Translation of The Book of Songs===
Though Chinese poetry has a tradition of about 3,000 years, the time when Chinese poetry was introduced into the english-speaking world, dating back to the late 16th century. The book written by G. Putenham, published at 1589, was the first to introduce Chinese poetry and translated two poems.(Huang,1997:50).

Since the 17th century, Christian missionaries in China have become the earliest messengers of cultural exchanges between the East and the West. These missionaries, in order to make the west understand and learn more from China, but also to promote Christianity, began to translate Confucian classics. As a Confucian classic and the source of Chinese literature, the Book of Songs is highly paid attention to.

In 1626, the Belgian Nicolas Trigault translated the Five Classics, including the Book of Songs, into Latin. It is the earliest known Western translation of the Book of Songs. A Frenchman, J. H. Mariede Bremare, came to China in 1698 and translated eight poems from the Book of Songs. The translation was collected by French missionary and Sinologist Du Haldle and published in Paris in 1735 in The General Annals of China. It was translated into English by R. Brokes in 1736 and E. Cave in 1738 respectively. In 1829, J. F. Davis, a British Sinologist, took the Book of Songs and the folk songs of the Qin to The Six Dynasties as examples to discuss the Chinese poetry pattern in his monograph Interpretation of Chinese Poetry, creating the first translation of source text of the Book of Songs into English.

In the 19th century, with the expansion of Britain, France and other capitalist countries to China's power, The European "sinology fever" further heated up. People's understanding of the Book of Songs gradually got rid of the shackles of early church scholarship and began to explore the value of this ancient poetry collection from the perspective of culture and literature. At this time, the translation of the Book of Songs flourished, with complete translations available in all major European languages.

In 1871, British Sinologist James Leggle (1814-1897) published his The She-King in London. It was The first complete English translation of The Book of Songs, and it was a milestone in The history of The English translation of The Book of Songs. With a solid foundation in Chinese and the help of Wang Tao, a Chinese scholar from Jiangsu province, He was able to translate the poem faithfully. Leggle's translation not only provides the text for English readers to read the Book of Songs, but also shows the rich connotation of the Book of Songs. It has a great influence in Europe and has become the English classic of Sinology. Many later translations have drawn on it.

The Shi King by William Jennings, a Briton, was published in 1891. He was inclined to rhyme translation, and The translated poems adopted The form of ballads with interlaced rhymes, which had a quaint flavor of traditional English poetry. In 1891, Alan (C. F.R. Allen published his English translation of The Book of Songs (The Shih-ching) in London. He also adopted rhyming translation, but in order to harmonize rhyming, he often adopted some flexible methods, such as replacing biological proper names with general reference. His translation makes many changes to the original, with additions and deletions, bordering on rewriting.

In the late 19th century, a certain number of selected translations of The Book of Songs were published. A typical translation is by Herbert A. Gilles (1845-1935). Gilles Is a famous British Sinologist and former British Consul in China. He is familiar with Chinese language and fond of Chinese literature. He has long devoted himself to the translation and research of Chinese literature.

In the first half of the 20th century, the English translation of The Book of Songs flourished and appeared in large number of full and selected translations. These translations were more and more faithful, elegant and expressive. One of the most representative works is the translatitons of Arthur Walley, 1889-1966) and Bernhard Karlgren (1889-1978).

Walley is a famous British Sinologist. He began to study and translate the Book of Songs in 1937 and published it in London. Walley focus on the literariness of the Book of Songs. Therefore, fifteen political plaintive poems with little literary interest were deleted in translation. The rest of the works were broken the original Feng, Ya and Song to the arrangement of the order, according to the theme rearranged, divided into courtship, marriage, warriors and wars, farming, feasting, singing and dancing. This is convenient for readers to understand the ideological and artistic nature of the original poem from the literary perspective.

As a world-renowned Swedish Sinologist and linguist, Karlgren came to China to study Chinese for six years and has a profound knowledge of ancient Chinese books. He believed that the book of Songs was produced in a long time, and the text was complicated. Only by mastering the traditional Chinese exegesis and phonology methods, supplemented by the scientific methods of modern linguistics, and really understanding the text, can the book of Songs be translated better. For this reason, he spent a lot of time on the interpretation of the book of Songs, and annotated the book with a rigorous and scientific attitude. In 1946, he published Commentaries on the Book of Songs in Stockholm. It represents the highest level of research on the Book of Songs in The Sinology circles of Europe at that time, and is still the classic of English annotations on the Book of Songs until today.

In the second half of the 20th century, international poetics research centers moved from Europe to the United States. The study of the Book of Poetry in The United States can develop comprehensively and deeply from a higher starting point due to its advantages in capital, talents and materials, as well as the input of Chinese American scholars and the application of new theories and methods. Many scholars of the Book of Songs, such as J. R.Hightower and W. McNaughton, have been translating the book into English simultaneously.

Ezra Pound (1885-1972), a famous American poet and translator, was the representative figure in translating the Book of Songs into English in this period. In 1908, he went to England and became the leader of modern poets in London. He loved ancient Chinese culture all his life. As early as 1915, when Pound could not speak Chinese, he translated 19 ancient Chinese poems, including the Book of Songs, on the basis of the will of American orientalist Ernest Fenollosa (1853-1908). The publication of Cathay was not faithful to the original in translation and was largely a re-creation of the author. This book has become the representative work of Imagist poetry in Britain and America, and has far-reaching influence. (Bao Yanxin, Meng Wei, 2002)

Compared with the various translations of the Book of Songs in Europe and America, there are not many local translators and translations in China. There are two complete English versions of The Book of Songs translated by native Chinese scholars: one by Prof. Xu Yuanzhong, and the other by Prof. Wang Rongpei and Prof. RenXiuhua. The former was published in 1994 by the Chinese Literature Press, and the latter in 1995 by the Liaoning Education Publishing House.(Yan, 2006)

===An Introduction to Four English Translations of The Book of Songs===
The four translation versions analyzed in this paper are ：Firstly, The She King: Or The Book of Ancient Poetry by James Legge; Secondly, Shih-ching: The Classic Anthology Defined by Confucius by Ezra Pound; Thirdly, The Book of Poetry by wang Rongpei; And a 1993 translation of Xu Yuanchong's Book of Poetry.

The She King: Or The Book of Ancient Poetry by James Legge were published in 1871, 1876 and 1879 respectively. The 1871 edition is a complete translation of blank verse, and its style features are mainly reflected in three aspects. First, the introduction is detailed and lengthy. The 182-page introduction includes five chapters, seven sections and seven appendages, which respectively introduce the compilation, contents, annotations, rhyme and rhythm of the Book of Songs. Secondly, the text part has corresponding translation and critical notes. On each page of the text, the Chinese original text is listed first, in the form of vertical song style sections, with the Corresponding English original text in the middle and the comments at the end. In addition, the translator's treatment of "preface" adopts the form of appendix and explanation, or occasionally add personal understanding. In addition, the translator also compiled three indexes after the main text, namely, the English subject index, the English proper noun index and the Chinese phrase index, which provided great retrieval convenience for overseas researchers of the Book of Songs. The 1876 version is different from the 1871 version in style and many other aspects. The 1876 translation is a complete version of the rhyme system, showing a strong English poetic style. Although there is an introduction to this edition, it has been simplified. The translated contents of the main text are still arranged in the traditional order of the Book of Songs, but the answers to the questions are generally shortened. The original text and lengthy notes of the Book of Songs are missing, and there are only two parts left in the index: the English subject index and the English proper nouns index. The 1879 edition is an selected translation of the prose style, and its influence is relatively small.(Liu, 2016）

James Legge spent more than fifty years, built a bridge between Chinese and western, his life is from the missionary to the Sinologist's life, his life activity, began to preach Christianity to the east, but is prominent in the dissemination of Chinese culture to the western has more than one hundred years, his translations is still considered the standard translation of Chinese classics, He ended the amateur study of Chinese literature by western scholars and embarked on the road of specialization.
Pound's English translation of The Book of Songs came into being with the second World War. The outbreak of the Second World War made the poet Pound realize the collapse of the western moral system, so he eagerly hoped to introduce Chinese Confucianism to the West through translation, and rebuild the western moral system.

His translation of The Book of Songs not only reproduces the image of Chinese poetry collected in Cathay , but also shows his strong appreciation for the sound effects and phonological masks of ancient Chinese poetry. Pound's English translation of Chinese classical poetry not only introduces Chinese culture well, but also properly applies the essence of Chinese poetics to the development of Modern English poetry, and at the same time shows his creative translation method. This creative English translation has formed a translation trend in the United States for a period of time.(Wang, 2005)

Pound's translation has two main characteristics: one is to make use of the past to compare to the present to spread Confucianism, and absorb the essence of Confucianism to rebuild the value system of the West. The other is to promote the development of imagist poetics. Pound's translation follows the principles of imagist poetics and adopts a highly imagistic translation method to make the translation full of poetics, thus becoming the first choice in the study of poetic image.

In 1995, the Liaoning Education Publishing House published The Book of Poetry (Chinese-English bilingual version) by Prof. Wang & Prof. Ren. It is a thick book of 1657 pages, divided into four parts: prefaces, verses, appendices and references. There are two simple prefaces of 10 pages, one written by X.Y.Z. in Chinese, and the other by the authors in both Chinese and English. The poems are written according to the original sequence in both Chinese and English,and after each poem, there is a very brief annotation concerning the contents of it. The unique point of Wang's version is that under each Chinese character, there is the Chinese Pinyin to show the pronunciation of the character. In the Appendices, there are three kinds of indexes of first lines: English-Chinese, Chinese-English and in order of Pinyin.This makes it very easy for the reader to locate the poem.Wang's English version is a plain and natural one, close to the simple style of the original songs.(Yan, 2006)

The English translation of The Book of Songs by Wang Rongpei and Ren Xiuhua is the second complete English translation of the Book of Songs by A Chinese author after Xu Yuanchong. Wang and Ren were among the first scholars to emerge from new China. Wang Rongpei graduated from Shanghai International Studies University in the early 1960s. He studied postgraduate courses under ge Chuan, a famous scholar of the older generation in China. He is a well-known contemporary translator with extensive knowledge and abundant writings. On the basis of summing up the gains and losses of previous translators, their translation of the book of Songs and the culture of The Times, combined with their own unique aesthetic observation, makes the translated poems present a fresh, natural and smooth style. The flexible and ingenious art of translation reveals the translator's unique artistic ingenuity in the reconstruction of images, the transmission of beauty and the elucidating of meaning and interest. After that, this translation does have new pursuit and improvement in artistic aspect.(Bao Yanxin, Meng Wei, 2002)

Wang Rongpei's translation of The Book of Songs is deeply influenced by the theory of traditional Chinese artistic realm. He attaches importance to the "verve" of ancient Chinese poetry and tries to reconstruct the unique form characteristics of the Book of Songs in his translation, which reflects the cultural consciousness of the Chinese translators to explore the translation theory of Chinese classic books based on the standpoint of Chinese culture.

"The Three Beauties Theory” is the ontology of Xu Yuanchong's translation theory, which is also the highest standard of poetry translation proposed by Xu Yuanchong. The "three beauties" refer to "beauty in sense", "beauty in sound" and "beauty in form" respectively. "beauty in sense" mainly means that the translated poem should be as touching as the original poem, and the translated poem should be consistent with the original poem in spirit or substance. "beauty in sound" means that poetry should be well-tuned, rhymed, smooth and easy to listen to; "beauty in form" mainly refers to the "antithesis" or "general orderliness" of poem lines (Xu, 1984).

Xu yuanchong graduated from Southwest Associated University in his early years, and later went to Paris University to study. After returning to China in 1950, he taught English and French in foreign language schools in Beijing, Zhangjiakou in Hebei province and Luoyang in Henan Province. In 1983, he was transferred to Peking University. In the past 20 years, he has published more than 40 translated works, starting from "The Book of Songs" and "Ci of Chu", to the modern huang Xing, MAO Zedong and other people's poetry selected into English verse and French verse published. The translation of Chinese and foreign literary masterpieces and the promotion of Chinese culture are his persistent goals.(Bao Yanxin, Meng Wei, 2002)

Xu Yuanchong's translation of the poems strictly follows the theory of "three beauties", striving to achieve beauty in sound, meaning and form, which not only effectively conveys the meaning and rhythm of the original poem, but also preserves the rhythm and rhetoric of the poem, reproducing the beauty of the original poem, making it catchy and memorable to read. Xu Yuanchong's translation practice illustrates the translatability of poetry, with beauty in sense, sound and form being the criteria for poetry translation and the goal to be pursued. The sense is the soul of the poem, the essence of the poem. Sound and form are also essential to poetry, so in translating poetry, it is important not only to pursue the beauty of sound and form, but also to attach importance to the subjectivity and creativity of the translator.(Wang, 2011)

In his translations, Mr Xu partially adopts domesticating translation. As the source language and the target language are of different times and cultural backgrounds, the translator must also translate the original poetry from the reader's perspective, so that the reader can grasp the understanding of the original text, while at the same time being faithful to it. The translation of the Poems by James Legge mostly adopts the literal translation method, faithfully preserving the original cultural imagery and adding detailed notes and commentaries, without considering the domesticating translation method and the rhythmic beauty of the original poem, which makes it difficult for readers who do not understand their own culture to understand the contextual beauty of the original poem. Both translations are of great academic value to the study of The Book of Songs.

Xu Yuanchong's translation of The Book of Songs aims to promote the excellence of traditional Chinese culture and to develop literary translation into translated literature in the target language. Xu Yuanchong was very concerned with the 'Western transmission' of The Book of Songs, and since the Western reader was an important force in the spread of culture, he adopted a translation strategy based on domesticating translation. Xu Yuanchong's profound knowledge of Chinese and English and his poetic sensibility enabled him to regenerate the cultural ideas and artistic values of The Book of Songs in a foreign soil.

===The Significance of Translating the Book of Songs into English===
The Book of Songs is the earliest collection of Chinese poetry, which contains more than 300 classical Chinese poems in the five hundred years since the western Zhou Dynasty. It is famous at home and abroad for its unique beauty of rhythm and occupies an important position in traditional Chinese culture. In order to promote more effective, diversified and multi-perspective dissemination of China's excellent traditional classics, it is necessary to increase the multi-perspective research on the translation of classic books, which is an important part of Chinese culture going abroad. Therefore, the in-depth study of the Book of Songs and its English translation is of great significance and value. The theoretical value of The Book of Songs is also reflected in the fact that its 305 poems contain abundant images of animals and plants. According to the statistics of Mr. Hu Miao, a famous agronomist, there are 141 mentions of animals, a total of 492 times, involving 133 species; 144 articles mentioned plants, 505 times in total, involving 152 species. In addition, the classification of names is very fine (Chen, 2017 (3) : 61). Some medicines recorded in The Book of Songs are still commonly used in traditional Chinese medicine today, which is undoubtedly a model reflecting the value of traditional Chinese medicine. Li Shizhen, a famous ancient doctor, widely quoted The Book of Songs in Compendium of Materia Medica, and the Book of Songs became the best evidence for Li Shizhen to explain the medicinal names of plants and animals (Zhou, 2010 (12) : 3369). The medicinal names in The Book of Songs are also of great literary value, which reflects another unique phenomenon in traditional Chinese culture, that is, the ancient literati's "combination of Confucianism and medicine". Since ancient times, the ancient scholars of our country have "not for good to save the country, but for good doctors to save the people"（不为良相救国，便为良医救民）, so there is no lack of traditional Chinese medicine content in the literary creation of the ancient literati "patriots". According to the statistics of scholars, there are 41 kinds of medicine names quoted in the Book of Songs, thus it can be seen that the Book of Songs is not only the source of Chinese poetry, but also the cultural source of integration with traditional Chinese medicine culture.(Qu, 2018)

The so-called historical culture refers to the culture formed by the specific social development process and the accumulation of social heritage. Different nations and countries have different historical backgrounds and different historical cultures accumulated in their long history of development. Poetry is one of its important forms of expression. It can be said that poetry is the treasure of history and culture. It has a strong national culture personality, contains rich historical and cultural information, and can best reflect the characteristics of different history and culture. However, due to the unique wording and profound cultural connotations of Chinese classical literature works, there are many obstacles in the process of foreign language translation, such as language, rhetoric, cultural concepts, etc. In order to translate these poems properly and reasonably, we must understand the rich historical and cultural connotations hidden behind them and master appropriate translation methods.(Huang, 2008)

As treasures in the history of Chinese national literature, Chinese classical literary classics have been translated into various languages by Chinese and foreign translators and spread to all over the world with their unique linguistic art and cultural accumulation, and are highly respected by literature lovers in different countries. Among the excellent Chinese classics, there are many chapters explaining the excellent cultural genes such as "fraternity" and " harmony". The Book of Songs is the classic of Chinese culture, which contains rich national spirit and culture. These precious cultural wealth is a powerful magic weapon to enhance China's comprehensive national strength and improve China's coping ability. Translating traditional Chinese classics is a good opportunity to spread Chinese stories and propagandize Chinese ideas. We should pay attention to the translation of The Book of Songs, tell Chinese stories well, and let the world hear the voice of Chinese culture.

The English translation of The Book of Songs has come a long way. In the future, while continuing the previous studies, we should conform to the needs of the development of The Times, explore the value of The Times from different aspects of the Book of Songs, and promote the diversified interpretation of the Book of Songs into English.

Poetry, as a kind of literary form expressing human emotions and thoughts, can have deep cultural roots in the specific object of expression, and is a highly condensed language artistic expression that embodies the essence of a specific culture. Cross-cultural translation of Chinese poetry is of great guiding significance.(Huang, 2008)

===Conclusion===
This paper gives a general description of The Book of Songs, from the overall introduction of the Book of Songs, the historical development of the English translation of the Book of Songs, the characteristics of the four English translations of the Book of Songs, to the significance of the English translation of the Book of Songs. We can better understand the history of the Book of Songs and its translation into English, as well as its important role in promoting the spread and development of Chinese culture. The poems written by ancient people are full of the historical and cultural connotation and local customs of that era. As precious cultural heritage, they are worth our careful reading, savoring and appreciation.
===References===
*Legge, James(1960a). The Chinese Classics,Volume 4. Hong Kong: Hong Kong University Press,prolegomena 7
*Waley, Arthur(1960). The Book of Songs. New York: Grove Press,Inc, 335pp.
*Xu, Yuanzhong(1994). An Unexpurgated Translation of Book of Songs. Beijing: Chinese Literature Press, 17pp.
*Bao Yanxin, Meng Wei包延新, 孟伟(2002). 《诗经》英译概述[Overview of English Translation of The Book of Songs]. 晋东南师范专科学校学报Journal of Southeast Shanxi Normal College(06): 36-38.
*Chen jia, zhang ling陈佳, 张凌(2017).《诗经》动植物英译生态翻译探微[On the Ecological Translation of The Book of Songs into English]. 河南机电高等专科学校学报Journal of Henan Mechanical and Electrical College3(25): 61-65.
*Huang Mingfen黄鸣奋(1997)．英语世界中国先秦至南北朝诗歌之传播[The Spread of Poetry from Pre-Qin to Northern and Southern Dynasties in The English-speaking World].贵州社会科学Guizhou Social Sciences(2): 50pp
*Huang Xianwen黄贤文(2008). 跨文化对中国诗歌英译的指导意义[The Guiding Significance of Cross-cultural Translation of Chinese Poetry]. 福建商业高等专科学校学报Journal of Fujian Commercial College(01): 116-119.
*Liu Yongliang刘永亮（2016）. 理雅各《诗经》翻译出版对中国典籍走出去之启示[The enlightenment of The translation and publication of James Leggett's Book of Songs on the going abroad of Chinese classics]. 中国出版China Publishing Journal(13): 63-65.
*Qu Qianqian曲倩倩(2018). 《诗经》的文学价值及其英译[The Literary Value of The Book of Songs and Its English Translation]. 青年文学家Youth Literator(29): 96pp.
*Wang Guiming王贵明(2005). 论庞德的翻译观及其中国古典诗歌的创意英译[Pound's View on Translation and His Creative Translation of Chinese Classical Poetry]. 中国翻译Chinese Translators Journal(06): 20-26.
===Terms and expressions===
Homer's Epics 荷马史诗

sheng poems 笙诗

Five Classics 五经

The General Annals of China 《中国通志》

sinology fever 汉学热

Cathay 《神州集》

Compendium of Materia Medica 《本草纲目》

===Questions===
1. When did the British Sinologist James Leggle (1814-1897) publish his The She-King?

2. What are the main characteristics of Pound's translation?

3. What theory did Xu Yuanchong's translation of the poems strictly follows?

===Answers===
1. In 1871, British Sinologist James Leggle (1814-1897) published his The She-King in London.

2. One is to make use of the past to compare to the present to spread Confucianism, and absorb the essence of Confucianism to rebuild the value system of the West.The other is to promote the development of imagist poetics. Pound's translation follows the principles of imagist poetics and adopts a highly imagistic translation method to make the translation full of poetics, thus becoming the first choice in the study of poetic image.

3. Xu Yuanchong's translation of the poems strictly follows the theory of "three beauties", striving to achieve beauty in sound, meaning and form, which not only effectively conveys the meaning and rhythm of the original poem, but also preserves the rhythm and rhetoric of the poem, reproducing the beauty of the original poem, making it catchy and memorable to read.

==英语笔译杨心怡 Yang Xinyi 202170081604 MW==

The Source of China Children's Literature and the Dilemma of Its Translation

==英语笔译杨紫微 Yang Ziwei 202170081605 CE==

<center>'''The English Translation of the Names in A Dream of Red Mansions from the Perspectives of Domestication and Alienation'''</center>

<center>Yang Ziwei</center>

===Abstract===
"A Dream of Red Mansions" is a great work of high ideological and artistic quality. There are many characters in the book, including more than 300 people with names. Some of the names of these characters are allusions to classics, and some borrow homophonic techniques, and these names also suggest backgrounds, identities, characters and fates of the characters. Cao Xueqin is unique in naming characters. However, due to the cultural background differences in the translation process, it is often difficult for translators to accurately translate the true meaning hidden behind names. Based on this, this paper intends to analyze the characteristics of people's names in A Dream of Red Mansions and explore the translation art of people's names in its English version. In addition, this paper compares Hawkes and Yang Xianyi's translation methods and rules in name translation from the perspective of domestication and alienation, so as to increase its fluency and readability and promote the spread of Chinese culture.

===Key words===
A Dream of Red Mansions;Domestication and Alienation;Name translation.

===Introduction===
A Dream of Red Mansions is one of the four great classical novels in ancient China. Written in the late feudal society, it systematically summarizes the cultural system of Chinese feudal society, deeply criticizes all aspects of the feudal society, and reaches the peak of ancient Chinese literary creation in terms of language and artistic aspects. On the one hand, the English version of A Dream of Red Mansions has provided western readers with an opportunity to understand Chinese culture, and on the other hand, it has made remarkable contributions to the cultural exchanges between China and the West. There are many characters in A Dream of Red Mansions. Cao Xueqin, the author, gives the characters distinctive characteristics with his ingenious naming techniques. Some of them quote ancient poems and some use homophony. The identity, character and even the whole life and destiny can be seen from the names. It is indispensable to understand the deep meaning of characters' names for grasping the connotation of literary works and letting English language readers understand the feudal culture of China.
In the 1980s, there appeared a complete English translation of A Dream of Red Mansions, the two most famous English translations nowadays which from Yang Xianyi and Hawkes. When translating the names of people in books, Yang xianyi and his wife mainly use transliteration of names, while Hawkes adopts the strategy of transliteration of main characters and free translation of secondary characters. Based on this, this paper analyzes hawkes and Yang Xianyi's translation of names from the perspective of domestication and alienation in order to explore the gain and loss of their translation of names.

===Literature Review===
To promote intercultural interaction, introducing Chinese culture to the world is important and urgent. Due to differences in cultures and languages in different countries, the most feasible and efficient way is to translate Chinese books for foreign readers. Chinese Classic literature is an insignificant part of Chinese culture, which plays an important role in this cultural communication, so translation of literary works is in desperate need.
Among all the literary works, A Dream of Red Mansions, as the Four Greatest Classic Novels, draws more and more attention from translators because of its artistic language, significant cultural values concerning aspects such as culinary, clothing, building, economy, politics, morality and so on. According to the view in Translation Strategies of Chinese Names in A Dream of Red Mansions, it is a rare book that deepens one’s understanding of the meanings of being human. Thus the translation of it is indisputably the greatest work among all the classic Chinese novels.
Acknowledged as a pinnacle of Chinese novel, A Dream of Red Mansions is a mixture of realism and romance, psychological motivation and fate, daily life and supernatural occurrences and the more than 400 names of characters in this novel represent the artistry of Chinese naming. Cao Xueqin deliberately located connotations and special functions in these names through their sounds and forms, giving them evocative and associative meanings and communicative functions.
As the symbol of human life, a name reflects elements of culture. As carriers of the writer’s values, ideas, artistry and creativity, names in literature which are associated with theirs scenarios, play active parts in the development of the story. In other words, naming is a kind of writing device to describe characters and present the theme. As a matter of fact, writers can give characters names which characterize them with associative cultural allusions. Because of its uniqueness, a personal name is a sign which distinguishes one person from the others. In addition, names especially those of literary figures possess special connotations concerning identity,status, personality physical features, fate and the theme. But it also brings great difficulties for translators to do translation.
To solve this problem, I choose name translation of this novel as my research target and compare translation strategies of Yang Xianyi and David Hawkes in the process of translating names in A Dream of Red Mansions.

===Methods and Theories===
This paper uses a text comparison analysis method, from the perspective of domestication and alienation, compares and contrasts the two English translation versions of Hawks and Yang Xianyi to analyze their translation methods and effect in name's translation of A Dream of Red Mansions. And this paper also compares the advantages and disadvantages of the two versions to explore how to output a high quality of the translation of Chinese classics as well as promote foreigners' understanding of Chinese classics. This thesis applies the theories of domestication and alienation in translation.

===Subtitle 1===
1. Significance and Characteristics of Personal Names

As an important form of cultural carrier, name has a long history of development and rich cultural connotation. The etymology of people's names is very extensive, and there are many allusions involved in it. The cultural capacity is huge and changeable, so the study of name's culture and translation of it is of great theoretical significance and practical value.

Literature, in essence, is also "human studies". The creation of literary works has always been centered on the description of "characters", which reflects the social reality through the characterization of characters. In general, in order to describe the characters' personalities more deeply, and to hint at their experiences, fates and endings, the author always chooses the names of the characters carefully. To some extent, text or narrative analysis usually follows a basic principle, that is, choosing names is an important technique in shaping characters' images, and each name has the function of showing characters' personality, vitality and fate.

As for siginificance of names in the work, Cao Xueqin's characters in A Dream of Red Mansions can be divided into three categories: the first category is the name indicates the development of the story. These symbolic names are usually named with homonym, that is, the sound of name reveals the connotation meaning of it which is the combination of sound and meaning. Such as “甄士隐” in the work, its homophonic meaning is "true things hidden"; “贾雨村”, that is "false language exists ", means to compile a story with false language. The second type is the name of the character indicates the fate and outcome of characters. Such names often indicate the author's laments for the tragic fate of the characters in the stories. For example, the names of “元春”，“迎春”，“探春”and“惜春”in Jia Family adopt the artistic technique of hidden pun, and the homonym of them when they are read together is “原应叹息”(Yuanyingtanxi) which means one should sigh(Qin Qiyue,2016). The third one is the personality and image implied by the name of the character. Cao Xueqin also used characters' names to introduce the characters' images and personalities suggestivingly. At the same time, through the names of these characters, readers can feel the author's basic attitude towards these characters, such as “贾敬” in the work, its homonym is "false dignity", suggesting that the character does not care about the world's psychological state; There is also “贾赦”, homophonic for "lustfulness", suggesting its lustful personality characteristics. It can be seen that names have irreplaceable functions and values in A Dream of Red Mansions.

In the aspects of characteristics, there are also three types of names: the first one is using homophonic names. For example, the homonym of “贾雨村” is "False language exists"; “甄士隐” is "truth hidden", which means that the truth of the matter is hidden; “英莲”means "should pity" which expresses that this character is worthy of sympathy and the homonym of the maid “娇杏”（侥幸） is "lucky". The second type is named after an anecdote. A typical example is the origin of Jia Baoyu. When he was born, there was a psychic treasure jade in his mouth which also engraved words: Never forget; Long expectancy(莫失莫忘，仙寿恒昌)(Duan Ruifang,2016). The Jia family therefore regarded him as a gifted child who could honor his family. The third is named after jade and jewelry. The name is not only an appellation symbol, but also reflects the identity, background, status, personality, vision and hobbies of the characters. Several large families in A Dream of Red Mansions naturally hope to have a prosperous family and a bright fortune, so many characters are named after gold and jade. Such as Baoyu, Baochai, Jia Zhen, Jia Zhu, Pearl, Amber and so on.

===Subtitle 2===
2.Translation Theories

The terms of domestication and alienation or foreignization were put forward by Lawrence Venuti, a famous American translation theorist, in his book The Invisibility of the Translator in 1995. As two translation strategies, domestication and alienation are opposites but complement each other. Absolute domestication and absolute foreignization do not exist. Historically, foreignization and domestication can be regarded as the conceptual extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. The core problem of literal translation and free translation refers to how to deal with form and meaning at the linguistic level, while foreignization and domestication break through the limitations of linguistic factors and expand their horizons to linguistic, cultural and aesthetic factors. According to Venuti, the law of domestication is "to bring the original author into the target language culture", while the law of alienation is "to accept the linguistic and cultural differences of a foreign text and bring the reader into a foreign situation. It can be seen that literal translation and free translation are mainly value orientations limited to the language level, while foreignization and domestication are value orientations based on the cultural context. The differences between them are obvious and cannot be confused.

2.1 Domestication

Domestication is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to(Yang Yujie, Liao Ying,2014). It requires the translator to be close to the target language reader. The translator must speak like the native author. In order for the original author to speak directly to the reader, the translation must become authentic in the native language. Domestication translation helps readers to better understand the translation and enhance the readability and appreciation of the translation.

2.2 Alienation

Alienation means "the translator as little as possible to disturb the author, and let the reader close to the author"(Yang Yujie, Liao Ying,2014). Translation is to accommodate the language characteristics of foreign cultures and absorb foreign expressions which require the translator to be closer to the author and adopt expressions corresponding to the source language used by the author to convey the content of the original text, that is, to turn the source language into a destination. The purpose of using alienation is to consider the differences of national culture, preserve and reflect the characteristics of foreign ethnic and language style as well as the exoticism for target readers.

Since translation requires us to faithfully reproduce the original author's thoughts and style, which are highly exotic, so it is inevitable to adopt alienation; At the same time, the translation must take into account the readers' understanding and the fluency of the original text, so the adoption of domestication is necessary. It is not desirable or realistic to choose one strategy to the exclusion of another. Each of them has its own advantages and disadvantages, so the final translation cannot be achieved by focusing on one and losing the other.

In translation, we are always faced with the choice of foreignization and domestication, so that we have to find a "fusion point" of translation(Wang Wenting,Xuan Zhifeng ,2016). This "fusion point" sometimes closer to the author, sometimes to the reader. In other words, foreignization does not hinder the smoothness and understandability of the translation, and domestication does not lose the flavor of the original text. At the same time, we should stick to the strategy of domestication of the language form, and carry out foreignization of its cultural factors. In this way, translation works can combine the advantages of the two strategies and avoid the disadvantages. Therefore, domestication and foreignization should have a complementary dialectical unity relationship in the actual translation process.

===Subtitle 3===
3.Contrastive Analysis of Name Translation from the perspective of Domestication and Alienation

3.1 Name System in A Dream of Red Mansions

There are more than 400 names in the book. Every name has its own connotative meaning and special function. The use of semantic puns can be found everywhere in A Dream of Red Mansions from the naming of the rich to the servants. In this paper, I divide it into four types to analyze its translation in a clear way.

3.1.1 Names of People of High Social Status

The author used different Chinese character components or radicals to distinguish seniority in the family when naming nobles. For example, from the word "代" of names "贾代善" and "贾代化", we can know that they belong to the same generation, the same with "贾赦" and "贾政" according to Chinese character component "反", "贾琏" and "贾珍" with radical "王", "贾蓉" and "贾菌" with"草"(Chen Ying,2016). However, the author did not adopt this rule when naming Jia Baoyu（贾宝玉）, mainly to highlight the particularity of him and his special status in Jia family. In addition, the naming of four noble women in Jia family also has a unique charm. The four daughters are 贾元春,贾迎春,贾探春 and 贾惜春, their name of the first word is just four words homophonic “原应叹息” which means "should sigh". After entering the palace, Yuanchun was appointed as an imperial concubine. She sighed and wept when in matrimony. although enjoy all the glory and wealth in palace but she always difficult to flat the pain of her mind because of departure with family members; Although Yingchun was coward, she had a pure and kind heart. Unfortunately, she was betrothed to Sun Shaozu and had been abused quite often after married and died miserably. Tanchun was both talented and beautiful. However, as the family decayed, she had married far away and cut off contact with her relatives. It was really pitiful. Xichun's mother died early and her father did not take good care of her, and she was brought up by Grandmother Jia. Later on, the decline of four big families and the tragic fate of her three sisters made her decide to be a nun. From all of these, we can see that the author intends to use homophonic technique to express his deep sympathy wit their unfortunate fate with “原应叹息” or "should sigh"(Chen Ying,2016).

In addition, formerly known as "Zhen Yinglian" or "Xiang Ling", she was the daughter of Zhen Shiyin originally, who was abducted by a human trafficker. She thought her fate would turn around when she met Feng Yuan, but Xue Pan snatched her away and she was beaten and cursed by a bad woman Xia Jingui. The author named her "Yinglian" whose homophonic meaning was "should pity" to express his deep sympathy and regret.The woman with real power of the family is named “王熙凤”.“王”is a homophone to “亡” which means “to die and vanish”,“熙” means “brightness and property”and “凤”refers to “phoenix” which is the symbol of“nobility, dignity, power and wealth” Therefore, the whole name suggests that “prosperity, dignity and power will be gone”. "林黛玉" has a sense of weakness, bitterness and sensitiveness, because the family name“林”originated from a tragic story. In Shang Dynasty, the chancellor named Bigan was killed with his heart being gouging out and his wife escaped into a cave covered with forest and luckily, she gave birth to a son and survived. Since then, her son was bestowed with the family name“林”by the next brilliant king -Wu king of Zhou Dynasty. As a consequence,“林”,as a family name suggests eventful fate and life. “黛” means “black” which gives a sense of “bitterness and misery”and “玉”means "jade" which is fragile and easy to break. Another one in the novel is called“薛宝钗”.“薛”is the homophone of “削” which means “getting rid of or discarding”;“宝钗”is actually“宝钗楼”which is the place where prostitutes live it is a living hell to virtuous girls. Accordingly. the name owner is doomed to be abandoned and live in misery.

3.1.2 Names of Maids

There are many servants in the rich and powerful Jia family and their names have different functions in the story. I have chosen some of them to analyze and explain their functions.

In ancient China, the status of servants was so low that they could not be named by themselves, but their masters gave them the name(Duan Ruifang,2016). Therefore, the name of a servant largely represents the interests and cultural accomplishment of his or her master. Some of the maids' names indicate the status of their masters. For example,“琥珀” and “珍珠” are both Grandmother Jia's personal servant girls, since amber and pearl are precious jewelries, their names reflect that Grandma Jia occupies the highest status in Jia family. And as the daughter-in-law of Grandmother Jia, Lady King had her maid named “金钏” and “银钏”, which was not arrogated but prosperous.

Some of the maids' names show the personality and interests of their masters, such as those of Baoyu: “袭人”，“晴雯”，“锄药”，“焙茗”. The author named the servant girls around Baoyu with plants in their names, which reflected Baoyu's wildness and unwillingness to be bound by feudal etiquette and customs. The servant girls around the four girls in Jia family are “司棋”，“侍书”，“抱琴”，“入画”, which reflect the interests of the four girls as well as their personal expertises. Other servants' names reflect the expectations of the master. For example, Wang Xifeng's servants named as “平儿”,“封儿”,“兴儿”and“隆儿”.As Jia's financial housekeeper, Wang Xifeng was in charge of Jia's financial expenses, she was careful in budgeting and valuing money very much, so she was eager to be prosperous,and names of her servants mapped her aspiration.

In addition, there are also some servants' names reflecting the character of their masters. For example, Li Wan's two servant girls “素云” and “碧月”. Though li Wan became a widow when she was young, she craved neither money nor power and devoted herself to taking care of her mother-in-law and father-in-law and her son. Her heart was as pure and white as the maids' names around her.

3.1.3 Names of Performers

In Jia Family, there are entertainers named“宝官”，“棋官”“玉官”，“藕官”，“葵官”，“艾官”,“豆官”，“药官”，“茄官”，“蕊官”，“文官”，“芳官”and“龄官”(Cao Xue, Yin Xiaotang,2020).These names can be divided into three types:
(1)Names related to jewelry: “玉官”，“宝官”and“棋官”. These names show the nobility and high dignity of their masters;
(2)Names connected with flowers and plants: “藕官”,“葵官”、“艾官”，“豆官”,“药官”,“茄官”and “蕊官”.This indicates temperament and personality of the actresses who are tender and delicate;
(3)Names associated with personality: “文官”,“芳官”and“龄官”. And the last one indicates personal talents and charms of the actresses.

3.1.4 Names of Monks,Immortals and Nuns

Names of nuns include “静虚”,“智能”and“妙玉”which implicate meaning of tranquility, wisdom, capability and so on. These are all desirable virtues to people who believe in Buddhism. Names of immortals are“茫茫大士”,“渺渺真人”,“空空道人”,“警幻仙子”,“神瑛侍者”and“绛珠仙子”. As long as these immortals show up, there will be a turn of development of the story. All these names of immortals have a sense of mystery and extraordinariness(Cao Xue, Yin Xiaotang,2020).

3.2 Constractive Analysis of Translation Strategies of Yangxianyi and David Hawkes

3.2.1 Transliteration

Transliteration is to translate the source language through pinyin according to the pronunciation of Chinese, reserving only the pronunciation of the source language but not the content, meaning and writing form of the original text.

At present, transliteration is the most commonly used method in the translation of Chinese names. Yang Xianyi's version and Hawkes' version mostly use this method in the translation of main characters’ names, but there are subtle differences in the details. Yang's translations often use the phonetic transliteration of Wei's(韦氏音标音译). For example: 甄士隐, Chen Shih-yin；贾雨村，Chia Yu-tsun；贾宝玉， Chia Pao-Yu；林黛玉，Lin Tai-Yu；贾政，Chia Cheng；贾雨村，Chia Yu tsun；薛宝钗，Hsueh Pao chai；元春，Yuan-chun；迎春，Ying chun；惜春，His chun；探春，Tan chun；金钏，Chin Chuan；袭人，His jen；宝官，Pao Kuan. This translation is more in line with the common pronunciation habits of English and more acceptable to foreign readers. Hawkes mostly uses Chinese pinyin, for example: “甄士隐” is translated as Zhen Shiyin, “贾雨村” as Jia Yucun, “贾宝玉” as Jia Baoyu and “林黛玉” as Lin Dai-yu. This translation method retains the original taste of the original work to a large extent, making it easier for foreign readers to understand the most authentic Chinese culture.

From the perspective of domestication, Yang's translation retains the naming rules of the original text for the convenience of Chinese readers. From the perspective of alienation, Hawkes chose the easiest translation method, and such transliteration of names can be regarded as the introduction of a unique name culture for the West. On the other hand, although the translation is simple and straightforward, it only preserves the pronunciation and writing form of the source language, but loses the profound connotation of the original text.

3.2.2 Free Translation

Free translation is to translate according to the general meaning of the source language. It is neither word for word nor limited to the form of the source language, but more focused on connotation expression(Duan Ruifang,2016). Hawkes usually uses free translation when translating many metaphorical and homophonic names. Free translation is embodied in the following three ways:
(1)Literal translation of the original language. It largely preserves the literal and imaginary meanings behind it, such as the two maids of Grandmother Jia, “珍珠”and “琥珀”, which are translated as "Pearl" and "Amber" respectively. It highlights the Grandmother Jia’s prominent status in family.
(2) The original name is explained and extended according to the meaning of the target language. This is a way to enhance the readability of the translated text and make the foreign language readers easily accept the strange and obscure traditional Chinese culture. For example,“晴雯” is translated as "Skybright", which means "clear sky". The clear sky after rain fits the image of Qingwen as lively, cheerful and intelligent, which can enhance readers' impression of her.
(3) Adjust the original name and reconstruct the image. For example, the name of Daiyu's servant girl is “紫鹃”, which originally means "cuckoo". This kind of bird often expresses the meaning of "sorrow" in Chinese classical literature, which can easily remind people of the tragic fate of its owner. However, in English, cuckoo can not express this meaning. Therefore, Hawkes changed it into "Nightingale". And “袭人” was translated into Aroma, but it did not show the kindness and thoughtfulness of Aroma in her name.

As for Yang Xianyi, in order to keep the characters' names connected with the original story, he adopts free translation in the names of deified figures, such as monks. For example, “空空道人”was transalated as “The Reverend Void”, “渺渺真人” as “Boundless Space” and “茫茫大士”as “Buddhist of Infinite Space”. In Chinese feudal society, married women were addressed with their husband's surname, such as “贾氏”，“尤氏”and“封氏”. Yang's translation did not directly transliterate them but translated “尤氏” into "Madam Yu", indicating her position of the household steward. “贾氏”was translated as "Mrs.Jia," implying that she was the mistress of the family. .“贾母” was translated as “Lady Dowagers” and “刘姥姥”was Granny Liu(Chen Ying,2016).

3.2.3 Annotation

Due to the huge differences between Chinese and Western cultural backgrounds, it is difficult for target language readers to accurately comprehend the special meanings behind names as the source language readers do. Based on this situation, Yang Xianyi used pinyin in the translation, but in order to truly translate the original work, it is necessary to interpret or remark the cultural connotation implied by the name in the original work. This is because a few words can not fully explain the inner meaning, adding annotations is a crucial tool. There are two main reasons for the use of annotation method. First, annotation is not limited by the number of times and sentence length, so it can better fill the deficiency of free translation and literal translation. The other is that annotation will not interfere with the integrity and structure of the original text. According to these characteristics of annotation method, it can be concluded that all character names can be properly and accurately translated through annotation.
Hawkes’s and Yang's versions have adopted appropriate annotations to facilitate readers' understanding.
For example, Yang translated “甄士隐” as Zhen Shiyin. Homophone for "true facts concealed." while Hawkes translated it into Zhen Shi-yin(the Zhen-another word-play (who are a sort of mirror-reflection of the Jia family). Annotations are used in both translations to further explain the inherent meaning contained in character names. However, too simple annotations cannot effectively achieve the purpose, and too detailed translation will load redundant cultural information into the target language, causing reading barriers for readers and making it difficult for them to reproduce in the target language. Therefore, learn how to use annotation properly is hard but significant.

===Subtitle 4===
4.Influence of Name Translation in A Dream of Red Mansion

The translation purpose of Yang's translation is given by the Foreign Languages Press, so when facing translation problems, he chose the strategy of transliteration and try his best to be faithful to the original text(Chen Ying,2016). It is precisely because this translation mostly retains the original information of A Dream of Red Mansions and respects its cultural characteristics to a certain extent. With the development of China's soft power, Yang's translation has attracted more and more Western readers who are trying to understand with the help of Yang's translation the original ideas and cultural essence conveyed in the book. Similarly, Hawkes' translation should not be underestimated, especially for western countries. First of all, as a foreigner, he was able to complete the huge task of translating A Dream of Red Mansions. In addition, he gave full play to his initiative in translating characters' names. Getting to know hundreds of characters is a big problem for Western readers, who can't understand the deep meaning of the names. Hawkes used different translation strategies to give them English names and tried to help readers get a clear picture of the characters. It can be said that Hawkes's translation can make it easier for foreigners to understand Chinese culture, thus it plays an important role in the process of Chinese culture going to the world.

All in all, A Dream of Red Mansions represents the profoundness of Chinese classical culture. With the rapid rise of China's economy and the increasing curiosity of western countries about Chinese culture, it is a good opportunity for China to show its long history and culture to the world. We should strive to improve the translation of "A Dream of Red Mansions", and use a variety of methods to reduce readers' reading barriers and promote the spread of Chinese classical culture.

===Conclusion===
Hawkes uses transliteration of the main characters and free translation of the minor characters which better let English readers understand the connotation of the name, but also to reveal and predict the fate of the character. But on the whole, there are still some shortcomings in the translation(Wang Wenting,Xuan Zhifeng,2016). This kind of translation can help spread the original works to the West, make the target language readers better understand Chinese culture, and correct the mistakes in other English translations. However, because of direct transliteration, it is difficult for the target readers who do not know the Pinyin of Chinese characters to understand original text. If the annotation method is used to assist the translation and the annotations are added after transliteration, the target readers can understand the exact meaning of the original text. For girl servants names' translation, Hawkes mainly adopts the free translation strategy to translate the name according to the character's personality and fate, but this kind of translation is too generalized, which hinders the cultural communication between source language and target language, resulting in the reader can't fully understand the original meaning and losing the elegant charm of the original language.

Although the transliteration strategy adopted by Yang Xianyi failed to translate the pun, it also conveyed the original information to the maximum extent. His free translation based on his understanding of Chinese culture, which not only respects the literary context of the original work, but also smooth the understanding of English readers, and effectively reproduces its literary meaning.

By analyzing the English translation of names of Yang Xianyi and David Hawkes, we know that there is not fixed rules or uniform patterns in the translation of names. Whether transliteration, free translation, transliteration listed, or some special translation approaches, they require the translator, according to the specific style, the rhetoric and content of works, to convey the original meaning.

===References===
*Qin Qiyue秦启越(2016).《红楼梦》人名翻译艺术再探讨[On the Translation of Names in A Dream of Red Mansions].Chinese National Expo，200-201.

*Duan Ruifang 段瑞芳(2016).《红楼梦》英译本中的人名翻译艺术[The Art of Name Translation in the English Version of A Dream of Red Mansions].Overseas English(15):101-102.

*Lin Yao林瑶(2020).从功能翻译理论对比分析《红楼梦》的杨译本和霍译本的人名翻译[A Comparative Analysis of the Translation of Names in Yang's and Hawkes's versions of A Dream of Red Mansions from the Perspective of Functional Translation Theory].中外文学[The Chinese and Foreign Literature],4-5.

*Wang Wenting,Xuan Zhifeng 王文婷,轩治峰(2016).从异化和归化角度浅析《红楼梦》英译本的人名翻译——以霍克斯版为例[On the translation of people's names in the English version of A Dream of Red Mansions from the Perspective of foreignization and domestication -- a case study of Hawkes' version].唐山文学[Tangshan Literature],133-134.

*Yang Yujie, Liao Ying 杨玉洁,廖颖(2014).从归化与异化角度对比研究《红楼梦》人名翻译[A Comparative Study on the Translation of People's Names in A Dream of Red Mansions from the Perspective of Domestication and Alienation].Cultural Highlands,283.

*Li Shide李仕德(2015).功能翻译理论下《红楼梦》的人名翻译[Translation of people's names in A Dream of Red Mansions under the Theory of Functional Translation].语文建设[Chinese Construction],62-63.

*Chen Ying陈颖(2016).杨宪益《红楼梦》译本双关人名的翻译探讨[On the Translation of Pun Names in Yang Xianyi's Translation of A Dream of Red Mansions].陕西学前师范学院学报[Journal of Shaanxi Xueqian Normal University],(3):73-76.

*Cao Xue, Yin Xiaotang曹雪,尹晓棠(2020).《红楼梦》中人名的翻译策略[Translation Strategies of Chinese Names in A Dream of Red Mansions].作家天地[For Writers](8):17-18.

==英语笔译张国浩 Zhang Guohao 202170081606 MW==

<center>'''A Brief Analysis of Strategies of Promoting the Translation of Chinese Classics "Going Abroad"
'''</center>

<center>Zhang Guohao</center>

===Abstract===

Chinese culture is broad and profound, which has a long history about 5000 years. Classics culture is one of the most representative characteristics of Chinese culture. In the course of China’s five thousand years of civilization, a large number of ancient classics have been formed by the inheritance of Chinese culture and the creation of its spiritual connotation. These Chinese cultural classics contain a lot of wisdom, which is of great significance to solve the problems faced by human society today. With the increasingly close ties between countries in the world, cultural exchanges have become more frequent. Promoting the culture of Chinese excellent classics to go abroad is an important means to enhance the soft power of national culture. However, the translation of Chinese classics is still facing many difficulties at present. Chinese cultural classics are voluminous and rich in connotation. In the process of foreign translation and communication, it is necessary to improve the training mechanism of professional translators, build a market-oriented external publishing mechanism, and build a high-quality system of foreign translation of Chinese cultural classics.

===Key words===

Chinese cultural classics; Foreign translation strategies; Communication of Chinese culture

===Introduction===

China is one of the four ancient civilizations in the world and the only one among the four ancient civilizations whose traditional culture has been continued without interruption. The long history of Chinese culture is mainly due to the passing down of a large number of cultural classics. In the new era, China’s comprehensive national power and international influence have increased significantly, and there is a greater demand for spreading Chinese culture to the outside world and for the world to understand Chinese culture. Under this background, the translation of Chinese cultural classics has become inevitable. Under the circumstance of fierce cultural competition in today’s world, it is an important problem to be solved urgently that how to spread excellent Chinese classic culture to foreign countries and obtain important results. Culture is open and can only be inherited and developed in mutual exchanges. As the carrier of Chinese culture, the translation and dissemination of Chinese cultural classics are closely related to the improvement of China's international status and international influence. While the comprehensive national strength and international influence are greatly improving, China should further strengthen its cultural self-confidence, and strengthen the protection, inheritance and promotion of Chinese culture in the construction of socialist culture with Chinese characteristics, so as to maintain the Chinese style in the forest of nations in the world and highlight the Chinese style. To make China's voice heard requires not only telling the story of contemporary China, but also letting the people of the world know China from the depths of their soul and spiritual essence. In this context, Chinese cultural classics have become the basis for inheriting and carrying forward Chinese culture, and the dissemination of Chinese culture through traditional cultural classics has also become an important way to promote Chinese culture to the world. This paper will discuss the connotation of the culture of classics, the current situation and difficulties of the foreign translation of Chinese cultural classics and the significance of the foreign translation of Chinese cultural classics. Finally the author puts forward feasible strategies and schemes to promote the foreign translation of Chinese cultural classics, so as to provide reference and guidance for the translation of Chinese cultural classics in the future.

===1. The Defination of Chinese Cultural Classics===

According to Li Zhengshuan, cultural classics refer to ancient books or documents that record natural, humanistic and philosophical ideas as well as important laws and regulations (Li, 2012: 42). Generally speaking, classics mainly refer to the carving copies, hand-copied books, manuscripts and books of rubbings etc. of the previous dynasties before 1911. The concept of Chinese cultural classics have two meanings. Firstly, it refers to the important ancient documents and books-classical works in various fields of social sciences and humanities and natural science in China. Secondly, it refers to ancient Chinese codes and systems. As far as the value of cultural classics is concerned, it refers to the literature and classical books that have withstood the test and selection of time and played an important role in promoting the progress of national civilization and even the world civilization. In terms of its subject, the cultural classics include classics of ancient Chinese philosophy, religion, literature, military science, history, science and technology, law and so on. No matter in which era, cultural classics have always been studied, enriched, annotated, interpreted and used by scholars of all dynasties. They are the spiritual wealth shared by all mankind. As the prototype symbol of national culture, they have the function of continuous regeneration and inheritance.

===2. The Significance of Translation of Chinese Classics===

Firstly, the translation of Chinese classics has always been an important part of cultural exchanges between China and the west, and it is also an important way for the dissemination of Chinese history and culture. Chinese classics not only have important ideological value, but also contain rich cultural information, which makes them more difficult to understand and translate. Therefore, the accurate and complete transmission of the cultural information in the classics is of great practical significance for carrying forward Chinese culture and carrying out cultural exchanges between China and the West. However, due to historical reasons and the particularity of Chinese characters, the excellent culture accumulated in the process of Chinese civilization for thousands of years is rarely introduced to the world, so that the world lacks a comprehensive and in-depth understanding of China’s long and splendid history and culture. Therefore, the translation of Chinese classics is particularly important in the context of economic globalization.

Secondly, we have entered an era of globalization nowadays. If any nation or country wants to remain invincible among the world’s nations, it must learn from others. While learning from other nations, we should also know how to introduce the excellent translation of Chinese classics abroad, so that the world can better understand China. Only in this way can we enhance our competitiveness on the international stage, which is also the need of our reform and opening-up policy. As Chinese people, we have the responsibility and obligation to spread the excellent culture of Chinese nation to all parts of the world. Culture is not only the embodiment of national cohesion, but also the cultural soft power has become an important factor in the competition of comprehensive national strength. As the core content of traditional culture, the translation of Chinese classics is one of the important contents of cultural output.

Thirdly, from the perspective of modern history, the Chinese culture compared with the culture of other nations is in a “weak culture” state. In this case, most foreign translators will inevitably reflect the features of their own class when translating and introducing Chinese cultural classics for the benefit of the rulers they serve. Therefore, it is necessary for Chinese translators to provide the world with more comprehensive, systematic, complete and original versions of Chinese classics.

===3. The Foreign Translation Process of Chinese Cultural Classics===

The translation of Chinese culture classics began in the Ming and Qing dynasties, and the translators were mostly Western missionaries and sinologists at that time. For example, the Italian priest Matteo Ricci translated ''The Four Books'' into Latin around 1594. The French priest Joseph de Prémare translated ''Sacrifice'' into French around 1735 and the British sinologist James Legge translated ''The Four Books and The Five Classics'' into English between 1861 and 1886. These foreign translators completed these translations with the assistance of Chinese assistants. Until the early 20th century, Chinese scholars began to undertake the translation of Chinese cultural classics independently.

Since the founding of the People’s Republic of China, Western sinologists and Chinese scholars have continued to work in foreign translation Chinese cultural classics. Among them, the representative foreign translation project was the English version of Chinese Literature, founded by Ye Yongjian in 1951, which was the only official foreign translation that translated and introduced Chinese contemporary literature at that time. Since initiating reform and opening up, the first milestone in the foreign translation of Chinese culture classics was the Library of Chinese Classics project launched by the Chinese government in 1995. it was the first major national publishing project in China's history to systematically and comprehensively introduce foreign versions of Chinese cultural classics to the world. The Library of Chinese Classics project selected 100 most representative classical works in the fields of culture, history, philosophy, economy, military affairs, science and technology from the pre Qin period to modern times and expert would collate and sort out the topics and versions in detail, and translate them from Writings in Classical Chinese to vernacular, and then from vernacular to English. Chinese leaders have given great support and high praise to this translation project, and have repeatedly presented this series of translated works as an official gift to foreign dignitaries on important occasions. In addition to English translation, the second phrase the Library of Chinese Classics project started in December in 2007 has published Chinese-French, Chinese-Spanish, Chinese-Arabic, Chinese-Russian, Chinese-German, Chinese-Japanese, Chinese-Korean versions in an effort to achieve multilingual publication of Chinese culture classics.

In addition, over the past ten years, there have been many foreign translation projects of Chinese cultural classics which were vigorously promoted by Chinese government. The above-mentioned translation projects at the national level have enhanced the cultural confidence of the Chinese people and improved the soft power of Chinese culture. This is due not only to the importance of national support for traditional culture and translation, but also to the hard work of translators and publishers.

===4. The Current Status of Foreign Translation of Chinese Cultural Classics===

Under the background of economic globalization, the translation of Chinese cultural classics has made great progress with the great attention of the Chinese government and the joint efforts of many Chinese scholars and translators in recent years. In 1995, China began to launch the “Library of Chinese Classics” project, which was the first major publishing project in China to comprehensively and systematically introduce Chinese traditional cultural classics to the world. “Library of Chinese Classics” projects not only accurately translates China’s historical and cultural classics to the world, but also shows the world great Chinese culture. But even so, the current translation of Chinese classics is still facing many difficulties.

The first problem refers that there is a shortage of professional translation talents, and the coverage of translation talent education is also narrow. In the new era, China will unswervingly open wider to the outside world and strengthen its cultural self-confidence. Obviously, China is required to make efforts to promote Chinese culture to the world. The translation of Chinese cultural classics is one of the basic ways to promote the spread of Chinese culture to the world. The external translation and dissemination of cultural classics can not be separated from high-quality translation versions whose key lies in the cultivation of translation talents. At present, China lacks professional translation talents, and the coverage of translated language is narrow. Although China regards English as the basic content of national education and has basically established a higher education system covering the world’s major applied languages, the translation of Chinese cultural classics is a highly specialized translation work, which requires translators to be familiar with Chinese culture and have a deep understanding of the history and culture of the target-language countries This kind of integrated talents is relatively scarce, and it is difficult to cultivate a large number of such talents in a short period of time under the existing translation talent education mechanism.

In addition, the selection of translation materials of Chinese cultural classics is concentrated and single. The word “classics” in Cihai means “important national documents”. Professor Wang Hongyin clearly put forward the concept of “Chinese cultural classics” and limited its scope from three aspects. Then professor Zhao Changjiang also explained its definition in detail. In summary, we can draw the conclusion that Chinese classics involve the three disciplines of literature, history and philosophy, Confucianism, three religions of Confucianism, Buddhism and Taoism, as well as Chinese military classics, scientific and technological classics and so on. Among the vast Chinese classics, the ones that are truly translated into foreign languages are mostly concentrated in philosophical works such as “ The Four Books and The Five Classics” and ancient literary classics such as “Dream of the Red Chamber”. However, the foreign translation of prose and drama is very rare. The foreign translation of cultural classics of other nationalities in China is rarely involved, while the translation of scientific and technological classics is almost ignored. Therefore, it is very necessary to expand the scope of selection for classics translation in order to spread Chinese excellent culture through classics.

Facing the strong competition of Western culture, the market-oriented communication mechanism is not perfect. The translation and dissemination of Chinese cultural classics should rely on the market-oriented publishing mechanism, while the cultivation of foreign audiences’ reading demands mainly depends on the improvement of China’s international influence, especially the improvement of China’s international status in the process of economic globalization. At present, in the face of the strong position of the West in the international discourse system, the translation and dissemination of Chinese cultural classics in the market publishing face the strong competition of Western culture. At the same time, the market demand for the publication and distribution of Chinese cultural classics also lacks effective integration, and it will be difficult to obtain lasting impetus to promote the dissemination of Chinese culture by relying too much on national financial investment or incorporating the translation and dissemination of Chinese cultural classics into the cultural exchange mechanism under the national financial burden. The imperfect market mechanism for the translation and dissemination of Chinese cultural classics, the lack of scientific evaluation of the international publishing market demand and targeted marketing mechanism are important problems in promoting the translation and dissemination of Chinese cultural classics.

On the other hand, the quality of translation is uneven, and the adaptability of local culture in target-language countries needs to be improved. The development of the foreign translation market of Chinese cultural classics not only needs to cultivate the reading needs of foreign audiences and incorporate them into the construction of the publishing market, but also needs to establish the awareness of quality and build a quality system. Nowadays, although some high-quality versions have been formed in the foreign language translation of cultural classics in China, the quality of some translation works is not satisfactory. It is difficult to accurately transform the classics into the local culture of target-language countries. Especially for some minority-language countries and ethnic groups, it is difficult for China to engage in high-quality foreign language translation and form an optional quality system due to the lack of professional translators. At the same time, when translating Chinese cultural classics into foreign languages, China needs to improve the localization of text content. Whether the translated works of Chinese cultural classics can be compatible with the history and culture of target-language countries will have an important impact on the dissemination ability of Chinese cultural classics.

At the same time, the translation of Chinese cultural classics is still unevenly distributed. At present, the translation of Chinese cultural classics mainly focuses on the cultural classics of the Han nationality, while the foreign translation of cultural classics of other nationalities are in the dilemma of “small quantity”. Due to their uniqueness, the foreign translation and dissemination of them are relatively more complex. According to statistics, there are less than 20 foreign translations of cultural classics of other nationalities in China since the late Qing Dynasty, and only a few ethnic cultural classics such as Tibetan, Mongolian, Zhuang and Kirgiz have been translated into English. Compared with the 1000 volumes of ethnic minority ancient books or Han cultural classics in the Catalogue of National Rare Books in China, there is a fact that there is a small amount of foreign translation in other ethnic cultural classics. And due to the factors of Chinese local translators, the languages of translation and introduction are relatively single. The translated cultural classics of other nationalities in China are mainly focused on literary subjects, while other fields such as medicine, agriculture, science and technology are often ignored. Therefore, the number of foreign translation of them is even less.

===5. Measures to Promote Foreign Translation of Chinese Classics===

Targeted measures are needed to solve the above problems. Firstly, foreign readers’ reading demands should be guided and cultivated and a market-oriented foreign publishing mechanism should be built. At present, China’s comprehensive national strength has improved significantly and it occupies an important position in the global trade system. The exchanges and interactions between China and other countries in the world are becoming increasingly frequent, and the demand for countries in the world to understand Chinese culture is increasing. China should further guide and cultivate people’s cognitive needs of Chinese culture, and promote the construction of market-oriented foreign publishing mechanism with high-quality translation versions of Chinese cultural classics. China should encourage domestic publishing enterprises with strong strength to go out. On the basis of scientific evaluation of other countries’ demand for Chinese cultural classics reading, effective marketing strategies should be determined. Meanwhile, China also need to establish sound sales channels, and form a positive interaction mechanism between the cultivation of foreign Chinese classics reading market and the overseas publishing industry for spreading Chinese culture.

Secondly, China should build a system of excellent translation of Chinese classics to improve the local adaptability of the translated versions. As the carrier of Chinese culture, the humanistic spirit of Chinese classics should go to the world with the development of our country. China should actively promote the construction of an excellent translation system of Chinese classics. While providing guarantee in terms of talents, funds and policies, the government should also establish a standard system for the translation of excellent classics, and form several alternative high-quality versions for different countries and nationalities. In the construction of the excellent system of translation of Chinese classics, China should strengthen the exchange between the translated versions and the local culture of the targeted-language countries and select different classics according to the historical culture and religious customs of different countries and nations, so as to avoid the conflict between the contents of classics and the historical culture and religious customs of relevant countries.

Thirdly, the government should improve the training mechanism of professional translation talents and increase the number of foreign language for education. China should actively promote the construction of professional translation talent system, and construct the corresponding talent training mechanism based on the principle of specialization in the translation of Chinese classics. For example, China should set up the translation major of Chinese classics in the current translation major and integrate it with the study of various languages. In the process of learning foreign languages, China can take the translation of Chinese classics as the basic teaching content. At the same time, China should also cooperate with the implementation of the Belt and Road Initiative to carry out targeted translation education of Chinese classics.

The the Belt and Road Initiative is the direct driving force for the foreign translation of Chinese cultural classics. Since the advent of the new century, the Chinese government has paid more attention to cultural exchanges with other countries in the world. The proposal of the “the Belt and Road” Initiative in 2014 further demonstrates the determination of Chinese culture to go global. The translation of Chinese classics is the most direct means for Chinese culture to go global. As a corridor for cultural exchanges, the the Belt and Road Initiative provides a new opportunity for the translation of Chinese cultural classics and will directly promote the development of Chinese cultural classics translation. The Library of Chinese Classics project is the most prominent project in the national assistance to the foreign translation of Chinese cultural classics, even though these translation versions are not sold well abroad. However, these works condense China’s long history and splendid culture, and enhance the foreign dissemination of Chinese classics. In addition, works of the Library of Chinese Classics project are not only sold in bookstores, but also presented to foreign leaders as official gifts, which is of great benefit to the dissemination of Chinese culture. Buddhism and Buddhist classics were introduced to China through the ancient Silk Road. Nowadays, Chinese Confucianism and Confucian classics will spread to the world through the Belt and Road Initiative. First of all, in the process of the Belt and Road Initiative construction, the builders sent by China to countries and regions will spread Confucianism and Chinese culture in daily exchanges with local people. In addition, China actively promotes Confucius Institutes in the process of the Belt and Road Initiative construction, which directly promotes the external dissemination of Confucianism and classics. Finally, the construction of the Belt and Road Initiative can also increase the public’s recognition and understanding of Chinese cultural classics and promote the development of the English translation of these cultural classics.

===Conclusion===

Chinese classics are the crystallization of the wisdom of the Chinese nation and still have important guiding value for the problems confronted by human today. With the continuous enhancement of China’s comprehensive national strength, the translation of Chinese classics is imperative. In the process of translating classics, we should improve the training mechanism of professional translation talents, build a market-oriented external publishing mechanism, and build a system of excellent translation of Chinese cultural classics, so as to promote the better dissemination of Chinese culture abroad and enhance China’s cultural soft power.

===References===
*Li Wenge 李文革.(2000). 中国文化典籍的文化意蕴及翻译问题 [The Cultural Implication and Translation of Chinese Cultural Classics]. ''外语研究'' Foreign Languages Research (1)42-44.
*Liu Xingfeng 刘性峰.(2005). 典籍英译的意义 [The Significance of Translation From Chinese Classics into English]. ''皖西学院学报'' Journal of West Anhui University (2)105-107.
*Qiu Kean 裘克安.(1991). 更好地组织中国文化代表作的英译和出版 [Better Organization for the English Translation and Publication of Chinese Cultural Masterpieces]. ''中国翻译'' Chinese Translators Journal (2)4-5.
*Wang Hong 王宏. (2012). 中国典籍英译：成绩、问题与对策 [English Translation of Chinese Classics : Achievements, Problems and Countermeasures]. ''外语教学理论与实践'' Foreign Language Learning Theory and Practice (3)9-14.
*Wang Rongpei 汪榕培.(1997). ''比较与翻译'' [Comparison and Translation]. Shanghai: Shanghai Foreign Language Education Press 上海外语教育出版社.
*Yang yingfa, Zhang Ji 杨英法, 张骥.(2017). 中华文化软实力提升与汉语弘扬间关系探讨 [The Discuss on the Relationship Between the Advance of Chinese Cultural Soft Power and the Promotion of Chinese]. ''石家庄学院学报'' Journal of Shijiazhuang University (4)106-110.
*Zhu Linbao 朱林宝. (1994). ''中华文化典籍指要'' [Essentials of Chinese Cultural Classics]. Jinan: Shandong People's Publishing House 山东人民出版社.
*Zhang Xiping 张西平. (2015). 中国古代文化典籍域外传播的门径 [The Overseas Transmission of Ancient Chinese Cultural Classics]. ''中国高校社会科学'' Social Sciences in Chinese Higher Education Institution (3)79-91.

===Terms and Expressions===

*Matteo Ricci 利玛窦
*Joseph de Prémare 马若瑟
*James Legge 理雅各
*The Four Books and The Five Classics 四书五经
*the Library of Chinese Classics project 《大中华文库》项目
*The the Belt and Road Initiative 一带一路
*Kirgiz 柯尔克孜语
*Writings in Classical Chinese 文言文
*vernacular 白话文

===Questions===

*1. What does cultural classics refer to according to Li Zhengshuan?
*2. The word “classics” in Cihai means “important national documents”. (T/F)
*3. When did the foreign translation of Chinese culture classics begin?
*4. What project did Chinese government launch?
*5. The Library of Chinese Classics project is the direct driving force for the foreign translation of Chinese cultural classics. (T/F)

===Keys===

*1. According to Li Zhengshuan, cultural classics refer to ancient books or documents that record natural, humanistic and philosophical ideas as well as important laws and regulations.
*2. T
*3. The foreign translation of Chinese culture classics began in the Ming and Qing dynasties.
*4. The Library of Chinese Classics project
*5. F

==英语笔译张姣玲 Zhang Jiaoling 202170081607 CE==

'''On movie adaptation of Chinese classics - The example of Yu Hua’s ''To Live'''
张姣玲
===Abstract===

In recent years, the movie and television adaptation of literary masterpieces has become a trend and has attracted people's attention. As the “Four Literary Masterpieces” have been successively put on the screen, which have aroused hot comments from the society. Although people have mixed reviews of works adapted from literary classics, they still have a great interest on those adapted woks. After entering the twenty-first century, China's film and television industry has become more prosperous, while the adaptation of classic literary works has also gained increasing popularity, and both film and television industries have recognized the value of classic literature to their development. The novel To Live is one of the representative works of the avant-garde writer Yu Hua, and it is also his attempt to explore the theme of death. In the novel, there are obvious imprints and scratches of the collision and docking of Chinese and Western cultures. Yu Hua aims to make interpretations and reflections on death in a metaphysical sense, reflecting his understanding and depicting of modern life philosophy in this novel. The film adaptation of “To Live” directed by Zhang Yimou is the complete opposite of the content expressed in the novel, as the film focuses on realistic criticism and historical reflection that is closer to life. This paper will take Yu Hua's work “To Live” as an example to explore the differences between novels and film adaptations from the following three aspects: storyline, narrative perspective, and connotation.

===Key words===
Movie Adaptations; Chinese Clasisics; To Live; Differences

===Introduction===
Generally speaking, classic novels have the advantage of plot and narrative framework, and consequently have a profound influence on the choice of techniques and innovative concepts of movie. Movie, on the other hand, has outstanding features in spatial modeling, and its distinctive spatial characteristics can in turn promote the innovation of novel structure, bringing irreplaceable influence to the writing techniques and innovative development of contemporary literary masterpieces. In the interaction between the two, the narrative structure and temporal consciousness of literary works are weakened, but the aesthetic features become richer as they are strengthened in terms of stylistic and spatial consciousness. Films adapted from masterpieces, on the other hand, add various audiovisual elements to the original plot, opening up a broader artistic space. At the same time, literary masterpieces provide films with rich and deep materials, and films reflect them with more diversified expressions and stronger expressive power, and reinforce their fame through wider publicity, thus realizing the wide dissemination of masterpieces. Thus, literary classics and film adaptations complement each other.

To Live has brought its writer Yu Hua high honors, winning him the top prize of the Italian Grinzana Carver Literary Award, the Chevalier de l'Ordre des Lettres et des Arts de France, and many other awards. It has become a myth of contemporary pure literature texts, with a staggering number of copies in print every year. Zhang Yimou adapted it for the big screen in 1994, and the film attracted great attention and discussion, and brought Zhang Yimou a series of honors, such as the Spirit of Humanity Award at the 47th Cannes International Film Festival, the Best Foreign Language Film Award at the 48th British Academy of Film and Television Arts, and the Best Foreign Language Film by National Society of Film Critics Awards.

As one of his best novels, Yu Hua's To Live is a modernist philosophical poem, based on the principle of "writing for the heart" and extremist writing in pioneering literature, and through a series of descriptions of "death", it condenses life consciousness and philosophy of Fu-gui style, showing a metaphysical philosophical character. Its film adaptation is based on the literary view of realism, focusing on the display of metaphysical suffering and the irony of modern history, brilliantly interpreting the "suffering" story of the original, but its "happy ending" and the aesthetic principle of gentle and generous, resentful but not angry, have dissipated the ideological meaning of the original and weakened the social criticism. Zhang Yimou's films have distinctive national and personal characteristics, and are characterized by a distinctive "Zhang Yimou style" of narrative art. Zhang Yimou's works have won numerous domestic and international awards and critical acclaim, but in contrast, there is no shortage of critical voices. The film version of To Live is one of Zhang Yimou's most popular and controversial works. This essay will analyze the differences between the novel and the film adaptation from three aspects: storyline, narrative perspective, and connotation.

===Literature Review===
Most researchers believe that the novel "To Live" and its adapted film show significant differences in theme or aesthetic meaning. Centering on this core issue, researchers conducted comparative studies on many similarities and differences between the two versions and made their own aesthetic value judgments. To sum up, there are three main views:

The first view is that the film "To Live" is superior to the original novel in artistic achievement and aesthetic value, and that "Zhang Yimou's film adaptation of "To Live" is more enjoyable, dramatic and impactful than the novel, and has a stronger tragic beauty. From the perspective of art history, some people speak highly of the film "To Live": "This film is a lofty monument in film industry since China's reform and opening up, and an artistic peak that Zhang Yimou himself has not been able to surpass so far. "Browsing through Zhang Yimou's entire oeuvre, we can see that it is in fact a monumental work that can represent the new era of Chinese movies, and it is also the peak work of Zhang Yimou, the leading figure of Chinese movie in the new era."

In the second view, more commentators focus on the basic characteristics of the two art forms of novel and film, objectively comparing the similarities and differences between them in terms of the spirit of the subject matter, narrative perspective, narrative style, characters' fate, and artistic imagery, and exploring Zhang Yimou's artistic recreation in the process of adaptation, while trying not to make an overall ideological and aesthetic implication value judgment on the two art forms of To Live.

The third view is that Zhang Yimou's film To Live is inferior to Yu Hua's novel in terms of ideological significance and aesthetic value: "Both Yu Hua's novel and Zhang Yimou's film are successful", each with its own characteristics in terms of narrative perspective, character design, time and space setting, and aesthetic style. However, it is Zhang Yimou's artistic re-creation of certain aspects, especially the happy ending, that has "flattened the novel's 'depth pattern'" to varying degrees. Some people believe that the film adaptation has weakened the artistic charm of the original novel compared to the original; from the literary text to the film script, many changes are inevitable to be made, but no matter how the changes are made, the inner spirit of the work cannot be altered. The movie "To Live" is misaligned with the original in terms of theme and intent, making its aesthetic and artistic value far from reaching the height of the original novel.

===The Differences in Storyline===
1.Novel To Live: About the absurd fate and inevitable death of human beings

The style of Yu Hua's novel To Live is quite absurd and cold.

What Yu Hua explores and expresses in his book is in fact the ultimate concern for human life and fate. What Yu Hua writes about is a mysterious force of fate that is beyond human control, just as the existence and death of Fugui's family are metaphysical presentations of the word "absurdity". The title of the novel is "To Live", but the book is filled with the demise of life around the main character, that is, "dead", which is the exact opposite of "live". In Yu Hua's novel, the demise of Fugui's family is more like a symbol, a natural and irreversible flow of life, while the realistic background is only to serve the context.

In Yu Hua's novel, according to Fugui's recollection, he was so addicted to gambling in his youth that he lost his family's fortune, and his family's house was taken away by Long Er, so the family had to move to a dilapidated thatched hut. Since then, Fugui's family seemed to be caught in a whirlpool of cruel reality and absurd fate. With his father dead, Jiazhen taken away by his father-in-law, and his family shattered, Fugui still had to try every means to earn money to make ends meet and provide for his mother. Life was hard, but there was a glimer of hope for Fugui. Jiazhen's return to the family gave Fugui a little hope and warmth in life, and then he worked as hard as he could. He thought he could live a peaceful life despite the hardships, but then a unexpected change happened, and Fugui was suddenly conscripted as a soldier and left for a few long years. It was a miracle that Fugui came back alive as no one knows when they might be shot to death while in the army. When Fugui returned home, he found his mother dead and his daughter mute after a high fever. At this point in the story, the fate of Fugui and his family shows a certain pattern of ups and downs, that is: once a little brightness is seen in life, the next thing that follows is grayness and misery.

Fugui lost his family's fortune due to gambling and his house was given to Long Er, but he accidentally avoided being shot during the Land Reform and was given five acres of land that he used to plant. When the family was rich, Fugui gambled all day long when Jiazhen washed her face with tears all day long. When Fugui was stubborn and did not listen to her advice, Jiazhen went back to her mother's house, but returned to the family with her son after Fugui ending uo of living in a hut, and supported her mother together with him ......

In all these cases, we can see that it is as if the destiny that can never be defined and controlled, or is called "fate".

Although "luck" and "misfortune" seem clear in the present, but as time goes by, no one can accurately predict what the future will look like. After that, the fate of Fugui's family changed dramatically. The son died prematurely due to excessive blood drawing, which was used by the wife of the governor, who was Fugui's friend Chunsheng in the army; his daughter Fengxia died of a hemorrhage in childbirth; his son-in-law's death was even more shocking - crushed to death in a concrete slab; His grandson Kugen died of eating too much boiled edamame. Almost all of these deaths around Fugui were unexpected disasters, except for his mother and wife, who died of illness. Suffering comes with a gray tone and a sorrowful destiny that leaves one in silence.

At the end of the novel, almost all the people are dead, but only Fugui is alive.

Depression and absurdity are the most intuitive experience and feeling brought by the novel "To Live", which is also the style and tone of the whole novel. Everyone is dead, but the main character Fugui. The fact that Fugui is still "alive" echoes the title of the novel, but it also conveys the sadness of "living for the sake of living". The thematic meaning of survival and death in To Live shows a certain overlap with Heidegger's existentialist philosophy, and Fugui's life actually has a certain philosophical revelation. Heidegger once said, "As a being toward its death, this is actually dead, and remains dead as long as he does not reach the moment of death." Behind Yu Hua's cold words is a complex imagination of the boundlessness of human death, a portrayal and writing of an absurd, uncontrollable fate.

2.Film To Live: A film about an individual's survival in harsh reality

While preserving the main characters and relationships of the novel, Zhang Yimou has adapted To Live in many ways, and the adaptation of the plot gives the film a completely different tone from the novel. Therefore, compared with the novel, the aesthetic and ideological connotations displayed in the film have also changed.

Taking 1949 as the time boundary, the plot of the movie is basically similar to that of the novel. But we mainly focus on the differences between the development of the story in the movie after 1949 and that of the novel plot.

The first episode about "death": Youqing's death.

After the Great Leap Forward begins, Fugui forced Youqing, who has stayed up all night, to go to school, but Youqing ended up being crushed to death by the collapsed wall, and the district head of the collapsed wall was the Chunsheng who had shared the hardships with Fugui back in the army. In the novel, the death of Qing was caused by excessive blood donation, which is already absurd, coupled with Yu Hua's cold and dreary writing style, will bring the reader into a spine-chilling sense of absurdity when reading. Although both of them were accidents and the cause of death was related to Chunsheng, we obviously felt that the death of "being killed by a wall" actually made the audience feel less absurd than the death of "dying from excessive blood donation".

The second episode about "death" : the death of Fengxia, Fugui's daughter.

In both the movie and the novel, Fengxia died of a massive hemorrhage during childbirth. The only difference is that in the movie, Fengxia died because no one was able to diagnose and treat her. Here, Zhang adds a more epochal touch to Fengxia's tragic death, which the film tries to highlight: the impotence of small individuals in the harsh reality of the times. The film's prominent historical background is not the main theme of the novel.

The third episode about "death": the end of the story.

In the novel, only Fugui survived at the end of the story. Perhaps Fugui was the one who was most likely to be taken away by death, but he was the only one who survived when everyone else dies. Fate is unpredictable, and this meaningless "living" is also a form of death in a sense.

The end of the movie is completely different from the novel.

At the end of the movie, there was a scene of many years later: the warm sunshine was shining on Fugui and his family. Fugui, his son-in-law Erxi and his grandson gathered around the bed of the sick Jiazhen, chatting with each other in a relaxed atmosphere. Fugui's family has gone through so much suffering, but still have the opportunity to sit around and chatting. The film's images also became slightly brighter, no longer in a completely somber and gloomy tone. The three characters Zhang Yimou chose to keep are very important to the meaning of Fugui's life. Jiazhen, as Fugui's wife, accompanied him through all his suffering, Erxi, as Fugui's son-in-law, was the sustenance of his deceased son and daughter, and Mantou, as Fugui's grandson, was a symbol of hope. The family pattern of three generations is preserved, as well as the few good things that can be experienced by people who bear the hardships of various stages together. In the film, we can see a little light in Zhang Yimou's camera. The fate of the Fugui family did not end in tragedy like it in the novel, and a glimmer of hope is preserved.

===The Differences in Narrative Perspective===

1.The novel To Live: a cold, calm narration in the first person

The novel To Live actually has two different narrators, one is the folk song collector at the beginning of the work, that is, "I". "I" wandered through the countryside and fields, originally to collect folk songs, but I met an old man, that is, Fugui, the main character of the story. The old man, Fugui, is full of vicissitudes and told "me" stories about his past. The main plot of the novel then unfolds, with the narrator switching between "me" and Fu Gui. The story of To Live is mainly about Fu Gui and is narrated by him. As a young man who came to the countryside for a ramble, “I” was more often than not a listener, independent of Fugui's story.

In the old man's calm recollection and narration, the reader sees the absurd and cruel past of the former Fugui family, all of which is saddening. The old man's eyes are gentle and indifferent, and his narrative is slow and easy. Some of the memories are absurd, some of the memories are extremely sad, but the old man is very calm, as if these things did not happen to him. In the process of the old man Fugui's narration, "I", as one of the narrators, will also reflect with the old man's memories. When "I" think, the readers are also separated from the story, so that they can think rationally as they read. This is a kind of "alienation" effect, that is, let the reader and the text have a certain distance so as to guide the reader to think independently and calmly. The reader, like the "me" in the book, is shocked and saddened by these memories, but is able to detach oneself and to think.

Yu hua's writing brings a sense of alienation and calm, and is filled with wisdom of life. Coupled with the novel's first-person limited angle of narrative perspective shift, the novel gives its reader a whole touches without drowning them in the story, thus allowing them to think independently about what Yu Hua really wants to convey - the theme of life and fate.

2.The film To Live: a moving, detailed narrative in the third person

Zhang Yimou is a photographer originally, and he is good at controling the camera with a distinctive characteristics; in the film To Live, his unique sense of lens art is expressed to the fullest. The overall tone of To Live is not bright and clear, but it does give us a glimmer of hope, not only because of Zhang Yimou's adaptation of the plot, but also because of the film's unique narrative rhythm and perspective.

The film records the story with the lens, and the lens itself is independent of the characters in the picture. When Zhang Yimou shot the film, he did not use the first-person narrative perspective of the novel, but eliminated the role of "I" as a folk song collector in the novel, and simply told the experiences of Fugui's family in chronological order. By eliminating the narrative perspective of "I", the viewers cannot feel the "separation" brought by the novel in the film, instead, they can follow the camera deeper into Fugui's story and get a more direct emotional experience.

There are many scenes of life and death in the film, but Zhang Yimou does not let them become monotonous or uniformed. Whether it is the body language of the characters on the verge of despair or the sad and passionate background music greatly enhance the artistic impact of the scenes of life and death, making the audience feel as if they were on the scene. The audience experiences the intense grief in these images, their emotions fluctuating thereby, and the sense of despair penetrates into the hearts of everyone behind the camera. That's why, at the end of the movie, when Fuguei's family gets together to talk, the dull but warm atmosphere will move the audience and make them feel a sense of gratitude for Fuguei's family and for the fact that there is still a glimmer of hope in the story.

===The Differences in Connotation===

1.The novel To Live: a philosophical inquiry into the meaning of human existence

Yu Hua's novel is titled To Live, but a large part of it is about death. The old man Fugui had experienced the death of too many people around him, and finally only an old cow was left with him. He reminisced about the past, when the progression of life stages was almost always accompanied by the death of loved ones. The suffering and the sad fate made people feel absurd, but did not destroy the old man's spirit, and he became calm and uncontested, still insisting on living. What is the purpose of this "living" and what is the meaning of it when all reasons for survival are lost? This question actually has the meaning of Heideggerian existentialist philosophy. In asking such a question, Yu Hua is thinking about the meaning of life, and he also wants to convey this kind of thinking and perception of existence of life to us.

The novel To Live has a deep and grand narrative structure. Yu Hua is always focused on the ultimate reality of human life, hoping to show us a certain normality of life's sorrow through the protagonist's absurd life. The novel is not as angry and cruel as Yu Hua's previous works, as the protagonist recalls these events with a calm and serene mood, as if he has transcended the fear of death and entered a state of philosophical detachment.

The academic circle has been debating Yu Hua's plot setting that leads Fugui to such a transcendent situation. Some scholars have given it a positive assessment, saying that it is Yu Hua's positive dissolution of the tragedy of life, a spiritual power that transcends death; others believe that Yu Hua hereby chooses to dissolve suffering and escape from it, and that this has become his limitation.

As we delve into the text and thematic ideas of the novel, we find that the rendering of the themes of death and existence in the work is not powerful enough. But we can hold a certain tolerant attitude towards this, because the novel To Live has shown that contemporary writers have shifted from the level of politics as the theme to the level of thinking about human nature, life and other values, which deserves our more attention.

2. To Live: Individual survival tragedy and social tragedy in a specific time and space
The movie To Live shows the life and death of the Fugui family, and emphasizes the political elements behind the story. What the film is about is very simple: the tragic experiences of a family in a specific historical era, using the family's suffering as an entry point and perspective on Chinese history and culture. In Zhang Yimou's film, the retrospection and reflection on a specific history are intensified, and the philosophical thoughts on human existence in the novel are weakened.

Although the film To Live retains the main characters and part of the plot in the novel, its connotation has taken on a completely different direction from the novel text. If the novel is a philosophical reflection and inquiry on the whole human life, then the film To Live is a statement of social tragedy in a specific time and space in China. Zhang Yimou's film adaptation of the original work is actually a second creation after deconstructing and reconstructing the novel, so the overall artistic style and theme connotation of the film are fundamentally different from that of the novel.

In the film, both the cause of death of the main characters and the spatial location of the story reflect the values that Zhang Yimou wants to express, which is to look back and reflect on history, and to look at the tragedies of the lives of the little people in a particular time and space. Zhang Yimou's adaptation leads the story in a direction closer to real life and history, and what he wants to highlight is the retrospection and reflection on a specific historical period. This is a tragedy of a specific historical era, a tragedy in the culture and history of the nation, and this adaptation of the film embodies Zhang Yimou's courage to face history and reflect on it.

===Conclusion===

In the process of the film adaptation of novels, there must be some deletion and modification. In different historical backgrounds, the characteristics of film adaptation are not the same. Although the novel To Live and the film have similar characters and some similar plots, in fact, they are two texts with very different connotations no matter from the overall style tone, narrative technique or thematic meaning. The novel has a somber tone, while the film has a brighter tone; the novel is narrated in the first person, which creates a certain effect of "separation", while the film is told in the third person, which makes it easier to create a certain effect of "empathy"; he novel is intended to ask questions about the fate and meaning of life as a whole, while the movie focuses on the social tragedy and personal tragedy in the context of a specific era.

Whether reading the novel or watching the movie To Live, readers and audiences will be deeply shocked and moved, which is cause by the heavy weight carried by the words "to live".

===Terms and Expressions===
the avant-garde writer: 先锋作家

the top prize of the Italian Grinzana Carver Literary Award: 意大利格林扎纳·卡佛文学奖最高奖项

the Chevalier de l'Ordre des Lettres et des Arts de France: 法兰西文学和艺术骑士勋章

the Spirit of Humanity Award at the 47th Cannes International Film Festival: 第47届戛纳国际电影节人道精神奖

the Best Foreign Language Film Award at the 48th British Academy of Film and Television Arts: 第48届英国电影学院奖最佳外语片奖

the Best Foreign Language Film by National Society of Film Critics Awards: 全美国影评人协会最佳外语片

Land Reform: 土改

Great Leap Forward: 大跃进

===Questions===

1.Is Yu Hua's novel a deliberate pile of tragedy?

2.What is the difference between the style of the novel and of the film?

3.What are the themes conveyed by Yu Hua and Zhang Yimou?

===Answers===

1.No, it’s not. All the tradedy happened to the main characters are to reveal a theme, that is, living itself does not have any meaning, what has meaning is life.

2.The novel’s style is more absurd while the film is more ironic.

3.Yu Hua’s To Live is to live for the sake of living, while Zhang Yimou’s is to live for a better life.

===References===

*刘诗杨,唐杨[Liu Shiyang, Tang Yang].文学经典影视化：融合、困境与出路[ Film and Television of Literary Classics: Integration, Dilemmas and Ways Out][J].戏剧之家[Home Drama],2021(26):137-138.

*付丹[Fu Dan].《活着》小说与电影的叙事互文[Narrative Intertextuality between Novel and Film of To Live][J].辽东学院学报(社会科学版)[Journal of Eastern Liaoning University(Social Science Edition)],2021,23(03):97-101.DOI:10.14168/j.issn.1672-8572.2021.03.14.

*王芳[Wang Fang].现实悲苦与荒诞命运——张艺谋电影和余华小说的两种“活着”[Realistic Misery and Absurd Fate -- Two Kinds of "Living" in Zhang Yimou's Film and Yu Hua's Novel][J].现代交际[Modern Communication],2020(20):135-139.

*王凌云[Wang Lingyun].论跨文化传播中文学剧本的电影改编方式[On the Film Adaptation of Literary Scripts in Cross-cultural Communication][J].西部广播电视[West China Broadcasting TV],2019(09):105-106.

*闵易秋[Min Yiqiu].论文学名著和电影改编[On Literary Masterpieces and Film Adaptations][J].戏剧之家[Home Drama],2019(07):135.

*胡焕龙[Hu Huanlong].两种艺术展现两种境界的“活着”——余华小说《活着》与同名电影改编作品比较[Two Artistic Expressions, Two Realms of "Living" - A Comparison of Yu Hua's Novel "To Live" and the Film Adaptation of the Same Name][J].海南师范大学学报(社会科学版) [Journal of Hainan Normal University(Social Sciences)], 2018,31(05):58-64.DOI:10.16061/j.cnki.cn46-1076/c.2018.05.011.

*王晨雨露[Wang Chen Yu Lu].小说《活着》与电影《活着》的死亡叙事比较[A Comparison of the Death Narratives in the Novel To Live and the Film][J].北方文学[Northern Literature],2017(21):280-281+288.

*王海霞,王达敏[Wang Haixia, Wang Minda].“真实”与“现实”的不同追求——余华小说《活着》与张艺谋电影《活着》比较[The Different Pursuit of Truth and Reality: A Comparison between Yu Hua's Novel To Live and Zhang Yimou's film to Live][J].乐山师范学院学报[Journal of Leshan Normal University],2015,30(09):23-28+75.DOI:10.16069/j.cnki.51-1610/g4.2015.09.007.

*刘悦笛[Liu Yuedi].《活着》两种——从余华小说到张艺谋电影的审美嬗变[Two kinds of To Live:The Aesthetic Transition from Yu Hua's Novel to Zhang Yimou's Film][J].锦州师范学院学报(哲学社会科学版)[Journal of Jinzhou Teachers College（Philosophy and Social Scienae Edition)],2000(03):41-43.DOI:10.13831/j.cnki.issn.1672-8254.2000.03.010.

==英语笔译张瑞 Zhang Rui 202170081608 MW==
<center>'''An Analysis of English Translation of Classical Prose Based on the Skopos Theory'''</center>

<center>张瑞 Zhang Rui</center>

===Abstract===
The information age has made cultural communication the norm in the world, and transmitting the essence of Chinese traditional culture to the world is not only an important way to show the profound cultural heritage of China, but also a good way to make the world understand China. This paper introduces the theory of cultural translation into the translation of Chinese classical prose. By selecting the classic prose of Han Yu, the first of the Eight Great Masters of the Tang and Song dynasties, as a case study, we analyze the English translation process of Han Yu's prose under the guidance of cultural translation, show the applicability of cultural translation in the English translation of classical prose, and provide new ideas and references for the future translation of classical prose.

===Key words===
Skopos Theory; Strategies for English translation of classical prose; the classic prose of Han Yu

===Introduction===

Today's era is not only the era of economic globalization, but also the era of cultural globalization, and the mutual dissemination of culture has become the norm in the world. China is an ancient civilization with a long history of 5,000 years. The Chinese people are industrious and wise, leaving behind a large number of excellent texts, which have made outstanding contributions to world civilization.

As the essence of traditional Chinese culture, the smooth dissemination of Chinese classical literature not only enables China's profound cultural ideas to be transmitted to foreign countries, but also enables countries around the world to understand China and its traditional culture more deeply. In the process of mutual cultural transmission, the role of translation is particularly important. This paper intends to study the English translation of classical prose from the perspective of cultural translation science, and to analyze and try to improve the translation of Han Yu's classic prose in order to enrich the study of English translation of classical prose and to explore the translation theories and perspectives used to guide the English translation of classical prose.

The English translation of classical prose has its unique features and cannot be carried out according to the traditional translation methods. Chinese classical prose generally presents a profound meaning in a concise text, and the language is relatively easy to translate, but the meaning attached to the language is difficult to handle. Han Yu's prose is selected for analysis because, as one of the eight great writers of the Tang and Song dynasties, Han Yu was called by Su Shi as "a writer who started the decline of the eighth generation", and his prose was a fusion of a hundred schools of thought. Han Yu's rejection of pompous forms and his focus on content, which is characterized by a free flow of thought, logical coherence, frankness and forcefulness, had a major impact on the literary creation of later generations.

===Literature Review===
Skopos translation theory is a relatively new model of translation theory dating back to the 1960s and 1970s, when the linguistic orientation in translation studies was challenged. Some scholars rejected the rigidity of the structuralist translation model that dominated the field. They wanted to inject a new school of thought that would eliminate academic scholarship with a more pioneering attitude, focusing on accessible and meaningful communication. As a different perspective of translation studies, Skopos theory breaks through this rigid model, broadens the field of translation studies, gives more meaning to translation, places translation in the framework of behavioral theory and cross-cultural communication, and opens a new path of exploration for Western translation theorists who are dominated by the linguistic school. In this way, Skopos theory has attracted more attention in recent years.
2.1 Translation Studies from the Perspective of Scopes Theory
Skopos theory is a translation theory first proposed by the German scholar Hans Vermeer in the 1970s. There are two main reasons for this: firstly, translation is not only or even mainly a linguistic process; secondly, translation is not only a linguistic process. Secondly, linguistics does not really address the problem of translation difficulties. Therefore, he proposed a Skoposian theory of translation based on the theory of action.
In the framework of Vermeer's Skopos theory, one of the most important factors determining the purpose of translation is the audience - the recipient of the translation. Each translation is directed to a specific audience, so a translation is "a text produced for a specific purpose and target audience in the context of the target language". According to Vermeer, the original text is only the source of some or all of the information for the target audience.
The central idea of Skopos's theory is that every action has a purpose. The actor chooses the most appropriate way to achieve the desired goal based on the actual circumstances. Since translation is also an action, the translator will be guided by the purpose of the translation. An attempt is made to consider all possible relevant factors. In order to determine the most appropriate course of action, a normative ground rule can be derived from the description of the actual situation: the purpose of the action determines the strategy for achieving the desired goal. In other words, the translation should perform the intended function for the intended recipient.
According to the Skopos theory, the first rule that all translators follow is the "Skopos rule": the purpose to be obtained by the act of translation determines the whole process of the act of translation, i.e. the result determines the method. There are three interpretations of this purpose: the purpose of translation (e.g., making money; gaining academic value; reputation); the communicative purpose of translation (e.g., motivating the reader), which is achieved by using special reasons for translation (e.g., the desire to make a direct translation based on the structure of the language in order to illustrate the special features of its grammatical structure). Usually, the purpose of translation refers to the communicative purpose of translation. Skopos theory suggests that the initiator's translation process determines the communicative purpose of the translation, and the initiator determines the need for the translation. Under ideal conditions, the translator will be very clear about the reasons why the translation is needed. These are collectively referred to as translation requirements. These will include the content of the recipient, the use of the translation environment, and the functional reasons for the translation. The translation requirements of the translator indicate what type of translation is needed. The translator does not necessarily accept everything passively and can be involved in determining the purpose of the translation, especially if the originator is unclear about the purpose of the translation due to lack of expertise or other reasons.
According to Vermeer, the translation (output appearance) is not the original text (input appearance), but the inner purpose of the translation.
The functionalist Skopos theory has attracted a lot of attention from the very beginning.
Mona Baker explains the Skopos theory and related concepts in her Encyclopedia of Translation Studies. Monia Cowie's Dictionary of Translation Studies contains the main elements of functionalist purposive theory and related concepts. There are many other introductory articles and books on the theory, and Functional Appmaches Explained (Nord, 2001) is the most representative work to date that introduces the functional translation approach in the most detail.
In China, many articles on translation have been written since the introduction of Skopos theory in 1987. The relevant researches mainly cover such topics as translation definition, translation standard, translation criticism, translation teaching, translation strategy, literary translation, non-literary translation (including tourism translation, trademark translation, advertisement translation, film title translation, Chinese medicine literature translation, university website translation, news translation, and legal translation). In recent years, many articles have combined theories such as Scobos Theory with traditional Chinese translation theories and research works, for example, Yan Fu's elegant writing is more abstract, vague and has a certain subjective theory. ovo theory has similarities in the pursuit of fidelity, consistency of translation and reader adaptability. However, there are great differences in the theoretical system, translation standards and the status of translators in the translation teaching research of translation Skopos theory . Noteworthy is the book Skopos Theory in Witness to the Construction of English-Chinese Translation Textbooks (Tao Youlan, 2006)。the author uses the translated Skopos theory to study and analyze translation teaching in China, and draw many suggestions from them.
According to Vermeer (1986), the concept of "translation purpose" actually includes three meanings: translation process - the purpose of the translation process, translation result - the function of translation and translation method - the intention of the method used.
Vermeer (1989) claims that the Skopos theory makes three main contributions: first, it makes explicit the often denied facts and makes people aware of their existence; second, the concept of task-driven purpose expands the possibilities of translation; it adds alternative translation strategies and frees translators from the constraints imposed on them by often meaningless direct translations; third, it puts the responsibility of translators on the agenda and frees them from the constraints imposed on them by meaningless direct translations; and third, it puts the responsibility of translators on the agenda and frees them from the constraints imposed on them by meaningless direct translations. translators' responsibilities on the agenda and expands their scope. It is clear that the translator must perform the intended function in order to achieve the stated goal. Vermeer (1989) also points out that ignoring the purpose of translation can lead to the serious consequence of misunderstanding or distorting how best to translate a text. With a clear purpose or task, agreement can be reached on at least one macro-strategic choice.
The skopos theory has a wide range of pragmatic features, which focus on the characteristics of text types and help to improve the translator's awareness of the communicative functions and linguistic signs of functional translation units and increase the effectiveness of translation. However, kopos theory focuses on the study of the functions of the target text and purposeful rewriting for the effects of the target text, which gives the original text a new purpose to communicate to new times and audiences. In conclusion, Skopos theory provides a new perspective for translation research and facilitates the comprehensive study of various translation variants and the development of translation theory.

===Strategies for English Translation of Han Yu's Prose===
3.1 Grasp the meaning of the original text accurately

To convert a literary text into a modern one, one needs to have a solid foundation in Chinese, especially knowledge about the language. In addition, the translator is required to pay attention to the specific meaning of the words in the text when converting it to modern. In addition, it is important to understand the phenomenon of word usage in the text. In the conversion. In addition, we must understand the phenomenon of word-appropriation in the text, and in the conversion, we must be flexible in converting words according to the context of the original text, and not stick to the lexical nature of the word that makes the sentence awkward. It is difficult to read or difficult to Dong: for example, the original second paragraph "horse-eaters do not know that they can eat for a thousand miles" where "thousand miles" is a quantity word, but according to the meaning of the text, this should be understood as "traveling a thousand miles a day". Therefore, it belongs to the use of the word "quantity" as a verb.

3.2 Deeper understanding of the emotion of the original text

Without the grasp of the emotion of the original text, the modern text will not be able to convey the original author's thoughts and feelings and the quality of the English translation will also be greatly reduced. The talent is compared to a thousand li horse. The ruler who is foolish and shallow and does not know talent is compared to a horse eater. In the case of the thousand-lipped horse, he was humiliated by the hands of the slave and died in the groove of the stable, and wrote about the fate of talented people who were not used for life. The story is written with the words "not enough food, not enough strength. The author's resentment at the lack of talent and his dissatisfaction with the feudal rulers for burying the talents.

3.3 Mastering appropriate translation skills for conversion

In the process of organizing the modern text, for the omitted sentences in the text, we should add the omitted components in the omitted sentences in the conversion journal, for example, in the second paragraph of the original text, "the horse-eater did not know that he could eat for a thousand miles. For some false words in the text that have no practical meaning and only play a grammatical role can be deleted without translation: for example, in the third paragraph of the original text, the words
For example, in the third paragraph of the original text, the word "之" in the phrase "鳴之而不能通其意" plays the role of a supplementary syllable and can be left untranslated. In addition, attention should be paid to the adjustment of language order.

===Translation Principles===

Yan Fu, a modern Chinese Enlightenment thinker, introduced Western studies and at the same time put forward the standards of translation, letter, reach, and elegance". He said in the "Translation Example" in the "Theory of Heavenly Evolution": "Three difficulties in translation: letter, reach, elegance, seeking its letter has been a great difficulty, Gu letter carry on not reach, although the translation is still not translated, then reach is still absent".
The object of literary translation, specifically, is the novel prose poetry and drama works it is not equivalent to the general sense of translation, it is to convey the author's full intention that through the artistic approach to influence the reader's thoughts and feelings. Therefore, it puts forward higher requirements on the literary quality of the translator, who should, on the basis of a deep understanding of the original work, accurately grasp the author's writing style and his feelings. The translator should accurately grasp the author's writing style and the ideas to be expressed, so that the translation is neither too right nor too left, and strive to produce a translation that is not only faithful to the original text but also smooth and fluent.

The processing of adding and subtracting words in the English translation. Some sentences need to add subjects and predicates, while others need to add prepositions, conjunctions and pronouns. Other sentences need to add words that are not specified in the original text in order to make the text flow smoothly. There are many pronouns. In addition, according to the meaning of the original text, words that are not specified in the original text are added, such as "the rider', "he. in order to obtain a complete expression of the meaning of the original text.
The difference between Chinese and English syntax is very different between the two languages. Chinese (especially Ancient Chinese) is a language of meaning. Sometimes a sentence in Chinese is composed of several phrases or words placed side by side. There are no formal markers - but they are complete in meaning: unlike English sentences. If there is no connecting word in the sentence, such as a relational pronoun or an adverb, the whole sentence will become logically confused and lack of readability: therefore. Therefore, when translating from English to Chinese, we should try to find something that can better reflect the meaning of the word. We should try to find some words that can better reflect the logical relationship between the sentences so that the relationship between the sentences is reasonable.

4.1 Taking the source language culture as the source and the target language culture as the guide

There are great differences between Chinese and Western cultures, therefore, in the process of translation
Therefore, in the process of translation, translators should pay attention to the appropriate preservation and transformation of culture. The "meaning" in ancient Chinese texts is the core, and the translator should pay attention to the proper preservation and transformation of culture in the translation process.
"If the translation is blindly transformed into a western culture that is easy for foreign readers to read, then it is bound to be a mistake.
If the translation is blindly transformed into a western culture that is easy to read by foreign readers, then the original meaning will be lost. Therefore
Therefore, while retaining the core essence of the ancient text, we should adopt the strategy of forignization
The translation should retain the core essence of the ancient text, but use the strategy of dissimilation to highlight the "differences" in style and other aspects of the original text. In this way
In this way, the linguistic and cultural characteristics of the original text can be preserved in the translation, so that the readers of the translated text can feel the exotic atmosphere and
readers to feel the exotic atmosphere and the existence and uniqueness of other cultures.
The translation should also take into account the At the same time, the differences between Chinese and Western cultures and the cultural thinking of Western readers should also be taken into account.
Chinese culture is accurately presented in the eyes of the readers of the translated language, taking into account the differences between Chinese and Western cultures and the cultural thinking of Western readers.
The Chinese culture should be accurately presented to the eyes of the readers of the translation. For example, the famous lines in Han Yu's "The Way of Origin”: “博爱之谓仁，行而宜之之谓义，由是而之焉之谓道，足乎己而无待于外之谓德。” The sentence was translated into:” The universal love is called benevolence, the behaviors which are consistent with benevolence are called righteousness, moving forward from benevolence and righteousness is called Tao, something which you have and do not rely on outer environment is called virtue. ”
In ancient China, "benevolence," "righteousness," "Tao," and "virtue" are the basic concepts of Confucianism.
The basic concepts of Confucianism are extremely far-reaching. Take "ren" as an example, in
In traditional Chinese culture, "ren" is the core of Confucius' doctrine, which embodies respect for father and mother, love for brother and sibling, and respect for the sovereign.
In traditional Chinese culture, "ren" is the core of Confucius' doctrine.
In traditional Chinese culture, "ren" is the core of Confucius' doctrine, which embodies the basic moral principles of respect for father and mother, love for brothers and siblings, universal love, and the noble character of a gentleman.
In the process of translation, we should prevent assimilation and not destroy the integrity of the source language.
The translation process should prevent assimilation and not destroy the integrity of the source language. Another example is "Tao", which not only contains the meaning of reason, preaching, and the path, but also contains the ineffable meaning of the word "Tao".
It also contains the unspeakable natural laws of heaven and earth. In foreign vocabulary of foreign countries, it is difficult to express these profound meanings in a single word or a few phrases. to express these words with profound cultural meanings, therefore, it is possible to
through the phonetic translation method to preserve the essence of Chinese words, so that the western readers can feel the mystery of Chinese culture. Readers would feel the mystery of Chinese culture, and then either to elaborate on it in a separate chapter or find the right place for detailed annotations.
4.2 Making good use of naturalization

With culture as the core of the text, the means of translation should be more flexible, and when appropriate, in order to make the readers of the translated language more
In order to make the readers of the translation more aware of the Chinese cultural meanings and connotations of certain languages, it is necessary to make good use of naturalization.
Take Han Yu's famous essay "The Teacher's Discourse" as an example: "三人行，则必有我
师焉.
Translation: "Among three men who walk with me, there must be a teacher of mine."
Here, in order to reflect Chinese culture and let foreign readers better understand the meaning.
In order to reflect Chinese culture and let foreign readers better understand the meaning of this famous saying, the word "three" is translated into Chinese.
The word "three" is not a precise concept, but an imaginary or metaphorical expression.The translation is more in line with the logic of English thinking and more in line with the meaning of the original text.This way, the translation is more in line with the logic of the English language and the meaning of the original text.

4.3 Focus on interpretation and annotation

In the process of translating ancient texts into English, there are phrases that contain endless meanings beyond the language.
The charm of traditional Chinese texts is precisely this, and in order to preserve the meaning in the English translation process, it is often necessary tothe process of English translation to retain the meaning, often through the detailed explanation of key words, so as to achieve a more profound cultural
The English translation process can preserve the meaning of the key words, which often requires detailed explanation of the key words to achieve a more profound cultural impact. Take Han Yu's "The Saying of the Horse" as an example: 世有伯乐，然后有千里马。“ The sentence is translated into:” Only after Bole［1］ came into the world were there horses able to gallop one thousand li． ” ［1］ Bole: a legendary figure in the seventh century B.C，Bole was an authority on horses．
Here, "Bole" literally means a master who knows how to control horses, but by extension, it means a representative who knows people and reuses them in traditional Chinese culture.
The translation should retain the original "meaning" of the text and convey it to the Western readers. Therefore, the meaning of the key words can be added in the translation to facilitate understanding.
4.4 Appropriate sentence adjustment
The culture of a country is accumulated over time in the course of national life Different countries in different regions have different development history, different forms of life, different religious beliefs, different ethnic groups, etc. The culture of a country is the result of the process of national life. The culture of a country is the result of the process of national life. The purpose of cultural communication is to spread these personalities. The translator should make the translated culture and the source culture functionally equivalent in the translation, so that the translated text has the same effect on the readers of the translated culture as the source text has on the readers of the source culture. The translator should make the translated culture and the source culture functionally equivalent, so that the translated text has the same effect on the readers of the translated culture as the source text has on the readers of the source culture. Therefore So, when appropriate, the text and sentence structure can be modified to varying degrees in order to preserve the source language culture. The text and sentence structure can be adjusted to varying degrees when appropriate in order to preserve the culture of the source language, highlighting the cultural subject The translation of the text and sentence structure can be adjusted to varying degrees when appropriate in order to preserve the culture of the source language, highlighting the cultural subject.
《马说》中:“故虽有名马，祇辱于奴隶人之手，骈死于槽枥之间，不以千里称也。”
”Such horses are common，but a Bole is rare． So even fine steeds，if mishandled by slaves，will perish in their stables without being known as good horses． ”
In order to effectively convey the source language culture in the text, the translation changes the original the sentence structure of the original text, and the English translation process is appropriately The English translation is adjusted appropriately.

===Conclusion===

Cultural export is the intellectual acceptance by people of other countries of their own system, language, art, history, and other material and immaterial culture. They feel that the culture of their country is The culture of the country is advanced and superior, and people learn about it because they admire it. The Chinese people The Chinese nation has undergone 5,000 years of transformation and has accumulated a brilliant culture, which has left an indelible legacy in literature and philosophy. It has left indelible traces in literature and philosophy. Although mankind's wars have subsided for more than half a century century, there is still constant friction between countries and signs of resurgent imperialism. imperialism is still resurgent, and under the surface of peace, it is engaged in divisive behavior and intends to dominate. Confucianism advocates "peace is precious", and Chinese culture is the most important factor in the current complex and multifaceted The Chinese culture is urgently needed to ensure human peace and development in the current complex and multifaceted world situation. In diplomatic speeches, ancient poetry is often quoted to show the pattern of a great nation. The wisdom in Chinese ancient texts should also be like spring breeze and rain, embracing the task of world culture construction. The translation of ancient texts has become an important medium for cultural export, and whether or not the translation of ancient texts can faithfully convey their unique Whether the translation of ancient texts can faithfully convey their unique contexts becomes the key to effective cultural export.
Translation is an important bridge for cross-regional cultural transmission, and classical Chinese Chinese classical prose is another treasure of traditional Chinese culture. The very purpose of translating Chinese classic proses is to spread them to other parts of the world. So, we may stick to following rules to improve the spread of Chinese literature and culture.
Stragegies: Generally speaking, there are two ways to translate allusions, one is paraphrase and the other is direct translation with commentary. If allusions are used in the outgoing pairs of sentences, it may be better to use the Italian translation. Of course, the more common way of translation is direct translation with commentary, or Italian translation with commentary.
These annotations, which are not limited by the word count and format of the text, can explain the allusions in as much detail as possible and form another story, so they can not only increase the interest of readers, but also achieve the effect of spreading cultural knowledge.

Further efforts:

1. Cultivate local translators and absorb the translation achievements of overseas sinologists.
The lack of local translators has slowed down the pace of our traditional literature to the world. Overseas sinologists are Sinology lovers and Sinology researchers, but the cultural environment they live in is different from that of China, and the resulting way of thinking is also different. Cultivating local translators can, on the one hand, have a "filtering" effect, i.e., disseminate works that we consider excellent and can convey a positive image of the country; on the other hand, it can make translation a long-term project and prevent the phenomenon of a talent cliff from occurring. Incorporating the translation achievements of foreign sinologists can
In the process, the sparks generated by the cultural collision can also further the study of Chinese ancient proses.
2. Dividing the difficulty level of the readings according to the different Chinese levels of the audience
Considering the different learning levels of the audience, the difficulty level of the readings can be divided. The translation of the primary text can be mainly Italian translation, which focuses on explaining the content of the text clearly and conveying the author's thoughts and sentiments. The translation of the intermediate reading book can adopt a combination of Domesticating Translation and Foreignizing Translation, in which the naturalizing approach is used to look at the target language so that the reader can read it smoothly and fluently, and the foreignizing approach is used to emphasize the heterogeneity of the source language culture so as to preserve the characteristics of our traditional The combination of naturalization and alienation For example, in Dream of the Red Chamber, there is a phrase of "Manproposes, God disposes", which is translated by Hawks as "Manproposes, Heaven disposes" and by Yang Xian Yi as "Manproposes, Heaven disposes". The former is just like a translation in accordance with the Christian culture, while the latter is a communication of Chinese Buddhist thought. The combination of the two approaches can reduce the difficulty of reading on the one hand, and give readers the opportunity to understand foreign cultures on the other. The translations by Mei Weiheng and Kang Dawei are suitable as intermediate level readings. The advanced translation of the ekphrasis should no longer be limited to satisfying the general public, but should also have a certain degree of researchability, not only in terms of formal correspondence and formatting, but also in terms of wording and phrasing, striving to match the original text, and involving proprietary vocabulary and allusions that should be clearly marked in the commentary, preferably with the provenance of the canonical texts, in order to provide assistance to overseas scholars for further research.
The requirements for translators are that the translator must be deeply involved in the culture of the source language, but must also be comfortable with the incoming language. As exploring In the process, the translatability of ancient texts can certainly be achieved. And according to the idea that "the way can be transmitted and the meaning According to the idea of "the way can be transmitted and the idea can be declared", any idea can be conveyed in language, and the philosophy of translation The philosophy of translation lies in "people share the same heart, the heart shares the same reason", where the same heart shares the same reason can be connected. The philosophy of translation lies in the fact that "people have the same heart, the same mind, the same reason". Cultural differences make ancient languages show temporary Cultural differences make ancient languages show temporary untranslatability, and the creative nature of translation makes translation standards vary, but when the level of human cognition and mastery of language breaks through the present barrier, the relative the level of human cognition and mastery of language break through the current barrier, the relative untranslatability will be transformed into absolute translatability. As China's influence on the world As China's influence on the world grows, Chinese culture will gradually become the culture of the world.

===References===

Peter, F. (2004). Skopos Theory: An Ethnographic Enquiry. Routledge.

Nord, C. (2001). Translating as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign language Education Press.

Wang Zuoliang 王佐良 . 1989 翻译、思考与试笔 {Translation, reflection and test writing} 北京：外语教学与研究出版社，

Ya Se 雅瑟．(2011) 唐宋八大家散文鉴赏大全集 {The Eight Great Prose Writers of the Tang and Song Dynasties: A Complete Collection of Prose Appreciation}．北京: 新世界出版社．

Gao Fengpin 高凤平．(2005) 文化翻译观与语际翻译中的文化因素问题 {Cultural Perspectives on Translation and Cultural Factors in Interlanguage Translation}．西安外国语学院学报，

==英语笔译赵宇翔 Zhao Yuxiang 202170081609 CE==
<center>'''Research On Problems And Strategies Of Translation of Chinese Classics'''</center>

<center>Zhao Yuxiang</center>

===Abstract===
The translation of Chinese classics into foreign languages has lasted for more than a century. From the cultural exchanges along the ancient Silk Road to the "One Belt and One Road" initiative to spread Chinese classics to the West, the translation of Chinese classics into foreign languages has always played an important role in the process of Chinese culture going out. This paper analyzes the purpose of the translation of Chinese classics into foreign languages, discusses the current situation and problems of the translation of Chinese classics into foreign languages, and looks forward to the new future of the translation of Chinese classics into foreign languages under the background of the "Belt and Road" initiative in the new era. In the new century and new era, to tell Chinese stories well, it is necessary to vigorously promote the process of translation and dissemination of Chinese classics and accelerate the pace of "going out" of Chinese culture.

===Key words===
'''Chinese Classics Translation; Purpose; Situation; Future'''

===Introduction===
This paper discusses the purpose, current situation and problems of the translation of Chinese classics into foreign languages, and looks forward to the future of the translation of Chinese classics into foreign languages under the background of the "Belt and Road Initiative." Chinese cultural classics are the crystallization of the Chinese nation's inheritance and conclusion for more than 5000 years. Under the background of economic globalization and the impact of various cultures, it is necessary for citizens to have a clear understanding of Chinese cultural classics and their current situation, which is also necessary to improve the soft power of Chinese culture. The translation of Chinese classics is the main way to spread Chinese culture. Translation is an effective way to spread the excellent culture of Chinese classics. The quality of translation also determines whether Chinese classics culture can go out and be deeply understood by western readers. Similarly, it also affects China's impression and status in the eyes of all countries in the world. Therefore, the quality of translation is very important. At present, the quality of Chinese classics translation is not uniform, and there are still many problems.
===1.The Purpose of Translating Chinese Classics into Foreign Languages===
Although all translation activities are purposeful activities, the purposes of translation activities in different fields are different. For example, the translation of machine operation manuals is to enable the translated language operators to operate according to the chapters without accidents; Therefore, the translation of any text will be directed to specific audiences, and the translated text produced must first meet the needs of these specific audiences.
The translation of Chinese classics into foreign languages has a special purpose in contemporary China. From the introduction of western learning to the east in the late Qing Dynasty and the early Republic of China to the active participation of domestic scholars in the western spread of middle schools today, the time span has reached as long as one hundred years. It has been a hundred years since Chinese intellectuals translated a large number of western works from seeking the truth of saving the country and the people from foreign countries to today's translation of excellent Chinese literature and classics to foreigners in order to spread and carry forward Chinese culture and tell Chinese stories well.
Although the western translation of Chinese classics is the main text channel, it has a strong direction of cultural communication to the outside world, with the direct purpose of "telling a good Chinese story" and the ultimate purpose of "promoting emotion with culture, promoting emotion with culture and building trust with culture", so as to let the world understand China, let the world understand China, let the world accept China, and jointly build and maintain a peaceful and prosperous new world. But for now, it seems that there is still a long way to go to achieve this goal.
So there is such a situation: In this sense, the direct purpose of translating Chinese classics into foreign languages is probably to give priority to the translation of those parts of Chinese traditional culture that best reflect the universally recognized beauty of human nature and nature and are unique to China and easy to arouse the interest and resonance of foreign readers in ways and means easily accepted by the people of the target language countries, so as to have an impact among those readers and spread them. In other words, we need to find the greatest common divisor between Chinese culture and civilization and its evolution and western culture and civilization, and try our best to explore and translate.
===2.The Status Quo of Translation of Chinese Classics into Foreign Languages===
Cultural exchange is a two-way street. In the process of communication, the two sides are subject and object of each other, and the world culture can develop in the understanding, collision, absorption and fusion of cultures. But the two sides of the cultural exchange is not equal. This is the weak culture and strong culture. According to statistics, every year China imported from abroad as many as tens of thousands of this translation, and introduced to foreign language translation of Chinese culture is only a few hundred poor, this is the obvious cultural asymmetry.
According to the Global Survey Report 2019 of China's National Image released by the Foreign Communication Research Center of China Foreign Languages Bureau, Chinese food, traditional Chinese medicine and martial arts are still the most representative elements of Chinese culture considered by overseas respondents (55%,50% and 46% respectively); The report did not translate the classics into Chinese, which is both unexpected and understandable. Because can be called the classics of literature, mostly not ordinary people can easily accept. Its audience, especially the initial readership nature is limited. At the same time, the translation of Chinese classics is actually the reverse flow of the weak culture, resulting in the translation of our classics in China, but it is relatively calm abroad.
Taking The Analects of Confucius as an example, The Analects of Confucius is one of the Confucian classics, which mainly embodies Confucius 'political thought, moral principle and educational idea. there have been more than 60 English translation and abridged version of that analects of Confucius since the publication of the first English literal translation by Marshall in 1809. Although it started late, its English versions are numerous and have great influence. The extroversion of Chinese culture is inseparable from the spread of Confucianism, which is based on the English translation of the Analects of Confucius. Therefore, the English translation of The Analects of Confucius is like a "source of flowing water" for the outward dissemination of Chinese cultural classics. We should make full use of its "leading" effect to continuously convey Chinese cultural classics and open the door for the outward dissemination of cultural classics. However, Yin Qing ( 2020) found that the overseas sales of the English versions of The Analects of Confucius, whether as a public reading material or an academic reference, are far from satisfactory, especially the English versions of Chinese translators. The influential English translation of The Analects of Confucius has sold so much, and the situation of other Chinese classics can be imagined. The English versions of Chinese cultural classics are not widely used overseas. There are three main reasons:
Another example is the "Guan Ju" in the Book of Songs, where the interpretation of "Guan Ju" has been controversial since ancient times, and its English translation shows more obvious diversity. Li Linbo ( 2011) collected 22 representative English versions of "Guanju" for research. Through analysis of translation structure, text details, semantic differences and cultural words with Chinese characteristics, the 22 texts were divided into three types: traditional translation, modern translation and poetic creation translation. He believes that through the study of the English translation of the poem "Guan Ju," we can see some common problems in the translation of Chinese classics: This means that the translator must have a clear version of the awareness, the annotation of the text should also have a good ability to identify, which is the basis of translation. 2. Positioning: The same classic text has different values for different translators. Some translators attach importance to its cultural nature, some translators attach importance to its literary nature, and some translators have no clear orientation. Different orientation determines different translation strategies. Some translators have definite translation purpose and consistent translation strategies, while some translators choose translation strategies randomly, and the value of their versions is bound to be different. The value of a translation does not necessarily depend on whether it is based on the traditional authoritative annotated version or the modern popular annotated version, because the two versions complement each other, but it inevitably depends on whether there is a clear translation purpose and consistent translation strategies. 3, language problems: There are two kinds of language problems: Regional characteristics of the performance of the dialect, such as the "Book of Songs, Guofeng" language, its geographical characteristics have a lot of untranslatable factors, but still need the attention of the translator, a dialect lost, easy to cause differences in the interpretation of the second dialect with cultural and stylistic characteristics, even if not translated, should also consider whether some compensation. Historicity is manifested in semantic changes, changes in characters, etc. Many of the characters have different meanings from the present, such as "wife" and "civilization," which are easily ignored by translators who are not aware of the classics. The change of characters is mainly manifested in the conversion of traditional characters and simplified characters. Many traditional Chinese characters correspond to simplified yu based on their pronunciation similarity, which has semantic deviation. For the translator, only according to the simplified Chinese version, even today's translation, without studying the traditional Chinese version, mistranslation, missing translation, inadequate translation. 4, cultural issues: cultural issues, including macro and micro aspects of the problem. The difference in the origin of Chinese and Western thoughts determines the unique cultural spirit of Chinese classics, such as Lao Tzu's "Tao" and Confucius '"benevolence." These cultural terms are the core of their thoughts. Different translations of them will cause differences in their overall interpretation, which can be said to have the key to affecting the whole body by pulling one hair, which is a macro issue. Microscopic aspects of the performance of the material culture, such as the "Book of Songs,""Chu Ci" recorded in some animals, plants, clothing names, some due to species evolution or changes in time variation, or even extinct, for the translator not only need rigorous research, but also to face the problem of how to find the counterpart, or how to compensate or deal with transliteration, omission, generalization and other translation methods caused by the loss.
To sum up, through a number of researchers on the translation of Chinese classics, the author summed up the current translation of Chinese classics facing three main problems: Although there are many professional translators, few are proficient in translation.
===3.Strategies for Translating Chinese Classics into Foreign Languages ===
The translation of Chinese classics into foreign languages needs to follow some necessary principles if it wants to realize its original intention. This not only refers to the transformation of linguistic signs between the source text and the target text, but also refers to the comprehensive consideration of all aspects of the translation process. For example, how to choose the texts of classics, how to choose publishers, how to examine and approve the quality of target texts, how to select translators, how to determine the printing circulation of translated texts, how to publicize and build momentum in the target countries after publication, and whether it is necessary to carry out readers 'follow-up survey, etc., I'm afraid all need to be discussed so as to establish corresponding regulations. Should we focus on the translation of classics that we think foreigners should know and understand, or on the translation of classics in related fields that foreigners want to know? As for the above-mentioned status quo and problems of translation of Chinese classics,
According to the published catalogue of the Great China Library so far, the Great China Library has selected 21 kinds of ideological and academic classics such as the Book of Changes, Lao Zi, the Analects of Confucius and Mencius, 10 kinds of historical classics such as Shangshu, the Biography of Zuo's in the Spring and Autumn Period, Guoyu and Historical Records, and 55 kinds of literary classics such as The Book of Songs, Songs of the South, Three Hundred Tang Poems, The Romance of the West Chamber and A Dream of Red Mansions. At the same time, the second phase of the project will be carried out. The most representative 20 Chinese cultural classics will be selected and translated into 7 languages such as France, Russia, Spain, Arabia, Germany, Japan and Korea, and 9 languages will be introduced to the world.
Obviously, among the 110 kinds of literature, literature books accounted for 50%, ideological and academic books accounted for 19.09%, traditional Chinese medicine and technology books accounted for 13.63%, history books accounted for 9.09%, and military books accounted for 8.18%. This reflects the editorial board's principle of focusing on the selection of classics and documents, as well as the principle of "self-centered" in the translation of classics.
From the point of publishing library text press, all of them are China's press, and a foreign press. It now seems that when the texts of the classics are completed, they would be better if they were published in the country where the target language is the mother tongue. Therefore, in the publishing and distribution of this link, if we adopt the mode of foreign publishing or joint publishing, the way of transmission will be wider and the effect of transmission will be better. This is the principle of international cooperation in the translation and publication of classics.
From the perspective of translators, more than 90% of the 142 published classics are completed by individual translators in China alone, and there are few cooperative translations like Yang Xianyi and Gladys Yang, and even fewer translations by foreign translators. The author believes that in the field of traditional literature, history, and even thought of classics translation work by individual translator is appropriate, but in other fields of strong professional, I'm afraid to set up by the industry experts (preferably know a foreign language) and the translator team to complete. In this way, to a great extent, it can be guaranteed that the translator as a layman will avoid the omission of principles, intellectual errors and layman's words as much as possible when translating the text. This is the principle of cooperation between translators and experts in non-literary, historical and philosophical fields.
As a representative of the country's foreign translation of classics, its translation level also represents China's national image. Therefore, it is the most important task to train excellent translators who are proficient in translation, fully understand the historical and cultural characteristics of the target country and the source country (China), and understand the knowledge background of the translated classics. At the same time, in order to improve the quality and speed of translation, the cultivation of machine-assisted translation ability is also an indispensable part. At the same time, minority language talents are scarce. Nowadays, English and Chinese are more and more widely used, so we should turn the steps of translating Chinese classics into other small languages.
===Subtitle 4 A New Opportunity for Translating Chinese Classics into Foreign Languages===
The long road of cultural exchange between China and foreign countries has been continued up to now, and the translation of Chinese classics has been quietly carried out in different ways. Entering the new era of the 21st century, the Chinese government attaches more importance to cultural exchanges with other countries in the world. In 2014, the "Belt and Road" initiative was put forward, which further demonstrated the determination of Chinese culture to go global. The translation of Chinese classics is the most direct means and way for Chinese culture to go out. The Belt and Road Initiative, as a channel for cultural exchange, provides new opportunities for the translation of Chinese classics into foreign languages, and will directly promote the development of the translation of Chinese classics into foreign languages.
Buddhism and Buddhist classics were introduced to China through the ancient Silk Road, and now Chinese Confucianism and Confucian classics will be spread to the world through the "Belt and Road." First, in the construction of the Belt and Road Initiative, Chinese builders sent to various countries and regions along the route will spread Confucianism and Chinese culture in their daily exchanges with local people. In addition, China actively promotes Confucius Institutes along the "Belt and Road" route, which directly promotes the external dissemination of Confucian ideas and classics. Finally, with the help of the construction of the "Belt and Road" economic belt, Xinjiang, Tibet and Taiwan are connected in the Greater China Cultural Circle3, which can not only enhance national identity, but also increase the public's recognition of ethnic classics and promote the development of English translation of ethnic classics.
At the same time, the types of translated classics began to diversify. At the "Belt and Road" International Summit Forum, the "Action Plan for Chinese Social Organizations to Promote the" Belt and Road "People's Livelihood ( 2017 - 2020)" was released, and the "Civil Society Organization Cooperation Network along the Silk Road" and the "Belt and Road" think tank cooperation alliance project were launched. At the same time, CDB will also hold "the belt and road initiative" special multilateral exchange training and set up "the belt and road initiative" special scholarship. This has promoted the translation of excellent classics in many fields of Chinese culture. Take the "Greater China Library" project as an example. Since its formal establishment in 1995, the project has selected many most representative classics from the fields of culture, history, philosophy, economy, military affairs, science and technology from the pre-Qin period to modern times in China, translated by experts and published, which has greatly promoted the dissemination of foreign translation of Chinese classics.
===Conclusion===
The "Greater China Library"-led China Translation and Introduction Project shows us that in the new era of the new century, the pace of translation of Chinese classics has never stopped, and China's determination to make Chinese culture go abroad has never wavered. Although there are still many problems in translating Chinese classics into foreign languages, I believe all these problems will be solved in the near future.
===References===
*[1]Wang Keming. A Study on the Purposes and Strategies of Translating China Classics into Foreign Languages [J].Translation and Communication,2021(01): 9-16.
*[2]Zhang Huimin. New Opportunities and Challenges in the Translation of China Scientific and Technological Classics [J].Campus English,2020(43): 255-256.
*[3]Yin Qing. Translation of China Classics and Cultural Extroversion from the Sales Volume of English Versions of The Analects of Confucius [J].Shandong Foreign Language Teaching,2020,41(05): 120-130.
*[4]Wang Zongqiang. Translation of China Cultural Classics and Its Problems [J].Science and Education Wenhui (last ten-day issue),2019(06): 179-181.
*[5]Yu Qing. Problems and Strategies in the Process of Translating China Classics into Foreign Languages [J].Campus English,2018(41): 246.
*[6]Yang Junjun, Liu Ziyue."One Belt and One Road"-New Opportunities for Foreign Translation of China Classics [J]. Journal of Jilin Radio and TV University,2016(08): 90-91.
*[7] Zhou Xinkai, Xu Jun. China Cultural Values and Translation of Chinese Cultural Classics [J]. Foreign Language and Foreign Language Teaching,2015(05): 70-74.
*[8] Li Linbo. From the "Guan Ju" of the multi-English translation of China classics translation status and problems [J]. Foreign Language Teaching, 2011, 32 (05:90-95.
*[9] Tan Shuya. Dilemma and Reflection on the Translation of Chinese Culture-A Case Study of the Translation of Greater China Library [J]. English Square,2021(34): 22-24.
===Terms===
*the Belt and Road initiative “一带一路”倡议
*late Qing Dynasty 晚清
*the Foreign Communication Research Center of China Foreign Languages Bureau 中国外文局对外传播研究中心
*the Global Survey Report 2019 of China's National Image 《中国国家形象全球调查报告2019》
*traditional Chinese medicine 中医
*Chinese martial arts 中国武术
*The Analects 《论语》
*the Book of Songs 《诗经》
*the Great China Library 大中华文库
===Questions===
1. The direct goal of English translation of Chinese classics is to tell a good story.
A. YES B. NO

2. According to the survey report, which is the most representative of Chinese culture?
A. Chinese cuisine B. traditional Chinese medicine C. Chinese martial arts

3. When was the first English translation of the Analects published?
A. In 1809 B. In 1909 C In 1709

4. How many kinds of academic classics of thought does the Great China Library select?
A. 21 B. 22 C. 11
===Answers===
1. A
2. A
3. A
4. A

==英语笔译郑冬琴 Zheng Dongqin 202170081610 MW==

<center>'''The Development and Spread of Chinese Network Novels'''</center>

<center>Zheng Dongqin</center>

===Abstract===
Chinese online literature has had a history of more than 20 years of development, and it has gradually formed a mature development system. In recent years, with the rapid development and popularity of the Internet, online literature has played an increasingly large role in people's daily lives. Among them, online novels play a particularly important role in people's lives. Moreover, the development and dissemination of Chinese online novels overseas has also achieved great success. However, there are still some problems and shortcomings in the field of online fiction that need to be addressed. Therefore, in order to better promote Chinese cultural exports, we need to create our own cultural calling cards and promote Chinese network novels "go globle". In this paper, I will discuss five aspects of Chinese online fiction: definition, development, pros and cons, current situation and overseas dissemination.

===Key words===
Chinese Network Novels; Development; Dissemination; Value; Adaptation

===Introduction===
This paper focuses on the history of the development of Chinese online novels and the current state of their dissemination overseas. This essay is divided into five main parts. In the first part , it mainly gives a brief introduction to online novels, which includes three aspects of the definition, creative characteristics and main classifications of online novels. In the second part, it gives a brief overview of the history of the development of Chinese online novels, which includes the exploration stage, the transition stage and the maturity stage. In the third part, it discusses the pros and cons of Chinese online fiction in a dialectical manner. It mainly mentions the influence of online fiction on the younger generation, especially teenagers. In the fourth part, it analyses the current situation and trends of Chinese online novels, and it highlights the phenomenon of product homogenisation and the film and drama adaptations of popular novels. In the fifth part, it introduces the achievements of Chinese online novels in their overseas distribution by discussing two examples, namely The Legend of Zhen Huan and Ten Miles of Peach Blossoms. Finally, the paper provides a brief summary of the issues explored, with a view to offering some suggestions and help for Chinese culture to go global.

===1.A Brief Introduction to Network Novels===
1.1 Definition of network novels

Network novels are novels published by online writers relying on the web-based platform. It is a new genre of fiction that has emerged with the rapid development of the Internet. It is characterised by a wide variety of styles, unlimited genres, and simple publication and reading methods. Its main genres are fantasy and romance. The language of online novels is more colloquial and full of Internet buzzwords.(Cui Feng 2010) Besides, in addition to differences in textual content, network novels also make use of variations in symbols, patterns and typography compared to general novels. Online fiction is the main form of online literature.
Generally speaking, there is a broad and narrow definition of online fiction. Broadly speaking, it can include all fiction published and circulated on the Internet. However, on the narrower level of the origins of online fiction, it mainly refers to forms of fiction written by online writers and first published online, and then circulated.
Online novels fall into two main categories. One category is novels read by boys, which are generically referred to as male channel novels(男频), and the other category is novels read by girls, which are generically referred to as female channel novels(女频). Most novels read by boys seek to be powerful from body to power, while most novels read by girls are from the perspective of love. And the influence of these two types of novels depends on the ratio of males to females on the internet.

1.2 Creative characteristics of network novels

There is no doubt that online literature still belongs to the category of literature. Therefore, online novels naturally have the basic characteristics of all literary works. However, due to some characteristics of the Internet and the influence of the commercial model of literary websites, online literature has gradually formed its unique creative and artistic characteristics. The characteristics of online novels are mainly manifested in the following four aspects:
Firstly, the length of the network novel is very long. Because an online novel is usually formed in a long serial mode, it has a considerable number of words. Among them, long female channel novels are at least 600,000 words, while long male channel novels are up to millions of words.Secondly, online fiction is highly interactive. Because of the instantaneous nature of the Internet, authors and readers communicate online far more quickly than the previous correspondence. This makes online works naturally a little more interactive. What really determines the interactivity of an online novel, however, is its serial nature. Because online novels are often divided into chapters and sections, presented and completed gradually over a long period of serialisation, readers are able to express their views on the work at any point in its creation, expressing their appreciation or dissatisfaction, and offering suggestions and expectations for subsequent content. These comments will be seen by the author in the first instance. They can then influence the creation of the work to a large extent.Thirdly, the threshold for the creation of online novels is low. Generally speaking, the threshold for the creation of traditional literature is very high, and not any work can be published. However, the editorial and vetting standards for online literature are very low. Anyone who is literate and can tell a story has the opportunity to become an online writer, or even an online author. In other words, in the realm of online fiction, anyone who publishes and gets a certain number of readers can generate income. As a result, more and more people are becoming online writers and the creation of online novels is gradually becoming a way to earn an income.Fourth, online fiction is like a kind of fast food literature. The evaluation criteria of traditional literature are mainly reflected in values, outlook on life, and the author's writing skills. However, the focus of online novels is on entertainment and the reader's pleasure in reading them. In order to cater to the needs of readers, most online writers overly pursue the quantity of novels at the expense of quality. They over-express the reader's desires in their works, which makes them lack artistic and emotional value. Internet novels are like a kind of fast-food literature, which lacks nutrition and is difficult to be remembered and loved in the long run.

1.3 Classification of network novels

Online novels can be broadly classified into the following genres: fantasy novels, martial arts novels, immortal novels, science fiction, urban novels, romantic novels, supernatural novels, historical novels, mystery novels, military novels, sports novels, game novels, fan fiction, boy’s love novels, two-dimensional space novels and etc.According to online reader statistics, the ten most popular online novels are：

1、The Legend of Goku - Now Where 《悟空传》- 今何在

2、Ghost Blows Out the Light - Blogging site 《鬼吹灯》- 天下霸唱

3、Purple River - Old Pig 《紫川》- 老猪

4、Blasphemy - South of the Smoke 《亵渎》- 烟雨江南

5、Nebulous Journey - Potential Flute 《缥缈之旅》- 萧潜

6、How Bad Men Are Made - Six Paths 《坏蛋是怎样炼成的》- 六道

7、Time Raiders - Uncle Three of Southern School 《盗墓笔记》- 南派三叔

8、Kill the Immortals - Pot Flute 《诛仙》- 萧鼎

9、Fights Break Sphere - Silkworm Potato 《斗破苍穹》- 天蚕土豆

10、AutoFull - Wind Blow Strong 《傲风》- 风行烈

===2.The Development History of Chinese Network Novels===
Chinese online literature has had a history of over 20 years of development. Throughout the history of the development of online literature, we can divide it into three development stages: the exploration stage, the transition stage and the mature stage.

2.1 Exploration stage

During this period, online novels were mainly carried on computers and the payment model was established. In 1998, Riffraff Cai's The First Intimate Contact 《第一次亲密接触》was published on the Bulletin Board System(BBS), which opened the era of Chinese online novels. For the next 10 years, the computer served as the main vehicle for users to disseminate and read online literature. In October 2003, the business model of online literature became clear when the Starting Point Chinese Network Fiction(起点中文网)pioneered the paid online reading model. Some of the so-called "gods" of online fiction began to appear, and online fiction had its own stable, youth-centred and relatively small reading group. Annie Baby, Li Xunhuan and Xing Yusen were also representative online writers of that period.

2.2 Transition stage

From 2008 to 2014, online literature entered a transitional period, when reading behaviour began to penetrate into mobile smart devices. Around 2011, the proportion of users who read online literature on computers declined year by year, while the number of users on mobile smart devices grew rapidly. At the same time, reading platforms in the form of apps also sprang up, and mobile bookstores such as QQ Reading and Palm Reader became increasingly popular. After 2014, smartphones, tablets and other mobile smart devices became popular in China, making mobile phones the largest reading channel for online literature users. Novels in genres such as tomb raiding, mystery and romance have seen rapid development. Representative works of this period include Time Raiders, Tomb of the Gods and Fights Break Sphere.

2.3 Mature stage

As the scale of the online literature market continues to expand, Internet giants have become involved in online literature, and online literature enterprises have embarked on a stage of large-scale group operations. (Zhang Hainan,Han Lei 2021:79-83)In 2013, Tencent and the core team of the former Starting Point Chinese website (起点中文网)cooperated to establish Genesis Chinese Website(创世中文网); Baidu acquired 100% of the equity of Zongheng Chinese Website (纵横中文网)for 191.5 million; In 2014, Zongheng Chinese Website, 91 Panda Book (91熊猫看书)and Baidu Book City (百度书城)merged to form Baidu Literature(百度文学). In 2015, Chinese Online (17K Novel Website) was listed on the A-share GEM board with a $2 billion capital increase to build a pan-entertainment ecology. After Tencent's $5 billion acquisition of Shanda Literature Limited(盛大文学), it merged with Tencent Literature to form China Reading Limited(阅文集团); Ali acquired Shuqi Novel (书旗小说)and UC Book City (UC书城)and merged them with its own mobile reading business to form Ali Literature. At this point, the industry pattern of domestic online literature has basically taken shape.Since 2018, online literature has entered an era of convergence. The IP operation of online literature has gradually matured, film and television dramas and games adapted from online literature are favoured by the market, and free reading has gradually emerged, creating a new model of "free + advertising". Internet literature has established its own unique literary system and has received widespread attention from society. It has also become an important source for film and television adaptations. Nowadays, it seems that many important film and television works have come from online literature, and these super IPs have had a huge impact on the development of film and television culture. Representative works from this period include The Legend of Zhen Huan《甄嬛传》, The Legend of Mi Yue《芈月传》, The Journey of Flower《花千骨》, and Nirvana in Fire《琅琊榜》.

Nowadays, Chinese online literature has become an important literary phenomenon that cannot be ignored and has become an indispensable cultural resource for the younger generation. At the same time, from the perspective of world literature, China-centred online literature written in Chinese can be considered a unique phenomenon. Its unique creative characteristics and mode of operation are incomparable. It now seems that Chinese online literature has also gained its own unique status and significance in the development of literature across the globe. The wide distribution of The Three Bodies overseas in recent years is a good example of this.

===3.The Pros and Cons of Chinese Network Novels===
As a new form of literature, online literature has had a huge impact on people's daily lives. Like a double-edged sword, online fiction has its unique value and significance, but also has many problems and shortcomings. Therefore, we should adopt the right attitude towards it and take the essence and remove the dross.

3.1 The Pros of Chinese Online Fiction

3.1.1 Reading online novels can develop literary literacy

Firstly, there are many excellent works in online fiction that deserve to be read and appreciated with care. Outstanding online novels are characterised by their dramatic storylines, superb writing skills and meaningful themes. By learning from the authors' writing methods, we can develop our imagination and creativity, and thus improve our own writing skills.(Li Xin 2016:172) At the same time, by reading excellent works, we can increase our knowledge, broaden our horizons and improve our literary skills.

3.1.2 Reading online novels can improve reading skills

Secondly, because the online novel is serialized, it is updated very quickly and in very large numbers of words. Readers have something new to read almost every day. This means that in order to keep up with the author's updates, the reader needs to be able to read very quickly. If the reader is reading several online novels at the same time, then he needs to be able to read faster. Thus, by exercising over time, the reader can develop a good habit of reading every day and can improve his or her reading skills and abilities to a great extent.

3.1.3 Reading online novels can relieve stress

Thirdly, online novels can help readers to vent their negative emotions and relieve stress to a certain extent. In today's highly developed economic, political and cultural world, people face a variety of challenges and pressures in their daily lives, such as the pressure of marriage, interpersonal relationships, mortgage repayments, further education and job promotions, and so on. They are reluctant to face the cruelty of reality and need a space where they can forget their worries and keep their mood happy. Therefore, the beautiful virtual worlds created by online novels have gradually become a place for people to vent their emotions, express their desires and seek solace. Moreover, with the rapid development of the Internet, mobile communication devices have become widely popular. Nowadays, almost everyone, young and old, has their own mobile phone, which makes it possible for people to read online novels through various mobile apps and websites anytime and anywhere. We have found that the majority of readers of online novels in China find themselves relieving their stress and gaining a great deal of pleasure from reading online novels. For female readers, they tend to read romance novels and urban novels. For male readers, they prefer to read mystery novels and tomb raiding novels. In short, for those devoted novel lovers, the virtual world constructed by online novels is a perfect, utopian ideal society. As the characters and storylines portrayed in online novels are very close to life, such a setting easily arouses readers' emotional resonance, thus giving them a strong sense of vicariousness. In this virtual world, they can relieve the stress and worries brought about by the real world, allowing them to relax their long-tightened nerves. This is also a form of stress relief for the young generation of today.

3.2 The Cons of Chinese Online Fiction

3.2.1 Adverse effects on people's daily habits

In this highly developed society with the Internet, people can use mobile phone apps to read online novels anytime and anywhere. It is because of this convenience that online novels are having an increasing impact on people's daily lives. Online fiction is like a drug that makes people addicted to them. For adult readers who are addicted to online novels, they read all day and night and do not even feel hungry. As a result of staring at their mobile phone screens for long hours, some suffer from myopia, while others are so addicted to the pleasure and thrill of reading online novels that they miss work. Faced with online novels, they lack self-control and self-discipline, which makes them break the regular routine of life. When reading online novels, they see themselves as the protagonists in the novels, causing them to be unable to distinguish between real life and the virtual world. Over time, this group of people who are obsessed with online novels may suffer from severe procrastination, which then puts their lives in a vicious cycle.
While for young readers, the dangers posed by online novels seem to be even more serious. Some online novels are not suitable for teenagers. If young readers are exposed to these novels, it is inevitable that they will become too precocious and may even lead them astray. For example, one of the most iconic Internet classics, The First Intimate Contact, is very popular among secondary school students. The author tells a poignant love story that expresses a common ideal in metropolitan life, namely the desire to make romantic love denied in reality a reality in the virtual world. (Li Xin 2016:172) Many teenagers have admitted that they have imagined or even actually experienced online romance after reading The First Intimate Contact. In addition, many urban and romance novels such as Laugh Slightly Very Bend City, The Left Ear and Fleet of Time also have had an impact on teenagers.

3.2.2 Causing distortion of values

Because of the low threshold for the creation of online novels and the lax regulation of the market, there are many low-quality works on the Internet that contain unhealthy information. These vulgar novels are filled with many contents that are not conducive to the healthy physical and mental development of young people, such as violence, cruelty, pornography, selfishness and so on. In the process of reading online novels, readers will unconsciously accept these wrong values. As the main force of the online novel reading group, teenagers are often more susceptible to the influence of bad values. On the one hand, as the minds and hearts of teenagers are not yet mature, they lack the ability to select works and self-discipline. On the other hand, as teenagers are more curious about the unknown, they are more likely to be attracted to the characters portrayed in online novels and develop a stronger sense of immersion. Moreover, as teenagers are in the process of forming their values and worldview, the harmful information in online novels can have a huge negative impact on their values, and may even cause distortion of values. For example, some reported cases of school bullying, murder and rape are related to the harm caused by vulgar online novels.

3.2.3 Fast food novels waste time

Many online novels are fast food novels. It would be a mistake for people to devote too much time and energy to these online novels. Due to the low threshold for the creation of online novels and the lax regulation of the market, various genres of online novels are springing up in the world today, which makes many online writers see their creation as a way to make profit only, and they devote more time and energy to the quantity rather than the quality of their novels. As a result, most online novels are written with a tumultuous plot to capture the reader's attention and interest. These novels often lack depth of thoughtfulness, and some even contain frequent misspellings, misuse of idioms and grammatical errors. If we fail to spot these errors in time, this can inadvertently deepen our impression of the wrong usage to the extent that these errors may appear in our own writing.
In addition, readers tend to read online novels at a very fast pace. Some can even finish reading several online novels in a day. However, these fast-food novels, which lack nutrition and value, do not give readers a great deal to gain. When people are reading these online novels, the content of the novels hardly cause the readers to think. As a result, readers are not impressed with the content of the novels after reading them. This kind of reading behaviour without value and meaning is in essence a waste of time. Instead of wasting our time and energy on these unproductive online novels, it would be better for us to choose a classic work of literature to read and appreciate its connotations and meanings by heart. By reading and appreciating the classics, we can communicate with great souls across time and space. In this way, our literary skills can be improved, our minds can be sublimated and our souls can be purified. So, from now on, please take the time to develop a good habit of reading classics again, which will benefit you for the rest of your life.

===4.The Status and Trend of Chinese Network Novels===
4.1 Homogenization of products

Although the market is flooded with online novels of various genres and themes, only truly outstanding works are accepted and loved by the public. As a result, there is serious vicious competition in the field of online fiction, which has led to the homogenisation of products in the current online fiction market. When a work becomes successful, there will be many imitations. Many novels have highly similar themes, motifs and plots, and even have very similar backgrounds, characterisations and life settings. Once these popular characterisations have formed a fixed format, they become as similar as industrially produced products. As a result, these similar novels will cause aesthetic fatigue among the audience and their dissemination will be greatly reduced. (Qin Junxiang,Li Ting 2017:38-42)For example, online novelist Qiong Yao publicly reported on Weibo that Yu Zheng's Palace 3:The Lost Daughter《宫锁连城》had copied several plots from her work The Plum Blossoms《梅花烙》. In addition, when the TV series Jade Palace Lock Heart《宫》 started to make a splash on TV screens in 2011, there were many other similarly titled dramas. Some authors ignored historical facts and made a mess of historical adaptations in order to cater to the taste of their audience, which reduced the literary, artistic and aesthetic value of the work itself. Some authors even deliberately make up all sorts of fascinating but unethical plots in order to gain high click-through rates, which has caused a distortion of the values of some works. This series of homogenisation and vicious competition has not only led to infringement and plagiarism, but has also led to monotonous content of works, aesthetic fatigue among readers and an impact on the market order. In short, homogenisation and plagiarism are not conducive to the innovation and development of online literature.The relevant government departments should strengthen the supervision and regulation of the online literature market. They should establish a sound copyright protection mechanism, improve the professionalism and aesthetic level of online authors and film producers, and raise audiences' awareness of copyright protection, so as to promote the healthy and benign development of the online literature market and the film industry.(Liu Yang 2017:95)

4.2 Adaptation of novels into film and TV series

The emergence of film and television adaptations of online novels can be traced back to The First Intimate Contact , an adaptation of the novel of the same name by Chinese Taiwanese author Tsai Chi-hang. This novel was made into a film in 2000 and adapted into a TV series in 2004. This was the first time in the history of Chinese film and television that an online novel was adapted into a film or television production. (Xiao Yudi,Ouyang Changlin 2021:33-38)However, the audience response at the time was poor, with fans who had read the original novel not liking the format and content presented in the TV series very much. Although the audience response did not meet expectations, it made the novel an instant hit. The first trial of a web novel adaptation showed its potential and problems, drawing the attention of some film and television producers. After six years of hibernation, the adaptation of web novels for film and television finally made its official entry onto the television screen in 2010. The first wave of Chinese online novels adapted for film and television was marked by the TV series Beauty's Rival in Palace《美人心计》.Subsequently, costume dramas such as The Legend of Zhen Huan《甄嬛传》, Startling by Each Step《步步惊心》, Princess Dumping World《倾世皇妃》and Jade Palace Lock Heart《宫锁心玉》received high ratings and were unanimously praised and recommended by the public. Soon, with the rise and development of online video platforms, China ushered in a second wave of web novel adaptation dramas. In 2015, there were a number of web novel adaptations represented by The Journey of Flower《花千骨》 and Nirvana in Fire《琅琊榜》, which not only achieved high ratings during their television broadcast, but also reaped superb viewership and buzz on major video platforms. In 2017, the online novel adaptation television series Ten Miles of Peach Blossoms《三生三世十里桃花》began to dominate the public's attention, marking the arrival of the third wave of adaptation boom. The drama took over Weibo's top searches and headlines almost every day, and its original novel, plot, cast, headgear, make-up, costumes and soundtrack became a daily topic of conversation for the public at their leisure. In recent years, popular costume dramas such as East Palace《东宫》, Qing Yu Nian《庆余年》 and The Untamed《陈情令》have brought the craze for web novel adaptations to a peak.In terms of film and TV drama adaptations of novels, costume and romance novels have become the main trends in Chinese online novels.

===5.The Overseas Dissemination of Chinese Network Novels===
In recent years, Chinese costume novels have become very popular overseas. There are websites dedicated to Chinese novels such as "Wuxia World"(武侠世界) and "Webnovel"(起点国际). There are even people overseas who read serialised novels to kick drug addiction and treat depression. This shows the huge influence of our online novels overseas.

For example, in recent years, Legend of Concubine Zhen Huan has become popular in Japan, South Korea and some countries and regions in Southeast Asia. In addition, the cast of The Legend of Concubine Zhen Huan has joined forces with the American television station HBO to edit the original 76-episode series into six short episodes (each 90 minutes long) for broadcast overseas. The release of Legend of Concubine Zhen Huan on the US pay platform Netflix a few years ago also created a national sensation, and Legend of Chu Qiao《楚乔传》and Ten Miles of Peach Blossoms have long been officially synchronised on Youtube at the time of its launch. This marked the successful spread of Chinese costume novels overseas.

Take Ten Miles of Peach Blossoms as an example, the translator of Ten Miles of Peach Blossoms, Poppy Toland, is a British freelance translator who studied Chinese at the University of Leeds and lived in Beijing, China for four years. She was commissioned by Amazon.com, the copyright holder of the novel, to translate Ten Miles of Peach Blossoms into English before the TV series hit the airwaves.(Ma Xiaoxing,Zhao Mengyuan 2020:59-62) In order to ensure that the translation does not lose the flavour of the original, she insists on using the translation strategy of domestication to deal with the linguistic forms. However, for the cultural elements in the original work (such as mythology, religion and other cultural factors), she introduces Chinese culture directly to Western readers through the method of foreignization. On 23 August 2016, To the Sky Kingdom, the English translation of Ten Miles of Peach Blossoms, was released on Amazon in the United States. Upon its release, the translation reached number three on Amazon's Asian Literature bestseller list and number one in the Asian Literature section of the Kindle Edition bestseller list. The translation was recommended to foreign readers on Amazon.com, along with other famous novels such as Three Bodies《三体》and Wolf Totem《狼图腾》, and was once ranked the third best-selling Chinese novel on Amazon.com.It shows that Chinese online novels have achieved great success in overseas distribution.

===Conclusion===
After more than two decades of development, Chinese online novels have developed a relatively mature industry system, not only in terms of accumulation in the domestic market, but also in terms of expansion in overseas markets. However, there are still some problems and shortcomings in the process of its domestic development and overseas distribution. Therefore, we need to further improve the quality and value of Chinese online novels and strive to build a unique international cultural brand of our own. We need to help Chinese culture go overseas through cultural branding so that more foreign friends can understand and enjoy traditional Chinese culture. In short, it is the duty of every Chinese to strengthen our cultural soft power and enhance the cultural confidence of the Chinese nation.

===References===
*Cui Feng 崔冯.(2010).网络小说的文体特征研究[Research on the Genre Characteristics of Online Novels].重庆师范大学Chongqing Normal University.
*Li Xin 李昕.(2016).网络小说利弊纵横谈[The Pros and Cons of Online Novels].西部皮革Western Leather(12):172.
*Liu Yang 刘杨.(2017).中国网络小说改编剧的困境与建议[The Dilemma and Suggestions of Chinese Online Novel Adaptations].参花Participation Flowers(16):95.
*Ma Xiaoxing, Zhao Mengyuan 马孝幸,赵梦源.(2020).中国文化“走出去”背景下的网文出海研究——以《三生三世十里桃花》外译为例[A Study on the Overseas Translation of Chinese Culture in the Context of "Going Global"--The Foreign Translation of "Ten Miles of Peach Blossoms].新阅读New Reading(08):59-62.
*Qin Junxiang,Li Ting 秦俊香,李婷.(2017).网络小说改编剧的同质化现象批评——以权谋宫斗题材古装剧为例[Criticism of the Homogenization Phenomenon of Online Novel Adaptations - Taking Ancient Costume Dramas on the Theme of Power and Palace Combat as An Example].中国电视China TV(06):38-42.
*Xiao Yudi, Ouyang Changlin 肖雨笛,欧阳常林.(2021).网络小说改编剧的狂欢与思考[The Carnival and Reflection on the Adaptation of Online Novels].肇庆学院学报Journal of Zhaoqing College(03):33-38.
*Zhang Hainan, Han Lei 张海楠,韩磊.(2021).网络小说创作主体迅猛发展成因探析[An Analysis of the Causes of the Rapid Development of the Main Body of Network Novel Creation].兰州文理学院学报(社会科学版)Journal of Lanzhou College of Arts and Sciences (Social Science Edition)(03):79-83.

===Terms and expressions===
*The Legend of Goku 《悟空传》
*Ghost Blows Out the Light 《鬼吹灯》
*Purple River 《紫川》
*Blasphemy 《亵渎》
*Nebulous Journey 《缥缈之旅》
*How Bad Men Are Made 《坏蛋是怎样炼成的》
*Time Raiders 《盗墓笔记》
*Kill the Immortals 《诛仙》
*Fights Break Sphere 《斗破苍穹》
*AutoFull 《傲风》
*Wolf Totem《狼图腾》
*Nirvana in Fire《琅琊榜》
*The Legend of Zhen Huan《甄嬛传》
*The Plum Blossoms《梅花烙》
*Jade Palace Lock Heart《宫》
*Laugh Slightly Very Bend City 《微微一笑很倾城》
*The Left Ear 《左耳》
*Fleet of Time 《匆匆那年》
*Startling by Each Step《步步惊心》
*The Journey of Flower《花千骨》
*East Palace《东宫》
*The Untamed《陈情令》
*Qing Yu Nian《庆余年》
*Legend of Chu Qiao《楚乔传》
*To the Sky Kingdom《三生三世十里桃花》
*The First Intimate Contact 《第一次亲密接触》
*The Legend of Mi Yue《芈月传》
*Palace 3:The Lost Daughter《宫锁连城》
*Princess Dumping World《倾世皇妃》
*Beauty's Rival in Palace《美人心计》
*Men's Channel 男频，即男生频道，是网络小说网中对男生爱看的网络小说的一种称呼。男频以玄幻、推理、盗墓等题材的小说为主。
*Women's Channel 女频，即女生频道，是网络小说网中对女生爱看的网络小说的一种称呼。女频以都市、言情和穿越等题材的小说为主。

===Questions===
1.Which of the following is a common genre of male channel fiction?

A.Time Travel Fiction

B.Fantasy Novels

C.Romance Fiction

D.Urban Soap Novels

2.When was the online novel The First Intimate Contact published?

A.In 1996

B.In 1997

C.In 1998

D.In 1999

3.How many stages does the author of this article divide the history of Chinese online fiction into?

A.2

B.3

C.4

D.5

4.Which of the following is not a work by Yu Zheng?

A.Jade Palace Lock Heart

B.Palace 3:The Lost Daughter

C.Beauty's Rival in Palace

D.The Plum Blossoms

5.Which of the following novels is a work of transition stage?

A.The First Intimate Contact

B.Nirvana in Fire

C.Time Raiders

D.The Untamed

===Answers===
1.B

2.C

3.B

4.D

5.C

==英语笔译钟青 Zhong Qing 202170081611 CE==
On the Translation and Spread of Three Kingdoms

==英语笔译周皓熙 Zhou Haoxi 202170081612 MW==
On the Translation and Spread of Guanzi

Abstract

Guanzi is a Chinese classical work covering multiple aspects such as agriculture, economy, commerce, law and etc., which draws the attention of many scholars both at home and abroad. At present, there are two complete English version of Guanzi, one is by American Sinologist W. Allyn Rickett, the other is by Professor Zhai Jiangyue. Thus, this paper attempts to study its transmission in the English world based on the current research situation of its English versions.

Keywords

Guanzi Complete Version English World

I.Introduction
The Guanzi is a multifaceted text.
The study of Guanzi in China focuses on its date of composition, ideas, and contemporary influence, while overseas research on Guanzi focuses on the translation of Guanzi and the influence of the ideas contained therein in the West. The study of Guanzi by Western scholars began in the late nineteenth century and has continued unabated until 1999, when the first complete English translation of Guanzi was published by Li Ke, who published the second part of the text. The publication of the first complete English translation of Guanzi was a landmark for Western readers, creating a new world for Western scholars to understand Guanzi and laying a solid foundation for its dissemination in the Western world. It is of great practical importance to examine the spread of Guanzi in the English-speaking world.

II. An Overview of the English translation of the Guanzi

(1)
Foreign English translations of Guanzi. The translation and study of the Guanzi by Western scholars began at the end of the nineteenth century. During this period, scholars such as Gabelentz, Wilhelm Grube and Edward Parker introduced and translated Guanzi, but they only introduced Guanzi. It was not until the late 1920s that the study of Guanzi really began in the West, with the emergence of such scholars as Forke
The study of the Pipe did not really begin until the late 1920s, when researchers such as Forke, Henri Maspero, Bernhard Karlgren, Piet Van Delon, Hughes ), they discussed whether the Guanzi was a "forgery" or "pseudoscript" and each made a detailed examination and study (Li Zongzheng: 2014).
In the 1950s, the first monograph on Guanzi appeared in the West, Economic Dialogue in Ancient China: Selections from Guanzi, which was translated and published by Chinese American scholars Tan Bofu and Wen Gongwen, mainly in abridged and selected translations (Chen Shuyi: 1996). In the late twentieth century, H. Roth also explored the ideas contained in the chapters on the mind and inner work of Guanzi in his publication Original Tao. Princeton University Press published the first volume of GUANZI-Political, Economic, and Philosophical Essays from Early China, translated by American sinologist W. Allyn Rickett, in 1985, and the second volume was published by the same publisher in 1998. The second volume of the book was published by the same publisher in 1998. This is the first complete and authoritative translation of Guanzi into English in the West.
(2)
The English translation of Guanzi in China. The English translation of Guanzi by domestic scholars is quite rare.
The main translations are those published by Li Xuejun on the New Legalist website and Zhai Jiangyue's version published by the Greater China Library. "Li Xuejun's translation of Guanzi: Earliest Masterpiece on Political Economy in Human History is serialized on the New Legalist website, and this series of articles is an abridged translation of the representative political and economic views of Guanzi. This series of articles, which are mainly abridged translations of the representative political and economic views of Guanzi, has been published by Li in 15 consecutive articles, which laid a solid foundation for further research on the English translation of Guanzi (New Legalist website), and has been published one after another in the Greater China Library series since 1995, among which Guanzi has been translated into modern and English by Professor Zhai Jiangyue of Ludong Normal University, and was first published by Guangxi Normal University in 2005.
(3)
A review of the studies on the English translation of Guanzi. The main forms of research on the English translation of Guanzi by domestic and foreign scholars are books and papers. The domestic studies are mainly expressed in the form of dissertations, including Feng Yu's "Evaluation of the English Translation of <Guanzi>" in 1988; Feng Yu's "Major Treatises on the Study of <Guanzi> in Europe and America" in 1988; Song Limin's "The Study and Translation of <Guanzi> (Essays on Early Chinese Political and Economic Philosophy)" in 1989; Li Xia's "Introduction to the Study of <Guanzi> in this Century" in 1993; and The Communication of English Translation of the Linguistic Simplicity Style of <Guanzi> by Chen Jiangning in 2014; Overview of Research on Foreign Translation of <Guanzi> by Li Zongzheng in 2014, etc. The main foreign studies on Guanzi include an article on Guanzi-youguan by the American sinologist Li Ke in Bulletin in 1960; Li Ke's monograph Kuan-tzu: A Repository of Early Chinese Thought published by the University of Hong Kong Press in 1965; in 1988 the American The scholar William G. Boitz published a review of Li Ke's translation of Kuan-tzu (vol. 1) in 1988, and another American scholar, Robin D. S. Yates, wrote a review of Li Ke's translation of Kuan-tzu: A Repository of Ancient Chinese Political, Economic, and Philosophical Essays in 1988.

III. Dissemination of the English translation of Guanzi

1.
Amazon Books website reader reviews. As of January 15, 2016, the National
Amazon.com has two main reader reviews for the English translation of The Pipe, the first of which was posted by Lenny Lendon on July 9, 2006, in which the reader argues that Leek's English translation is too scholarly and not suitable for every reader. The book does not work on editing, so the whole book is not as interesting to read, and Li Ke's first edition does not fully translate the best parts of Guanzi, whereas Li Ke's various commentaries in the translation are more welcome, and the Chinese canonical works should be able to win more attention. Another review was posted by Matthias Richter on August 18, 2008, in which the reader felt that Li Ke's translation made a great contribution to Western readers, adding a great deal of detailed and accurate commentary to make it easier to read. This may be related to some obscure phrases in the original text and translation of Guanzi, but given the comments of the two readers mentioned above and the achievements of scholars who have studied Guanzi, it can be seen that the English translation of Guanzi has remained at the academic level in the Western world, and if it needs to be disseminated to a wide audience, it may need further efforts from scholars. If it needs to be disseminated to a wide audience, further efforts by scholars may be needed.
2. Citations and comments on the English translation of Guanzi on academic websites.
As of January 15, 2016, according to the statistics of Google Scholar, the English translation by the American sinologist Li Ke was cited 138 times during the 27 years from 1987 to 2014, and the topics of the cited articles covered Chinese traditional culture, Chinese prehistoric civilization, ancient economy, comparison between the ancient cultures of East and West, and the study of Taoist thought. The English translation of Guanzi and the English translation of Li Ke's text have provided a better and more comprehensive understanding of Chinese traditional culture for Western scholars, and also provided a certain medium for the dissemination of Guanzi in the West.
3.
The influence of the English translation of Guanzi on Pound
When it comes to the spread of the English translation of Guanzi in the West, we must mention the famous American poet of Confucianism and the master of imagism, Pound. Pound became interested in the English translation of Guanzi through the Englishman General Fuller, who introduced it to him. Pound talked about the content of the Guanzi as well as his praise of the Guanzi many times in his Poems from the Imperial Throne published in 1959 (Qian Zhaoming, 2014: 115). Pound's further knowledge of Guanzi occurred in the late 1950s, when he was composing his Poems on the Imperial Throne and reflecting on the ways of governing at St. Elizabeth's Hospital in Washington, D.C., and when Pound had a close personal relationship with a Chinese scholar who had traveled to the United States. Noel Stock, a close friend and biographer of Pound and editor-in-chief of Edge magazine, mentions in a book explaining the Poems that in 1957 a Chinese poet living in the United States, Zhao Ziqiang, sent Pound a copy of an English translation of an excerpt from Guanzi entitled Economic Dialogue in Ancient China, written by Lewis Maverick. -It was published by Lewis Maverick in 1954. Pound sent it to me for publication in The Blade, and it was published in June of that year. Chapter 106 must have been written shortly after this (Stock Noel, 1967:70). In Poems from the Imperial Throne, chapters 98 and 99 focus extensively on the Sixteen Articles of the Imperial Bishops issued by Kangxi in his early years, which Pound envisioned as a well-governed, decent state of social life designed by the Confucian "imperial throne. Throughout the poetry scene in Europe and America in the 1950s, Pound was unique in that he not only drew on certain forms and characteristics of Japanese poetry such as haiku poetry, but also incorporated traditional Chinese canonical works into his poetry, making his own contribution to the understanding of the canonical works such as Guanzi by Western readers and making great efforts to promote cultural exchange between the East and the West. In addition, the English translation of Guanzi not only influenced Pound's poetry, but also made him more profoundly aware of the economic, political, and diplomatic connotations contained in Guanzi, from the traditional ethical perspective of Confucian writings to his own ideas.

IV. An Introduction of Zhai’s version

Guanzi is named after Guan Zhong, a stateman and philosopher lived in the Autumn and Spring Period with Guanzi as his honorific title. This collection believed to have reflected Guan Zhong’s main ideas was translated into modern Chinese and then English by Dr. Zhai Jiangyue and was published by Guangxi Normal University Press in 2005 in four vols with its ISBN: 7563353461.
Guanzi is a collection of essays and comments authored Guan Zhong or under his name. Regulated by Liu Xiang in the Western Han Dynasty, the collection included 86 essays after filtering out the repeated among 564 essays. The ideas of the collection were regarded as that of Taoism in Han Dynasty and as that of Legalists after Sui Dynasty. Only 76 essays are preserved until this day. Guanzi discussed politics, economics, military matters, education and other aspects with ideas of Taoism, Confucianism and other schools and knowledges on yin-yang and five elements, astronomy, calendar, education edaphology, etc. It’s an eclectic collection that is unique among Chinese cultural classics and worthy of studying.
Western studies on Guanzi emerged in late 19th century but meaningful translation of it didn’t appear until mid-20th century, yet with many pretermissions and mistranslations. In 1950s, ethnic-Chinese Tʻan Po-fu and Wen Kung-wen co-published the first monography on Guanzi in the west, in which they translated Guanzi with selection and abridgement. In 1954, American sinologist Dr. Walter Allyn Rickett began translating Guanzi and published two volumes one after another and a revised bound volume in 2001. Chinese studies on Guanzi are also flourishing. Li Xuejun published 15 essays in succession on Xinfajia.net with abridged translations of Guanzi’s ideas on economics and politics. Dr. Zhai finished the translation of Guanzi after the launch of Library of Chinese Classics (李宗政, 2014). By far, there are only two completely translated versions, one by Dr. Rickett and another by Dr. Zhai.
Until January, 2022, by the statistic of World Cat, Rickett’s version was collected by 254 foreign libraries and Zhai’s by 77. While on Goodreads, Rickett’s version had only a few marks and comments and Zhai’s had neither. This shows that the western knowledge on Guanzi is mainly at academic level.
Zhai Jiangyue, the translator of Guanzi, the Library of Chinese Classics version, is professor of the Academy of Chinese of Ludong University and distinguished professor for International Sinological Research Center of Shandong University. She masters pre-Qin Dynasty literature as well as English and German, which enabled her to devote herself to the translating and publishing of book series of Library of Chinese Classics (English-Chinese Version) with fruitful publications, including The Spring and Antumn of Lu Buwei, Guanzi, Records on the Warring States Period, Huainan Zi, and Selections from Classified Conversations of Zhu Xi.
Ren Qiang (任强, 2019) noted that the skopos of Zhai’s version was to tell Chinese stories which resulted in her adaptation of foreignization to achieve a translation that is generally acceptable. Moreover, Ren thought Zhai’s two phases of translation, intralingual translation (from ancient to modern) and interlingual translation (from Chinese to English), kept consistency and interactivity for her version. Li Zongzheng (李宗政, 2014) commented that Zhai kept the version’s enjoyment at the cost of the concision of ancient Chinese.

V. An Introduction of Rickett, W.A’s version

One of the most accomplished American sinologists, Walter Allyn Rickett (1921-) is best known for his translation of the complete works of the pre-Qin Chinese classic, Guanzi. In fact, from 1948, when he began his study of Guanzi at the University of Pennsylvania under Derk Bodde, to 2014, when he accepted a position as advisor and chief senior fellow at the American Academy of Guanzi, Rickett has devoted his academic career to the study, translation, and promotion of Guanzi with his life's work and knowledge, and is thus respected in American sinology circles and worldwide as a leading scholar of Guanzi. It is no exaggeration to say that he is respected as an authority on Guanzi in American sinology and worldwide. Today, at the age of more than ninety, it is necessary to take a look at Professor Li Ke's sixty years of dedicated research and translation of Guanzi, and try to divide it into three research phases, so as to pay tribute to this great sinologist by introducing the research results of different periods, and to call more domestic scholars to pay attention to Li Ke and his representative translation of Guanzi.　
1)The Beginning of Li Ke's Study of Guanzi and its First Emergence (1948-1965)　
In October 1948, Li Ke and his husband, Adele Austin Rickett (1919-1994), came to Beiping with great ambition under a Fulbright scholarship to study Chinese philosophy at National Tsing Hua University and Yanjing University, where they also worked as English teachers. From this period, Li Ke began his lifelong study of the interpretation and translation of Guanzi under the recommendation of his friends Feng Youlan and Xu Weiyu.
At the beginning of his life in Beiping, Mr. and Mrs. Li Ke had no worries about food and clothing, but only the friendship with scholars such as Qian Zhongshu and Zhouliang, so he should have had a fulfilling and peaceful study career. However, because they were "commissioned" by the U.S. Navy Department to collect intelligence in China before they left, and because they were in the midst of the great historical change in China between the old and the new, Mr. and Mrs. Leek were separated in 1951.
In 1957, Cameron Associates published their memoir Prisoners of Liberation-Four Years in a Chinese-Communist Prison, which describes their time in prison. In 1957, Cameron Associates published their memoir Prisoners of Liberation-Four Years in a Chinese-Communist Prison, which describes their experiences in China and their "ideological rehabilitation" in prison. In fact, for Li Ke, in addition to his "ideological reformation" in prison, this experience was a rare opportunity for him to come into contact with all kinds of people, including intellectuals, peasants, butchers, and Nationalist soldiers, and to experience a completely different world from the one inside the "ivory tower. He experienced a completely different world from that of the ivory tower. At the same time, he also made good use of this period to study Chinese history and philosophy, which laid the foundation for his academic career after returning to the United States. After returning to the United States, he continued his doctoral studies at the University of Pennsylvania and selected eight representative texts from Guanzi for his doctoral dissertation, which was published in 1960 as TheKuan-tzu: An Annotated Translation andStudy o Eight Represen tative Chapters. TheKuan-tzu: An Annotated Translation andStudy o Eight Represenative Chapters In the same year, Li Ke published An Early Chinese Calendar Chart: Kuan-tzu, III, 8, (Yu Kuan) in T'oung ao (Bulletin), Vol. 48, No. 1. (Yu Kuan) (Ancient Chinese Calendar Chart: "Guanzi-Youguan"), a detailed interpretation and translation of the text of "Youguan" in more than 50 pages. On this basis, Li Keqian published Kuan-tzu: A Repository of Early Chinese Thought by the University of Hong Kong Press in 1965, with the exception of "Young Official" which was published separately in the Bulletin, the rest of the articles are "Da Kuang", "Du Di", "Fa Fa", "Q", "Situation", and "Dou Di". Fa Fa Fa", "Q", "Situation", "Solution of the Situation", "Nei Ye", "Xin Shu Shang", "Xin Shu Xia", "Art of War", and "Map", a total of 12 articles, each of which is annotated and examined in greater detail. By carefully examining, studying, and translating the 12 representative texts, Li Ke officially announced to the American sinology community the beginning of a systematic and comprehensive study of Guanzi. One of the English translators of the canonical text Mencius, sinologist W. A. C. H. Dobson, wrote a book review in The Journal of Asian Studies, Vol. 26, No. 2, in 1967, in which he acknowledged the research of sinologist Li Ke and his contribution to the American sinological community. However, Dobson also pointed out that Li Ke's book was influenced by the requirements of his doctoral dissertation, and that he tried to translate word-for-word for the sake of academic rigor, preserving the characteristics of Chinese word order, sentence structure, and thought patterns, which facilitated the understanding of Guanzi's ideas to a large extent by Chinese scholars. However, by taking care of the one and losing the other, this word-for-word translation is more specialized and less literary, thus limiting the reading of non-Chinese scholars. Therefore, he calls on Li Ke and others to add appropriate notes and narrative commentaries for non-Chinese scholars who are unable to read the original work.
　　
2) The Deposition, Full Explosion Phase of Li Ke's Study of Guanzi (1966-2001)
After publishing the translation and study of 12 articles in Guanzi in 1965, Li Ke aspired to translate all the 76 existing articles of Guanzi, but due to the influence of teaching and administrative work, it took two full decades before Li Ke finally compiled and published the first volume of Guanzi in English in 1985, Guanzi: Politi-c In the introduction of this book, Li Ke devotes more than forty pages to introduce the layout of Guanzi, the style of the book, and the history of the book. In the introduction to this book, Li Ke devotes more than 40 pages to the layout of Guanzi, the relationship between Guanzi and Guanzhong, the changes in the editions of the various periods, and the translation methods used in the text. The main text contains a total of 34 extant articles, each of which is preceded by an introductory commentary of varying length, focusing on evidence and background material, including the specific history, content, structure, and relationship to other chapters of each article, plus a large number of footnotes and treatment of some rhymes, which shows Li Ke's profound Chinese language skills and rigorous academic attitude. At the same time, in consideration of the connection of contents, the chapters 64, 65, and 66 of "The Situation", "The Nine Defeats of the Establishment", and "The Interpretation of the Edition" are advanced and placed after the corresponding chapters of "The Situation", "The Establishment", and "The Edition". It should be noted that Li Ke has abandoned the previous translation method of Wittoma Pinyin, and has used Hanyu Pinyin to mark the key words directly, such as changing the translation of Guanzi from "Kuan-tzu" to "Guanzi". For example, the translation of Guanzi was changed from "Kuan-tzu" to "Guanzi. This reflects the translator's respect for Chinese culture and helps maintain the exotic accent read by European and American scholars.
In response to the publication of this pioneering work, the Chinese scholar Feng Yu wrote a review in 1988, saying that Li Ke's forty years of dedicated research and the assistance of experts such as Ma Feibai made the translation of high quality and "not the kind of haphazard work that lacks understanding of China. The foreign scholar Robin D. S. Yates also praised the translation highly in The Journal of Asian Studies in 1988, saying that "the importance of the original text and its authenticity can no longer be denied". "This book has made an outstanding contribution to the study of the Guanzi and will be a first-rate authoritative work for many years to come." After the publication of the first volume of Guanzi, Lik was affected by his own advanced age and the death of his wife, Adele Austin Rickett, from cancer, before finally completing the translation and collation of the second volume of Guanzi in 1996 and publishing it in 1998, also at Princeton University Press. Excluding the missing pieces and the three pieces that were brought forward to the first volume, the second volume actually contains 42 pieces. The layout and translation method of the second volume basically follow those of the first volume, but in accordance with the comments and suggestions of Robin D. S. Yates and others mentioned above, many additions to the omitted parts of the original ancient Chinese have been eliminated in order to take care of the readability of the translation without affecting the understanding. At the same time, based on the suggestions of William Boltz and others, Li Ke adopts a more flexible approach to the terms "reason" and "righteousness" in different contexts. After completing and publishing the entire translation of Guanzi, Li Ke did not stop there. He reworked the first volume against the translation style of the second volume, with the most notable changes being the emphasis on rhyme and the addition of Chinese characters to facilitate reader study, and published it in 2001 by Poston Cheng and Cui Dongfang Translation Company. Since then, Li Ke has become the only Western sinologist to have translated all 76 of the 24 extant volumes of Guanzi into English. In 2003, Robin McNeal wrote in Early China The Development of NaturalistThought in Ancient China: A Review of W. Allyn. Allyn Rickett's Guanzi, in 2003, acknowledged the results of Li Ke's long years of research and said that the translation provided scholars with a place to go for frequent consultation, and that many of the historical issues addressed in it played a key role in furthering the understanding of early Chinese society, intellectual structures, and so on.

VI. Conclusion

The study of the English translation of Guanzi remains mostly academic and has done little to promote the dissemination of Guanzi, but with the successive release of the two complete translations of Guanzi and the continuous exchange of Chinese culture with the world, Guanzi will receive more and more attention from scholars worldwide. In conclusion, the English translation of Guanzi has played a certain role in spreading Chinese culture, attracting the attention of Western readers, and enhancing national pride; however, it should be pointed out that we should try to make the English translation of Guanzi better to attract the attention of Western readers as much as possible, and the translation effect should be more in line with the translation of the incoming language, while expanding the dissemination of its English translation.

Reference

[1]Guanzi:Earliest Masterpiece on Political Economy in Human History[DB/OL].新法家网站,http://www.xinfajia.cn/10275.html.

[2]Stock Noel.Reading the Cantos:A Study of Meaning in Ezra Pound[M].London:Routledge and Kegan Paul Limited,1967.

[3]W•Allyn Rickett.GUANZI——Political,Economic,and Philosophical Essays from Early China[M].Princeton:Princeton University Press,1985.

[4]陈书仪.齐文化研究在国外J].1996(2).

[5]李克.《管子》研究在西方[J].1989(2).

[6]李霞.本世纪以来《管子》研究简介[J].1993(3).

[7]李宗政.《管子》外译研究概述[J].2014(2).

[8]宋立民.《管子》的研究和翻译[J].1989(1).

[9]钱兆明.《管子》“西游记”[J].2014(2).

[10]翟江月.大中华文库(汉英对照)——管子[M].桂林:广西师范大学出版社,2005.

==英语笔译周哲 Zhou Zhe 202170081613 CE==
<center>'''On the Translation of Peony Pavilion'''</center>

<center>周哲 Zhou Zhe</center>

===Abstract===
The Peony Pavilion, also known as "The Return of the Soul", is a masterpiece by Tang Xianzu (1550-1616), an outstanding Chinese opera singer of the 16th century. Compared with the script, The Peony Pavilion has not only been greatly changed in terms of plot and description, it has also improved greatly in terms of theme and thought. The Peony Pavilion has also reached an unparalleled artistic level in terms of diction, singing, music, stance and performance. In this essay, the full translations by Wang Rongpei, Cyril Birch, and Zhang Guangqian are selected for analysis and comparison, and their translations are abbreviated as follows: Wang's translation, Birch's translation, and Zhang's translation.

===Key words===
conveying the meaning in its full flavor; The Peony Pavillion;

===Introduction===
''The Peony Pavilion'', with its dizzying plot and magnificent structure, is especially good at portraying characters. With more than 160 characters, the play is a living panorama of the times. The artistic and literary value of ''The Peony Pavilion'' has been highly praised in both China and the West. The ''Drama 100: A Ranking of the Greatest Plays of All Time'' (2008) by Daniel S. Burt ranks ''The Peony Pavilion'' at number 32, and he (2008:184) comments that Tang Xianzu's ''The Peony Pavilion'' is the first great work to feature a female protagonist, and from it the reader can enter the tradition of Chinese classical literature.As you can see, this is still a very high opinion.

The earliest English translation of ''The Peony Pavilion'' is Acton's hybridity of translation "Ch'un-hsiang Nao Hsüeh" in Tian Hsia Monthly, vol. 8, no. 4, 1939. Cyril Birch translated some scenes of The Peony Pavilion in 1965 in Selected Readings in Chinese Literature, and published a full translation in 1980 at Indiana University Press; Zhang Guangqian's full English translation was published by Beijing Foreign Language Press in 2001; and Wang Rongpei's full English rhyming translation was first published by Shanghai Foreign Language Education Press in 2000. In 1999, an English version of the novel ''The Peony Pavilion'' was published. One adaptation, by Chen Meilin, was published by New World Press, and another adaptation was published by Seahorse Books, New Jersey, USA.

===Translator Introduction===
1. Wang Rongpei's Translation

Professor Wang Rongpei began his translation of The Peony Pavilion in 1996, which lasted for more than three years. In order to get a sense of Tang Xianzu's life and writing, he visited Tang's hometown of Fuzhou, Jiangxi Province, which was called Linchuan in the old times, in March 1999. In the preface to his translation, Professor Wang said that he set the goal of "conveying the meaning in its full flavor" for his translation. Specifically speaking, first, the translation should creatively and accurately reproduce the style of the original. In the process of translation, he tried to recreate the original in English to reflect the beauty of the original text, so he translated the prose dialogues or monologues into understandable English as much as possible. For example, he translated “吾今年已二八,未逢折桂之夫” as "I've turned sixteen now, but no one has come to ask for my hand". At the same time, when translating the lyrics and verses, the original imagery of the author is kept as much as possible without affecting the understanding of the English readers, otherwise it is rather sacrificed and replaced by corresponding expressions in English. Second, for the poetic and lyric parts of the original text, some forms of traditional English metrical poetry are adopted in translation. In addition, the lyrics of Tang Xianzu's The Peony Pavilion follows a strict tune, and the poetic part is also in the form of metrical poetry. Therefore, Professor Wang uses the iambic pentameter as the basic format and adopts a variety of different rhyme schemes when translating them.

2. Birch’s Translation

Birch was born in Lancaster, England, in 1925. He studied Chinese at the Institute of Oriental and African Studies at the University of London, where he received his Ph.D. in Chinese literature in 1954, taught Chinese at his alma mater from 1948 to 1960, taught in the Department of Oriental Languages at Berkeley University in 1960, and later became Professor of Chinese and Comparative Literature and Head of the Department, retiring from Berkeley University in 1991 as Professor Emeritus. Birch 's writings cover traditional Chinese fiction and drama as well as modern Chinese literature, and he is best known for his translations of Ming dynasty plays and stories. His translations of The Peony Pavilion (Acts 1-5, 7, 9, and 10) were published in the third issues of The Translation Series, respectively. Although Birch had edited many anthologies of Chinese literature in verse and verse, his favorite of all literary genres was classical drama. Bai's translation of The Peony Pavilion was published by Indiana University Press in 1980. Birch is a leading contemporary American sinologist who, in addition to his translation of The Peony Pavilion, has translated works such as Chinese Gods and Monsters, Selected Stories of the Ming Dynasty, and Selected Plays of the Chinese Ming Dynasty, and has edited books such as Selected Readings in Chinese Literature and Studies in Chinese Literary Genres. His essays on The Peony Pavilion include "(The Peony Pavilion) or (The Return of the Soul)," "The Structure of The Peony Pavilion," and "The Winter's Tale> and The Peony Pavilion.

Birch 's English translation reproduces the original in fluent modern English and is generally faithful to the original text, with free verse in both the choral and poetic sections (Wang Rongpei, 2000:33). This is evidence of his rigorous academic attitude. It took at least seven or eight years from the earliest translation to the final revision of the text. In general, Birch's translation was a success, and all performances of The Peony Pavilion in the West were based on Birch 's translation, but his translation was not immune to the errors of understanding that are common among Western translators.

3. Zhang Xianqian’s Translation

Zhang Guangqian's translation of The Peony Pavilion was published by the Travel Education Press in 1994 and reprinted by the Beijing Foreign Language Press in 2001, the first full English translation done independently by a Chinese translator.

In his preface to The Peony Pavilion, Professor Wang Rongpei (2000:35-36) also comments on Zhang's translation, arguing that, compared to Birch's translation, Zhang's translation has the greatest advantage of being more accurate in conveying the meaning of the original, which is a clear strength of Chinese translators in translating Chinese classical masterpieces. It is clear from the translation that Zhang's mastery of ancient literary knowledge is very solid. In his translations of the lyrics and verses, he uses the format of sung poetry on most occasions, with iambic pentameter as the basic rhythm, and occasional rhymes that follow their nature. On the whole, Zhang Guangqian's translation is successful, and in many places it is more accurate and refined than Birch's translation.

===Examples and Analysis===
Example 1:（柳梦梅）：谩说书中能富贵，颜如玉，和黄金那里?

Wang: The saying goes that studies bring the wealth, but where is pretty lady and

where is gold?

Birch: "In books lie fame and fortune," they say—then tell me, where are the jade-smooth cheeks, the room of yellow gold?

Zhang: Some say that books will provide you with what you need, Yet, where is the promised beauty, where the gold?

The Peony Pavilion is a masterpiece of Tang Xianzu. Tang Xianzu is good at quoting scriptures and references, and there are countless allusions and proverbs in the book, which gives the text a deep cultural connotation. From the perspective of "reaching the meaning", when translating this kind of text, we should not only pay attention to the semantic meaning of the language, but also pay more attention to the semantic meaning and cognitive meaning. Specifically. This is reflected in the translation of words with profound cultural connotations. In this sense, it is not easy to translate classical operas to "reach the meaning", but it is even more difficult to "convey the spirit".

For the understanding of "In books lie fame and fortune", there is a problem with the translation of Birch, which does not mean that books themselves can give people wealth, but that they can create wealth only after learning and mastering knowledge. And Zhang's translation "Some say that books will provide you with what you need" does not clearly translate what "wealth" is. The chorus also contains two words with cultural connotations: "Yan Ru Yu" and "House of Gold". Birch's translation literally translates "the jade-smooth checks" and "the room of yellow gold," but not the true meaning of these two words. On the issue of cultural treatment, Prof. Wang's strategy is to reflect his own understanding directly into the translation, as his translation is intended for a general Western audience, and therefore does not add additional notes on the words that contain cultural connotations. The strategy adopted by the Zhang translation is consistent with that of the Wang translation.

Example 2:（柳梦梅）：敢甚处里杨曾系马?

Wang: Are you an old acquaintance to see me now?

Birch: In some former time and place, did we "tie our steeds beneath green aspen"?

Zhang: Or, is it because your horse was once attached to my tree?

This is the phrase that Liu Mengmei asked Du Liniang, who guessed where they had met before? The phrase "敢甚处里杨曾系马" is a cultural phrase related to the times. In feudal China, unmarried girls could only stay in their boudoir. Therefore, it is not logical to translate it as "met somewhere". However, the literal translation

The literal translation does not reflect the cultural connotation of the sentence, so the paraphrase is used. Both Bai and Zhang translate literally, which may not be understood by readers of the target language and may even cause misunderstanding. Wang's translation is more appropriate and better conveys the connotation of the original text, achieving a high level of "reaching the meaning" at the linguistic and cognitive levels.

Example 3:（陈最良）： "玉不琢，不成器；人不学，不知道。"

Wang: As The Book of Rites says, "Uncarved jade is unfit for use; uneducated men

are unaware of Tao."

Birch: "Jade unsculpted unfit for use; person untutored unaware of the Way."

Zhang: It's said, "Unpolished jade has little worth; untutored man has little wit."

The phrase "If jade is not cut, it does not become a tool; if a man does not learn, he does not know" is from the Book of Rites, and for Western readers who do not know Chinese culture, they do not know the context of the phrase, so Wang adds "The Book of Rites" in the translation to make it clear to readers at a glance, and it is easier for them to understand the context after understanding the cultural background of the phrase. Although Zhang's translation adds "It" to indicate that this is a well-known thing, it does not specify the specific source, so the reader still cannot understand it. If we look at this sentence from the perspective of "conveying the meaning", its "conveying the spirit" lies mainly in its simplicity and neat syntax. If we look at these three translations only from the perspective of "conveying the meaning", they are indeed comparable, but a careful reader will find that Wang's choice of words is actually very careful. Normally, "Uncarved", "unsculpted" and "Unpolished" seem to have the same meaning, but when they are placed in the whole sentence, the difference appears. If the word "Uncarved" in Wang's translation is replaced by "unsculpted" or "Unpolished", the rhythm of the whole sentence will be incongruous, and it will be awkward to read. This is the same reason why Wang used "islet" instead of "isle" in his translation of the Book of Psalms. Obviously, Wang's translation has paid attention to the problem of rhyme, so it reads with a particularly strong sense of rhythm.

Example 4:（杜丽娘）：先生万福。

（春香）：先生万福。

Wang: I wish you happiness, respected tutor.

I wish you kindness, respected tutor.

Birch: Our best respects, esteemed sir.

We hope you're not vexed, esteemed sir.

Zhang: Boundless happiness to my teacher.

Boundless kindness to your pupils.

These are the words spoken by Du Liniang and Chunxiang as they salute Chen Milliang. Although the words spoken by the maids are the same as those spoken by the ladies, the translation should be different to show their different linguistic characteristics. Wang and Zhang did notice this point, but from the point of view of "expressing the meaning", it is Birch's translation that is more accurate. Since they are late in entering the school, the teacher is already a little upset, so Chunxiang says "Don't be angry, teacher!" when greeting her. This accurately conveys the quick-talking character of Chunxiang, a maid, and also fits the situation at that time.

The author keeps emphasizing that the parameters of "conveyance" are analyzed for expository reasons, but in specific texts, many of them are integrated with each other, as in this case. The previous paragraph is analyzed on a pragmatic level, but it does not reflect the "transmission"! The wording, tone, and inflection of Duliniang and Chunxiang's speech all reflect the translation's grasp of the style and emotion of the original text. Still, "convey the spirit and meaning" should be grasped as a whole, as can be seen from this example.

Example 5:（杜丽娘）：以后不敢了。

（春香）：知道了。今夜不睡了，三更时分，请老师上书。

Wang: I won't be late from now on.

I see, I won't go to the bed tonight and I shall ask you to give me lessons at midnight.

Birch: We shall not be late again.

We understand. Tonight we won't go to bed so that we can present ourselves for our lesson in the middle of the night.

Zhang: I won't be late again.

I see. Tonight I won't go to bed at all so that teacher can start the lessons at midnight.

Du Liniang and Chunxiang both bowed to the gentleman, Chen Miliang said: "Girls, you should get up immediately after the rooster crows and greet your parents first. After eating breakfast, you should do whatever you want to do. If you are studying, you should get up early" (Zhao Shanlin, 2002:11). These two lines are their response to Chen Milliang's rebuke, in which Chunxiang's reply is relatively sharp, which on the one hand reflects Chunxiang's quick-talking character, and on the other hand, reveals On the one hand, this reflects Chunxiang's quick-talking character, but on the other hand, it also reveals her attitude of not being convinced by Chen Miliang's words.

Looking at the three translations from the perspective of "expressing the meaning", Wang and Zhang have no problem with their translations, but Birch has a deviation in his understanding. The deviation of Birch's translation does not occur at the semantic level, but at the pragmatic and cognitive level, which is reflected in Birch's insufficient understanding of traditional Chinese culture. According to the old rituals and customs, the rich and noble families had a very strict hierarchy of respect, and the young lady and the maid had to take into account their status and position when they spoke, so the "We" in Birch's translation is inappropriate, and in addition, Birch's translation of the latter paragraph does not express the meaning of "asking the teacher to write a letter".

In terms of "evocative", Wang's translation is better overall. The mischievous Chunxiang hates reading the boring Confucian classics and deliberately messes with Chen Mingliang, while Duliniang originally shares Chunxiang's feelings, but she still acts serious in front of Chen Mingliang due to the constraints of ritual. Compared with the Birch translation, the Wang translation pays more attention to observing the psychological changes of the characters, especially highlighting the word "please" in the original text, which accurately conveys the characteristics of Chunxiang's sharp tongue and her defiant state of mind at that time, and well captures the change of emotions in the "transmission".

Example 6:（杜丽娘）（作恼介）：劣丫头那里去?

（春香）：溺尿去也。原来有座大花园。花明柳绿，好耍子哩。

Wang: Where have you been, nasty maid?

I've been to the toilet. I went by a big garden overgrown with flowers and willows. It's fun over there.

Birch: (annoyed)： What have you been doing, silly creature?

Peeing. But I found a lovely big garden full of pretty flowers and willows, lots of fun.

Zhang: Naughty girl, where have you been?

Pissing. I happened to have discovered a huge garden, with lush trees and bright flowers. A very nice place indeed.

After Chen Miliang finished explaining the "Poetry", he asked Du Liniang to write again. Chunxiang stayed at one side really impatient, excuse to go to the toilet to sneak out to play. After a long time, when Du Liniang saw that Chunxiang had not come back, she said, "Why hasn't Chunxiang come back yet? Du Liniang scolded: "Bad girl, where did you go"? Chunxiang replied: "I went to pee. There is a big garden behind the house, with red flowers and green willows, which is very interesting!" (Zhao Shanlin, 2002:12).

This play is called "Make Trouble in School", and this "trouble" is mainly manifested in Chunxiang's body, but of course, it is only with Du Liniang's tacit approval. The difference between the two of them in status, position and upbringing is so great that it is not possible for Du Liniang to make a scene like Chunxiang, but Du Liniang's "scene" is in the dark, elegant and clever. In fact, this is Du Liniang in front of Chen most Liang fake anger at Chunxiang, but in fact full of pity for her; and Chunxiang also know Du Liniang will not really blame her. Chunxiang's mischievousness is also obvious.

The above three translations are more accurate in terms of "conveying the meaning", but the subtle differences are reflected in "conveying the spirit", which is also expressed in the transmission of "emotion". Reading through the context, we know that Chunxiang's answer of "peeing" is actually an excuse, not really going to "pee", but the transitive word "But" in the Birch translation gives the impression that Chunxiang really went to pee, but happened to find a garden when she returned. Wang and Zhang are more accurate in handling this detail, and they are in the middle of the pack.

From the above examples, we can see that there are many factors to be considered in the translation process, such as character characteristics, tone of voice, psychological state, language characteristics, etc., but it is not easy to take into account the overall situation, which is a test of the translator's language mastery and skills.

Example 6:（柳梦梅）：好一座宝殿哩。怎生左边这牌位上写着＂杜小姐神王＂，是那位女王

（石道姑）：是没人题主哩。杜小姐。

Wang: What a magnificent hall! On the memorial tablet on the left is the inscription "The Spiri of Miss Du". What's the meaning of "spiri"? To complete the service, we need someone to add the final letter. It's "The Spirit of Miss Du" .

Birch: What a majestic temple! By the way, which queen is that memorial tablet

Oh, it's Miss Du's memorial tablet. The last stroke hasn't been added onto it yet.

Zhang: What a magnificent shrine! But I don't understand the inscription on this tablet: "The Ruler, Miss Du." Which "ruler" was this? The character that looks like "ruler" needs an extra dot on top to make it read “host”, that is to say, “tablet lodging the spirit of Miss Du.” We are waiting for some person of distinction to inscribe the dot.

This dialogue is from the 33rd episode of The Peony Pavilion, "Secret Discussion". Liu Mengmei was entrusted by Du Liniang to dig a grave for her, but he was a scholar, so he had to follow Du Liniang's suggestion and come to Shi Dao Gu for discussion (Zhao Shanlin, 2002:127). Then Shi Dao Gu leads Liu Mengmei to visit the temple, and Liu Mengmei exclaims: What a precious temple. Why does the tablet on the left say "Miss Du, God King"? Shi Daoist nun replied: "No one is the subject. Miss Du." In the olden days, when the deceased was given the sign of the gods, a point was deliberately missing from the 'main' and a prestigious person was asked to put a dot on it with a vermilion pen on a certain day, and this ceremony was called "dotting the main" or "inscribing the main" (ibid., 2002:128).

From the translations of the three translators, they all have a certain understanding of the ancient customary ritual of "inscription of the Lord", among which Wang and Zhang express the meaning more clearly, while Birch omits the phrase "How can the left side of this tablet have Miss Du's divine king written on it", which is unknown whether it is a mistake of the translator or some other reason, and cannot be verified.

This is particularly evident in Wang's translation, where "convey the spirit" is the sublimation of "reach the meaning". Zhang's translation basically conveys the meaning, and the language is more plain. The treatment of Shan in the Qian translation is very impressive. It can be said. The words "stem" and "main" in the text are word games. This is a difficult point in translation. It is very tricky. But at the same time. If handled properly, it will add an unexpected effect to the translation. Wang's translation is very creative, as he creates his own word "Spiri" and "Spirit" to echo each other, bringing out the effect of "王" and "主" in the original text.

Example 7:

（杜丽娘）：晓妆台圆梦鹊声高，

闲把金钗带笑破。

博山秋影飘，

盼泥金俺明香暗焦。

Wang: When magpies greet me for my happy dream,

I tap my golden hairpins with a smile.

The incense smoke coils in autumn breeze

And makes me anxious for news all the while.

Birch: Noisy magpies greeted my rising

Presage of dream's fulfilment;

With happy smile I set my gold hair ornaments.

Fragrant smoke mingled with autumn haze,

Hopes of gilded placard of success Burned bright as incense glow.

Zhang: The chirping magpies are discussing last night's dream;

Smile creeps on my lips as I tap the golden pins.

Autumn wavers in incense smoke.

Yearning for word of success,

My heart burns like the incense sticks.

On the day of Liu Mengmei's examination, Du Liniang was at home waiting for the result of the examination. When Du Liniang got up early in the morning to do her make-up in the mirror, the sound of magpies reported the good news, which was in accordance with the auspicious omen in her dream, so she was in a particularly good mood. Among them, "博山" refers to the Boshan stove, a kind of incense burner; "泥金" refers to the mud gold post, which is used to report the joy of the new entry into the earth and the enrolment in the university; "焦" is a semantic double meaning: one refers to the incense burning into ashes, and the other refers to the anxiety in Du Liniang's heart.

Double meaning refers to the use of speech, a word, or a sentence in a certain linguistic environment, while associating two different things, expressing double meaning, and the words in this meaning in the other, also known as "multiple meaning association". The literal meaning of double meaning is clear; the implicit meaning is implied. From the point of view of "expressing the meaning", the three translations are inaccurate: first, the use of "Noisy" to describe the magpie's cry is inaccurate, as we know from the above analysis that the magpie's cry here means "announcing good news". The second is that the phrase "盼泥金俺明香暗焦" is inaccurate, not like "hope for good news is burning", but that Du Liniang's heart is very anxious.

From the point of view of "conveyance of spirit". Let's look at the problem of form first. It is obvious that the original text has only four lines, but Zhang's translation has one more line; Wang's translation is relatively concise and clear, and while paying attention to rhyme, it also uses the rhyme scheme of xava without losing time, which has a strong sense of rhythm. In terms of conveying emotions, Wang and Zhang are comparable in that they both express the anxious mood of Duliniang, but the difference between them lies in the fact that Wang uses implicit metaphors while Zhang uses explicit ones.

Example 8:（杜丽娘）：可知我一生儿爱好是天然。

Wang: （DuLiniang）：But love of beauty is my natural design.

Birch: （Du）：Always my nature to love fine things.

Zhang: （Du）： My love of beauty is of natural build.

This is one of the more famous lines in The Peony Pavilion, which is usually widely recited as a clear and beautiful phrase. However, there are two ways to interpret these two lines: First, it can be seen that my lifelong hobby is "天然", that is, I like things in their natural color; second, it can be seen that my lifelong love of "好" is natural, that is, the love of beauty is my nature. In the absence of context, both understandings are fine. However, the difference will be obvious. The difference will be obvious. This has to be inferred from the context of the chant. This is the tenth play "dream" in the singing words. It was a beautiful day. In the morning, the sound of birds and swallows woke up Du Liniang from her sleep, and Chunxiang brought Du Liniang dressing clothes, and Du Liniang dressed up in the mirror. Chunxiang saw the beauty of the lady, could not help but say: "today’s dressing is really good"! This immediately resonated with Du Liniang. With this context, the meaning of this line is obvious: "It is my nature to love beauty". Among the above three translations, Wang's and Zhang's are accurate, while Birch's does not match the original. This shows that reasonable logical reasoning in context is also necessary in translation.

Example 9:（杜丽娘）：原来姹紫嫣红开遍，似这般都付与断井颓垣。良辰美景奈何天，赏心乐事谁家院!

Wang: (Du Liniang)：The flowers glitter brightly in the air,

Around the wells and walls deserted here and there Where is the "pleasant day and pretty sight"? Who can enjoy the "contentment and delight"?

Birch: (Du)： See how deepest purple, brightest scarlet Open their beauty only to dry dwell crumbling. "Bright the morn, lovely the scene," Listless and lost the heart—where is the garden "gay with joyous cries"?

Zhang: (Du)： So the garden is all abloom in pink and red, yet all abandoned to dry wells and crumbling walls. The best of seasons won't forever last; can any household claim undying joy?

These are the four most famous lines of the Peony Pavilion. When Du Liniang finished dressing, Chunxiang reminded Du Liniang that it was time for breakfast, so they walked out of the room and came to the garden with spring colors. Looking at such a beautiful scenery in front of her. Du Liniang could not help but exclaim: "the original flowers bloom so bright and beautiful". But at the same time see the dilapidated walls, wells, can not help but be sad: "Such a beautiful scenery, how is in such a dilapidated courtyard it? This is just like their beautiful youth is buried? As the old saying goes, ''It is difficult to combine the four: good time, beautiful scenery, pleasure and joy. (Zhao Shanlin, 2002:29-30).

From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".

The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Khan's translation. First of all, the "spirit" of Khan's translation is reflected in the form. The original rhymes with "abab", while the Wang translation rhymes with "aabb", and what is even more remarkable is that the Wang translation also takes into account the rhythm of the translation while rhyming, which gives a sense of intonation and staccato. Secondly, Wang's translation is very good at conveying emotions. The lyrics make one feel the faint sorrow of Du Liniang: she is enchanted by the beauty in front of her, and on the other hand, she is saddened by the spring sorrow she has nowhere else to go. The lyrics include "姹紫嫣红" and "断井颓垣", "良辰美景奈何天" and "赏心乐事谁家院!" One happy and one sad corresponding to the state of mind of Du Liniang depicted to the fullest, sad! It must be admitted that the words are emotionally charged. The words used by the translator indicate the kind of emotion he wants to express. The words "pleasant", "pretty", "contentment" and "bright" in Wang's translation are all words that mean "beautiful", but the addition of a "?" at the end of the sentence has the opposite effect. The effect is the opposite after adding a "?" at the end of the sentence, and the use of two "?" in a row in the third and fourth sentences to enhance the effect. It can be seen that Wang's translation conveys the emotion in a very clever way, so that people can appreciate the meaning of the original text without realizing it.

===Conclusion===
From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Wang Peirong's translation.

===References===
*Wang Rongpei (2000). The Peony Pavilion. Changsha: Hunan People's Press
*Zhao Shanlin. Selected Reviews on The Peony Pavilion. Shanghai: Shanghai Ancient Books Press

==英语笔译朱丽娟 Zhu Lijuan 202170081614 MW==
The Sinicization of Religion And its Development in China

==英语口译段小蝶 Duan Xiaodie 202170081615 CE==

<center>'''Difficulties and Countermeasures in the Translation of Chinese Classics'''</center>

<center>Duan Xiaodie</center>

===Abstract===
The translation of Chinese classics is an important part of the external transmission of Chinese culture. However,the translation of China classics into foreign languages faces many difficulties and problems. This paper aims to analyze the current situation of Chinese cultural transmission to the outside world, explain the causes of the above obstacles, and put forward several personal thoughts trying to overcome these obstacles like using diversified media, flexible presentation means and flexible cooperation with foreign companies, changing the way of the training translation talents in colleges and universities in order to achieve better Chinese culture transmission.

===Key words===
Chinese Classics; Translation and Transmission; Difficulties and Countermeasures

===The Definition of the Chinese Classics===
Chinese culture is a general term for the spiritual accumulation and material creation of the 56 ethnic groups in China. I don't know when, once chinese cultural classics are discussed, scholars must say that ancient classics such as the "Four Books" and "Five Classics" will invisibly weaken the works outside the central members of this family category, which in fact confuses the boundaries between Chinese cultural classics and their lower categories——— the boundaries between Chinese cultural classics. In fact, the category of Chinese cultural classics includes not only Chinese cultural classics, but also derivative and deductive works of traditional Chinese classics, because they also contain cultural contents such as "Red Sorghum," "Wolf Totem," "Ordinary World," and "Old Children," as well as epic poems, poems, religious doctrines, witchcraft, oral literature, and songs created by ethnic minorities. Therefore, this is because the Chinese nation is composed of 56 ethnic groups, and the cultural crystallization of each ethnic group constitutes the Chinese cultural classics; Moreover, ethnic minority epics, poems, religious doctrines, and other works have naturally become indispensable members of Chinese cultural classics, some of which have been disseminated abroad, and some of their works also have a certain overseas audience. Therefore, Chinese cultural classics should not only include classics dominated by the Han nationality, but also classics of other nationalities, and more importantly, other non-classic works with national characteristics and identified as excellent works (including academic works, journal papers, conference papers, etc.) with certain influence.

===The Significance of Translating Chinese Classics into Foreign Languages===
The Chinese nation is a nation with a long history and profound tradition. For thousands of years, it has left behind unparalleled cultural classics, mainly based on language and written texts.These books constitute the spiritual level and value core of the history of Chinese civilization, which is a heritage worth inheriting and spreading.Therefore, in the modern society, the information is developed, the communication is frequent, the need for a foreign translation promotion process.Such a process and the resulting results, that is, translated and published text, not only allows the Chinese people to review the history and tradition, change the status quo and progress, but also for the development and progress of other nations in the world, there is also a certain reference value. Of course, in this translation process and products, China's original cultural traditions will also experience a change from ancient times to the present, from the inside out changes, and modern society, modern ideas, relationships and collisions. And thus become a part of modern civilization and ideological values, or as a basis, or as a cultural form, to be retained and continued, development and progress. This is our current translation of Chinese cultural classics of cultural history, but also have to change China and the world, as well as the relationship between China and the world of modern academic significance.

===Current Situation of Chinese Classics Translation===
As the carrier of China history and culture, the translation of Chinese classics further promotes the cultural exchange between China and the world. In the late 20th century, the National Library of China (NCLC) was established. The "Great China Library" is a major publishing project listed in the national plan and supported by the national finance. This project is officially regarded as the first major cultural project in the history of our country to systematically and comprehensively introduce the collation and translation of China ancient books to the world. It is also a basic project to carry forward the excellent traditional culture of the Chinese nation.In recent years, the academic attention to the translation of classics has increased significantly, and the publication rate of relevant articles has also increased. Although these articles have different intentions, emphases and academic contents, they reflect that the translation of Chinese classics has become a hot topic in the translation circle in China. With the continuous development of the depth and breadth of Chinese classics translation studies, new progress and trends have emerged in terms of scope and perspective. According to Chen Li (2014), this new progress is mainly reflected in two aspects: (1) The number of papers has increased steadily, especially in recent three years, compared with previous years, the number of papers published has increased significantly; (2) The relevant research of domestic scholars mainly focuses on the English translation of Chinese classics, the time of translation of Chinese classics by applying translation theory, and the standards, principles and strategies of English translation of Chinese classics. However, in fact, Chinese cultural classics are still rarely known to the world. "Statistics show that there are about 35,000 kinds of classical books in China, but only about two thousandths of them have been translated into foreign languages." Thus, it is not easy to make Chinese cultural classics go out. The translation of classics into foreign languages still faces great challenges. The research of Ye Huijun and Chen Shuangxin (2015) shows that in the process of translating classics into foreign languages, there is an imbalance in the translation of terms in classics and related studies, which is mainly reflected in the following aspects: (1) the imbalance between the translation of cultural terms and the translation of classics, the former's attention and research results are much less than the latter; (2) that selection of term source is unbalanced; (3) imbalance of target language; (4) cultural terms translation study itself is not balanced. Therefore, the relevant departments need to develop practical and specific measures to implement, to carry out a full range of multi-angle study, to achieve China cultural classics "going out," there is still a lot of work to do.
With the implementation and promotion of China's book promotion plan, Chinese culture going global, Chinese cultural works translation and publishing project, Chinese literature overseas dissemination project, China National Knowledge Network international publishing project, National Social Science Fund Chinese academic translation project, Chinese ideological and cultural terminology dissemination project, the belt and road initiative and other strategies, the State Administration of Press, Publication, Radio, Film and Television recently joined forces with the central and state organs, the Propaganda Bureau of the Political Work Department of the Central Military Commission, the competent units of various publishing units, The publishing group launched the Classic China International Publishing Project, Silk Road Book Fragrance Project and Chinese Contemporary Works Translation Project, aiming to "launch more export-oriented fine books that tell Chinese stories, spread Chinese voices and explain Chinese characteristics, so that overseas readers can know, understand and understand China through Chinese books, and effectively improve the soft power of national culture"(State Administration of Press, Publication, Radio, Film and Television 2017).Later, the General Office of the CPC Central Committee and the General Office of the State Council issued the Opinions on Implementing the Project of Inheriting and Developing Excellent Traditional Chinese Culture, which aims to "adhere to the position of Chinese culture, absorb Chinese wisdom, inherit Chinese cultural genes, carry forward Chinese spirit, spread Chinese values, and continuously enhance the vitality and influence of excellent traditional Chinese culture" and "safeguard national cultural security and enhance national cultural soft power"(General Office of the CPC Central Committee and General Office of the State Council 2017).Therefore, the translation of Chinese cultural classics is facing an excellent opportunity for great development.

===Difficulties in the Translation of Chinese Cultural Classics ===
It is difficult to ensure the quality of translation of Chinese cultural classics because some translators do not have the relevant knowledge of cultural transmission and translation, and blindly pursue speed. Many people think that they can engage in translation activities if they know and understand a foreign language, so the return is not proportional to the government's investment, and at the same time, it has not reached the original intention and established goal of the state to publicize Chinese culture to the world by translating Chinese classics into foreign languages. As Qian Dingping evaluation zhi-wei feng's "the history and present situation of Chinese characters"(1994) of the Greek translation: "The traditional culture of our country is the most important part of our national culture."But to observe, the effort to the great and the effect to the small.All in all, the translation of Chinese cultural classics exist the following problems: (1) inadequate preparatory work for translation of Chinese classic: first, did not grasp in what circumstances what works by whom translation, accept how, what works to be translated; Second, they failed to identify the "tastes" and needs of the target audience, so the former Soviet Union, Russia and South America Paraguay ignored Chinese and foreign translation works and abandoned them on the pile of waste paper. This is an important lack of mapping work. If they still blindly choose their own intentions to translate and introduce, the result is likely to repeat the same mistakes. (2) no full and comprehensive understanding of the objective reality of the current translation work: the scale of foreign language training in China has been greatly improved compared with the past, but the foreign language ability and level of the current "talents" cannot meet the requirements of conveying Chinese culture. Not only can they not read through ancient books, but they also do not have the basic knowledge of national culture. What's more, some people are not familiar with the languages of ethnic minorities, nor understand the cultural traditions of ethnic minorities, so they are forced to do secondary translation through Chinese translation. However, the total number of ethnic minority books and records exceeds 8,000. The Chinese translation of less than 1000, even if the interests of the meter is feasible, it can not complete all the ethnic minority classics translation of this arduous task. (3) no understanding of the target audience's recognition and identity issues: even if the translation of classics can reach the same level as foreign scholars, the target readers do not trust Chinese publishing institutions and hold prejudice against the level of Chinese translators, which inevitably doomed the fate of translation of classics into foreign languages. Moreover, due to the limitation of subjective and objective factors, most of the translations are planned to be published and distributed by relevant domestic publishing houses, which makes it difficult to enter the foreign target group market. As Yang Junfeng said at the 5th International Forum on Language, Literature and Translation in Northeast Asia: In the United States in northern Illinois, all libraries, in possession of English translation of Chinese cultural classics, the proportion of less than one-third, and on these are mostly Chinese or English native speakers of the translation, which to some extent also reflects the Chinese cultural classics English translation of recognition with the problem. (4) unfavorable publishing and marketing: good translation works also benefit from feasible and effective sales channels in many ways. At present, the foreign translation of Confucian classics mainly relies on domestic publishers for active export, the sales channels are limited, and no time, energy and financial resources are not spent on publishing and marketing, or the work in this area is not enough, resulting in the target readers in the translation and language culture system have little understanding of the translation and introduction literature exported in China, and cannot build an effective communication and connection between the translation literature and the translation language culture system. Translated literature in a marginal position must move away from its weak position and move closer to the central position, except that it depends on translation. In addition to the unchangeable state of the language and culture system itself, it is also necessary to rely on certain external forces, such as increasing the interaction between translated literature and internal factors of the translation language culture system, and enhancing the understanding and recognition of translated literature by translated readers, which can be completed with the help of effective marketing means. At present, the foreign translation of Confucian cultural classics only follows the old traditional translation and introduction method: topic selection - translation - publication and distribution, and insufficient efforts have been made in effective publication marketing, resulting in the low awareness of the Translated Confucian cultural classics in the target culture, which is not conducive to the other party's understanding and acceptance of our translation works. In the future process of foreign translation of Confucian cultural classics, multi-channel marketing and publicity means can be adopted, such as making full use of the network platform and adopting various forms of interactive activities to enable target readers to further understand the Confucian classic cultural works exported by China, so as to expand the awareness of the cultural classics exported by China in the translation language and culture system.In view of these practical problems, we may refer to the Indian Buddhist scriptures into the experience, as well as the late Ming Dynasty and foreign missionaries translated Chinese cultural classics lessons learned. This paper trys to provide some useful promoting and teaching suggestions for the translation of Chinese cultural classics.

===Reasonable Approaches to Promote the Translation of Chinese Cultural Classics ===
At the beginning of the introduction of Buddhist scriptures, the mode of interpretation and oral interpretation by Buddhist monks and written records by Chinese people were adopted, and the concepts and terms of Confucian and Taoist classics were used to convey Buddhist scriptures, so as to close the distance between Chinese Buddhist scriptures and Chinese audiences psychologically and achieve the purpose and goal of Buddhist dissemination.Foreign missionaries also adopted the mode of translating Buddhist scriptures into Chinese, first oral by missionaries and written down by China believers, then learning Chinese and translating the Bible in person.Missionaries translation of the bible, follow the experience of buddhist scriptures using Confucianism and Taoism classic words, first use buddhist terms convey the bible thought, the result is not very ideal, hence to Confucianism, Taoism words convey the bible thought, achieve the purpose of han missionary.(Xu Guangtai 2008:20) The success of the translation of Buddhist scriptures and the translation of the Bible borrowed the resources and talents of the target audience countries, which was not only of great reference at that time, but also of some inspiration today. In The translation of China language of literature (The Language and Literature of China: Two Lectures) (1875), the pen is found: Both James Legge's translation of The Sacred Books of The East (1879) and The Orphans of Zhao, the first to be put on the European stage, were translated by native speakers or by native speakers and Chinese scholars.In addition, there are three "meta-hybrid anthologies" published in the United States States between 2010 and 2014, which are translated into English by native speakers and co-translated by Chinese and native speakers. These works are highly recognized in the United States and have been widely disseminated.Therefore, the author of Buddhist translation and missionary translation of 'Bible' lessons learned and related overseas Sinology is made as a reference to make the following reference recommendations: (1) The modes of carrying and disseminating the translated works of classics can adopt flexible modes according to the time, people and circumstances. We should not only adhere to the traditional print media as the means, but also adopt non-traditional media-self media, mobile phone network, cultural exhibitions, cultural relics exhibitions, expositions, book fairs, film festivals, populist performances, sports activities, tourism promotion and brand activities organized by overseas China cultural centers, Confucius Institutes and other governmental and non-governmental organizations. It is also necessary to expand the target audience with the variation mode based on ancient books, such as songs, songs, dances, dramas, plays and other popular literary and artistic forms. (2) The contents of the translated classics can be based on the original classics, but in order to achieve the purpose of easy acceptance by the audience and obtain the greatest impact, the translator can be flexible and flexible, and does not have to adhere to the faithful translation, but can change, compile and extract the translation, which also follows and embodies Deng Xiaoping's concept of economic governance,"No matter whether the cat is black or white, it is a good cat that catches mice." (3) The mode of cooperation between the government and non-governmental organizations and individuals as well as Chinese and foreign subjects can be adopted for the translation of classics into foreign languages: First, adhere to the government-led model, the Chinese and overseas Chinese as the main body of the non-governmental organizations to unite in, at the same time to achieve constant and moderate monitoring; Second, will be dominated by China publishing agency, to sino-foreign cooperation as the leading, government agencies responsible for the audit and supervision work; Third, unite sinologists, publishers, middlemen (such as copyright agents) and overseas students, change the main body of China translators to the composite body of Chinese and foreign translators, and use the trust and influence of overseas people to invite them to be the voice of Chinese culture so as to better serve Chinese culture. For example, the Germany Sinologist Gu Bin wrote the German version of the History of China Literature in the 20th Century, which was published in the Chinese translation by East China Normal University Press in 2008. United States professor mulberry mission to China (Sabina Knight) and Jin Kaijun (Karen Kingsbury) writing "essence of Chinese Literature theory"(Chinese Literature: A Very Short Introduction), etc.Overseas sinologists can read China cultural classics, read thousands of modern literary works, write works of Chinese literary history, and publish them in various countries at home and abroad. The reading level of sinologists can be seen, which is just the external force that can be relied on for the translation of Chinese cultural classics and the going out of Chinese culture.As stated in the Opinions (2017):"Promote international sinology exchanges and cooperation between Chinese and foreign think tanks, strengthen the international promotion and dissemination of China publications, support sinologists and overseas publishing institutions to translate and publish Chinese pictures and books, and rely on overseas Chinese, cultural and sports celebrities, and outbound personnel from all walks of life, relying on China's overseas institutions, Chinese-funded enterprises, friendly and cooperative institutions with China, and Chinese restaurants around the world to tell Chinese stories, spread Chinese voices, and explain Chinese characteristics well. Specifically, the China-foreign cooperation model can invite overseas translators, overseas Chinese, humanities and social researchers who do not understand Chinese culture, especially overseas sinologists, to cooperate. The Chinese are responsible for interpreting classic works, and the sinologists are responsible for transcribing the translation, jointly refining the translation, and submitting it to the relevant government departments for final review; Invite overseas Chinese culture lovers, researchers and Chinese cooperation, Chinese scholars responsible for the classic content, foreign scholars responsible for the transcript of the translation, and then by the Sinologist scrutiny translation, submitted to the relevant government departments audit; Scholars in foreign language circles should refer to existing materials to translate relevant classics and submit them to foreign scholars or relevant China departments for examination and approval. In addition, overseas sinologists (such as Du Bin of Germany, Fu Yunbo of Canada, Du Boni Australia, etc.), Chinese culture lovers, overseas Chinese (such as Shen Guowei Japan), high-level Chinese translators (such as Mr. Xu Yuanchong of Peking University, Professor Yue Feng of Fujian Normal University, China academy of social sciences professor zhu hong, etc.) separate translation, the Chinese government funding, at the same time held the work before publication audit; Encourage the establishment and improvement of international copyright dealers and agents system; Encourage overseas publishing institutions such as Colombia University Press to come to China to solicit foreign translation business, and boost the international publishing, sales and cooperation path of China publishing institutions; Strengthen and enhance the translation and introduction of China cultural centers, Confucius Institutes, non-governmental organizations, Chinese students, visiting scholars, students and visiting scholars in China. For the translation and introduction of Chinese students and visiting scholars and related activities, the government can provide financial support, assign collaborators who are familiar with the contents of the works, and assist them in publishing translated works. Finally, it can also cooperate and cooperate with famous foreign journals by professors with international reputation. We should set up special columns on the translation of China classics into foreign languages, the study of Chinese classics, and the study of overseas Sinology to promote the strategy of Chinese culture going global. No matter which model is adopted, the government departments must keep a close watch on the examination and approval. Therefore, it is suggested that the government set up a Chinese classics translation examination committee composed of experts from foreign languages and Chinese languages in the China Foreign Languages Bureau or other relevant departments to be responsible for the examination and revision of the translations of Chinese classics and make professional evaluations of the translated texts. Provide professional advice and guidance on issues arising from the translation.
Among the above-mentioned main cooperation modes, the first one is the best way for ancient classics to go out. Overseas scholars, especially sinologists, can be invited to visit China. The additional condition is that cooperation with China scholars to translate classics can not only enrich the scientific research strength of universities or relevant institutions, but also find foreign well-known publishing houses to publish translations with the help of joint translators and their relations, so as to promote the translation of classics with their influence. The purpose of publicizing Chinese culture to the world is achieved; Article 2 is due to cost and various subjective and objective factors, Sinologist cannot come to China, the record of the translation work by the China foreign language scholars do, the Sinologist is responsible for the embellish color translation, can be attached to the revision of names, in an attempt to use its influence, looking for a well-known publishing house translation, expand the sales of translation, and achieve the purpose of promoting Chinese culture; The third is the last resort. If the translation is successful and the relevant foreign publishing houses are selected, the purpose of promoting China culture can also be achieved, but the effect will not be as good as the first two.It can be seen that sinologists and overseas lovers of China culture are effective resources worth using to let Chinese cultural classics go abroad.finally, that translation of China cultural classic should learn from the experience and lessons of the translation and publication of classic after 1949, take into full consideration the autonomy of the target readers, the readers 'read psychology and language habits, and pay more attention to the correspondence of terms in the classics, or make up their own terms. or use that inherent term of the target culture to supplement the relevant knowledge in the form of annotation.
In addition, we can also focus on the reader's needs, the characteristics of the translation, the translator's identity, the style of translation, the way of presentation, the way of promotion and other related factors.1)Readers 'needs.Because the reader identity background, education background, reading habits is not 86 figure 4 classics translation dissemination elements analysis, the demand is quite different.The translation of classics into foreign languages shall give consideration to the integrity of information and the acceptance of readers. While providing full-text translation, it shall also provide versions with low reading difficulty, such as section translation, selected translation, excerpt translation and translation compilation, so as to provide readers with a short time to get a full picture.For example, the book Chinese Wisdom (Zhang Zheng 2019) selects famous sayings from Chinese classics and publishes them in both Chinese and English, with pinyin, interpretation and provenance, so that English-speaking readers can quickly understand the essence of Chinese studies and the general appearance of classics.Both the "desk book" and the "pillow book" are indispensable carriers of classics, and the full translation and the verse translation are in parallel, providing readers with more choices.2)the characteristic of that translation.The selection of the completed translation to promote, not only to pay attention to the Chinese nation's literature and philosophy books, but also to pay attention to ethnic minorities and other disciplines books, constitute a complete system of Chinese classics translation promotion.At the same time, we should pay attention to the choice of translation to match the latest research results of scholars at home and abroad, so as to realize the synchronization of academic achievements and the promotion of classics translation.3)The translator.Translators can be overseas sinologists, Chinese translators with overseas living and working backgrounds, or China scholars and translators. Chinese-foreign cooperative translation mode or Internet crowd translation mode, which has become increasingly popular in recent years, can be adopted.In the process of translation promotion, the promotion plan can be formulated according to the characteristics of the translator.4)Translation style. In the translation of the text to promote the process, should pay full attention to the differences in translation style. Such as 'On the language' of the most influential English translation, James Legge (Legge 1861) version of the academic is stronger, and waley (Waley 1938 edition is more inclined to popular books. Two United Kingdom Sinologist, but because of different goals, translation strategies reflect the greater differences. Targeted to recommend to the reader community to achieve the exact match between the translation and the reader. 5) Presentation. Classics translation of the presentation is not limited to the traditional paper media, but also can use electronic publishing model, easy to carry and spread, To provide more convenience for readers. Social networking platforms can also be used to provide elite versions of Chinese classics for foreign translation to meet the needs of fast-paced and fragmented reading. 6) Promotion methods. Try to combine various modes such as official promotion, publishing house promotion, education institution promotion and celebrity recommendation promotion, and grasp the prominent characteristics and interrelations of various modes, which can provide new ideas for the combination and implementation of communication methods. Introduce the "agenda setting" theory into the translation and communication of Chinese classics. Instead of setting a universal model applicable to all classics and readers of all countries, it emphasizes the clarity of communication purposes and the diversification of realization methods, actively looking for communication opportunities and flexibly configuring the above factors to achieve the best effect.

===Thoughts the Teaching in the Translation of Chinese Cultural Classics===
The discussion of the translation of classics into foreign languages is naturally closely related to translation studies.In the field of translation, most foreign scholars pay attention to the direction of "foreign language-mother language," because foreign scholars subconsciously believe that they can fully grasp the quality and quantity of translation by relying on their mother tongue ability.Before the Republic of China, China scholars, like foreign scholars, paid attention to the observation and elucidation of the phenomenon of foreign translation, such as Yan Fu, Lin Shu, etc.dure that period of the republic of China, Zhang Shizhao, Hu Yilu, etc. all considered translation problem from the perspective of translating Chinese into foreign languages.since 1949, foreign language talent strategy and foreign propaganda have become important issues of national security, so we pay attention to the phenomena and problems of Chinese-foreign translation, strengthen the teaching of Chinese-foreign translation, and gradually form a modern teaching mode of Chinese-foreign translation with disciplinary significance. As far as the relationship between the demand for C-E translation and C-E translation teaching is concerned, the content, mode and quality of C-E translation teaching cannot keep up with the demand of C-E translation market, which means that C-E translation teaching in colleges and universities should gradually move towards marketization.In order to make Chinese-foreign translation teaching in universities market-oriented, it is necessary to take the road of "government-school-enterprise-school-inter-school" joint training, which is slightly similar to the current MTI training spirit.to break the single teaching content, can not be limited to literary genres, and reference translation can not be limited to domestic publications or famous examples, but to choose moderate difficulty of political economy, science and technology, military equipment, social history, folk customs and other aspects of the material, or directly with the translation market materials, so that students early understanding and adaptation to the translation market.The author argues that translation activities and teaching should be practical in nature, and that translation workshops should be set up to enable students to deal with the translation market. Teachers should play the role of guidance, assistance and supervision, and help students develop their independent abilities in project management, technology application and literature reference. Therefore, it can only be improved through practice. Finally, the college translation teaching teachers must face the ability and professionalism. Translation teachers must have the ability to understand the cultural classics, especially the China traditional cultural classics, not only to understand the allusions and technological inventions, but also a wealth of encyclopedic knowledge, that translation teachers must be a man of letters. In addition, the translation of foreign teachers need to have good skills, Third, China of C-E translation should be able to arouse students 'enthusiasm, assist students in consulting materials, and guide, evaluate and revise their translations.

===Conclusion===
The translation of classics into foreign languages is an act of cultural communication. It plays an important role in enhancing national cohesion, maintaining national unity, maintaining national cultural diversity, building up the Chinese nation community, and enhancing the soft power of Chinese culture ... It is an important means of "cross-border minority languages and cultures" protection, development and cultural communication in the "Belt and Road" language paving.At the same time, the translation and communication of classics have the multi-disciplinary attributes of ethnology, classicism, translatology and communication, and the relevant research and practical operation are complex, important and urgent, which deserve more attention and attention. It is hoped that more experts and scholars will participate in the research, carry out continuous research from multiple angles and create a new situation for the translation and communication of classics.
Based on the previous translation of Chinese cultural classics facing a variety of difficulties, this paper attempts to put forward the translation of Chinese cultural classics into a variety of paths, such as: Promotion of an international copyright dealer and agent system for domestic publishers and individuals; Promote the international publishing and sales path of domestic publishing institutions; Promote the translation and introduction activities of Chinese culture China cultural centers, Confucius Institutes, cultural departments of overseas institutions and non-governmental organizations, especially the dissemination of Chinese culture through various media, at multiple levels and in various forms; Promote Chinese cultural translation and related activities for China students, visiting scholars, students coming to China, visiting scholars and investors; Encourage multiple forms of translation, such as China translators and overseas translators, especially overseas sinologists, Chinese translators and overseas publishing agencies, overseas Chinese and native speakers, overseas Chinese, native speakers, Chinese high-level translator's cooperation, collaboration and independent interpretation; Finally, in the path of the translation of Chinese culture, I hope this paper can play a role in attracting more and more complete research results.

===References===
*Wang Yun, Zhou Jinyou.王贇,周今由. 中华典籍外译现状及数字化改进模式研究[Research on the Status Quo of Chinese Classics Translation and Digital Improvement Mode ]. 外文研究 Foreign Language Study,2021,9(01):82-88+109.

*Huang Xin.黄信. 民族典籍外译传播的价值、困境与新思考[The Value, Dilemma and New Thinking of the Translation and Communication of Ethnic Classics]. 四川民族学院学报 Journal of Sichuan University for Nationalities,2021,30(03):61-65.

*Jia Hongwei.贾洪伟. 中华文化典籍外译的推进路径研究[A Study on the Promotion Path of Translation of Chinese Cultural Classics]. 外语学刊 Journal of Foreign Language,2017(04):110-114.

*Huang Xinyan, Wu Di.黄新炎,吴迪. 中国优秀典籍外译的传播与思考——以上海外语教育出版社汉英对照版四大名著为例[The Dissemination and Reflection on the Translation of China Excellent Classics-A Case Study of the Four Great Classics in the Chinese-English Edition of Shanghai Foreign Language Education Press]. 出版广角Publication Wide Angle,2018(21):64-66.

*Chen Zhongwei, Wang Fuyin.陈仲伟,王富银. 中华文化典籍外译传播障碍研究[A Study on the Barriers to the Translation of Chinese Cultural Classics]. 海外英语Overseas English,2019(01):90-92.

*Wang Xueqiang.王学强. 中华优秀文化典籍外译何以“走出去”[How Can the Chinese Excellent Cultural Classics Translation "Go Out"]. 人民论坛 People's Forum,2019(09):132-133.

==比较文学与跨文化研究 MAHZAD SADAT HEYDARIAN 202021080004 MW==
'''
Academies of Classical Learning

The Shūyuàn (书院), usually known in English as Academies or Academies of Classical Learning, were private research and educational institutions in ancient China. They were built as early as the eighth century and flourished during the tenth and eleventh centuries with the support of various Emperors. The Shuyuan were not only centers for the compilation and study of classical literature, but were crucial for the development of Confucianism and Neo-Confucianism; notable Confucian thinkers such as Zhu Xi and Wang Yangming developed their ideas and taught at the Shuyuan.

==外国语言文学 Muhammad Numan 202121080002 CE==

==英语语言文学 TOURE MARIAM 202021080005 MW==

==外国语言文学 UDDIN NIZAM 202121080007 CE==

Chinese Classics in World Literature: The Viewpoints of the West towards the Four Famous Chinese Novels

==翻译学 201911080004 SAGARA SEYDOU MW==

Chinese Classics in World literature . Anthologies and World Literary History Book

LANG2022 LIST OF FINAL EXAM PAPERS

2022-06-29T09:35:52Z

Liang Siting: /* 梁思婷 202170081581 prejudice and culture */

Every student needs to find a topic, which is not in the textbook and has not been presented in class. Please check your topics in regard of this. All topics are ok except for those with red marks. Please suggest a new topic instead and wait for the teacher to remove the red marks.

==Tips for writing your final exam paper: How to indicate your references==
*You can use the existing book chapters here as an example.
*Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Do '''not''' write any references like in one of the sample chapters:

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'''References'''
*Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.

=Please write your paper by clicking on the edit button next to your name=
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=卞王倩 202170081563 Europeanized Chinese and Cultural Factors Behind it CE=
Introduction

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=曹姣 202170081564 A Brief Talk on Court Culture in Tang Dynasty from the Perspective of the Poem -- Take ''Changhenge'' for Example. --[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 07:45, 11 May 2022 (UTC) MW=

<center>'''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example'''</center>
<center>'''从诗歌视角浅谈唐朝宫廷文化——以《长恨歌》为例'''</center>
<center>曹姣CaoJiao</center>
===Abstract===
===Keywords===
===Introduction===
'''Definition'''

'''1.Court Culture'''
As the special residence of the empire, and the core of the state’s political power, the palace plays an extremely important and special role in the development of human society, especially in ancient Chinese society. Compared with the study of court history, the study of court culture is especially weak. As an organic part of the whole social culture, court culture has not only one side associated with other aspects of social culture, but also one side of its own particularity. The study of palace culture can not only enrich our understanding of the whole social culture, but also enable us to obtain a new perspective on the development of palace literature and art. Therefore, it is very necessary to strengthen the study of palace culture, no matter for the overall study of cultural history or literary history.

As for "court culture", historians and cultural historians seem to have not made a clear definition and interpretation of it. While Liu Zunming, a famous scholar from Hubei University, believes that palace culture should be composed of material culture and non-material culture, and is the sum total of lifestyles, ideology and products created by the imperial aristocracy. Then the scope of court culture should include court architecture, politics, system, economy, religion, education, literature and art, lifestyles in court and so on.

'''2.The poem ''the Everlasting Regret'' and its author'''
''Changhenge'', also known as ''The Everlasting Regret''(长恨歌), with a romantic realistic means, interprets Li Longji(李隆基) and Yang Yuhuan's（杨玉环） love tragedy against the backdrop before and after the Anshi Rebellion（安史之乱） in the middle Tang Dynasty; at the same time, it covers a variety of themes, such as eulogizing love, lamenting fate and admonishing Kings. The first part of ''The Everlasting Regret'' mainly describes Li and Yang's love story and the lavish and luxurious court life, implying an allegory of the emperor's adultery and mismanagement of the country. The second half is full of poignant and sympathetic description of Xuanzong's（唐玄宗，即李隆基） profound love for her, praising the constancy of their love. The whole poem adopts the realistic writing technique of romanticism, so that the narrative and lyric feelings complement each other, which has become the artistic feature of The Everlasting Regret, and also leaves an endless aftertaste and research space for future generations. What’s particularly valuable is that it contains a lot of information reflecting Tang Dynasty court culture life details, and involves the depiction of characters, women’s dress and makeup, court architecture, music of court banquets and so on. In this sense, The Everlasting Regret as unprecedented literature unseen in 10 centuries, is also of great historical value in the study of court culture in the Tang Dynasty.(c.f: Yao Ronghua 2012,121-127)

Bai Juyi was an ancient realist poet. In many of his works, there are descriptions related to the cultural life of the Tang Dynasty court. These descriptions are not made up out of groundless rumor or supposition, but come from his careful observation and speculation on this kind of subject matter, which makes the descriptions appear meticulous and vivid.

===Make-up and headgear in ''The Everlasting Regret''===
'''1. On eyebrow makeup'''
“That she outshone in six palaces the fairest face”（六宫粉黛无颜色）, “Until the Lady Yang was killed before the steed”（宛转蛾眉马前死）, “Willow leaves like her brows and lotus like her face”（芙蓉如面柳如眉） and “Eunuchs and waiting maids looked old in palace deep”（椒房阿监青娥老） these four lines depict the female makeup in the imperial court. In the first sentence, "Fendai"（粉黛） refers to beauties in the imperial palace except for Yang, because aristocratic women in the heyday of the Tang Dynasty often adorned their faces and eyes with makeup. However, the two words "fen"(粉) and "dai"（黛） have their own meanings respectively: "fen" is the powder used by ancient women to lighten their complexions; "Dai" is the brunet mineral used when drawing eyebrows, especially in ancient times. According to the differentiated shades, they could produce different eyebrow make-up like black eyebrows or emerald green ones. In this case, “dai” refers to the color of eyebrow make-up. The other three sentences describe eyebrow makeup from the aspect of eyebrow shape, reflecting the two most popular eyebrow makeup forms in the Tang Dynasty – “the willow-leaf shaped eyebrow”（柳叶眉） and “the moth eyebrow”（蛾眉）. The moth eyebrow was the most prominent eyebrow makeup in the Tang Dynasty. It is broad in shape, vaguely ethereal in outline, light and natural in color, and looks like the wings of a moth in appearance, hence the name. As can be seen from the name, the willow-leaf shaped eyebrow is a slender eyebrow makeup similar to willow leaves. It is slightly thick in the middle and tapers at both ends, which can increase the charm of feminine charm. Historical data did not record Yang wearing willow-leaf shaped eyebrows clearly, but from a host of Tang poetry and painting materials, it is easy to judge willow-leaf shaped eyebrows are one of the popular eyebrow makeup styles in the Tang Dynasty, and whether court ladies or ordinary girls are happy to draw it to present their dignified and beautiful amorous feelings. (c.f: Tian Miao 2003,108-112)

'''2.On clothing and headgear'''
The description of female jewelry in ''The Everlasting Regret'' can be seen frequently, such as " flowerlike face and cloudlike hair, golden-headdressed"（云鬓花颜金步摇）, " golden bird and comb with which her head was crowned "（翠翘金雀玉搔头） and " for him to carry back, hairpin and case of gold "（钿合金钗寄将去）. In these sentences, descriptions like “golden-headdressed” or “Zan”（簪）, " golden bird "（金雀）, "Jade headdress"（玉搔头）, "golden hairpin"（金钗）, " case of jewelry "（钿盒） and other things related to women's headgear. Women’s headgears in ancient China were used mainly for hairstyles, with its original function as hair constraint. With the development of society, the specification of women’s headgear became increasingly complex. Consequently, a new feature appeared: headgear was not only the embodiment of a girl well into her adulthood, a demonstration of wealth, and a sign of social status, but also a part of etiquette. There are four main types of headgears mentioned in The Everlasting Regret: Zan, Chai, Buyao, as well as Dianhe or cases of jewelry (inlaid with gold, silver and jewels).

Zan（簪） is the most antique and widely spread in ancient China, also the oldest appliance for hair constraint in China. In the early days, most of them were made of natural materials such as wood, bamboo, animal bone, stone, etc., with practical function in general. By the Tang Dynasty, due to the social function of Zan becoming more and more obvious, great progress had been made in materials selection, production technology and decorative design, etc., and Zan, made of jade, gold and silver, emerald green feathers, and shells, appeared. On top of the change in material, its decorative graphics have also seen great changes, more complex and delicate.

The main function of the Chai（钗） tends to be a decorative one, compared with Zan. Women decorated hairstyles with them in order to project their charm, and show off wealth and status, so the Chai in the Tang Dynasty became the most important headgear. A set of Chai often contains two pieces each, with symmetrical patterns, inserted in hair with one on the left and the other right. However, women in the Tang Dynasty often wore multiple Chai at the same time, and the number of them varied in light of the height of chignon. The higher the chignon was, the more Chai there would be. Unlike Zan, the foot of the Chai is divided into two sides, which are inserted into the chignon to fix hairstyle, and were called "Chai thighs". In The Everlasting Regret, the sentence “keeping one side of the case and one wing of the Chai" tells that Yang Yuhuan broke the golden Chai into two from the part of the Chai thighs, which well embodies the modeling characteristics of Chai thighs.

Buyao（步摇） is another kind of traditional Chinese women's headgear, which is interpreted in an ancient book as: Buyao, with drooping beads over it, will shake the beads as a wearer is walking. Therefore, the name of "Buyao" is taken from the meaning of "shaking as stepping". The buyao vibrates with the steps of women, and the intertwining of beads, jade, gold and silver makes it appear colorful, which can best reflect the graceful bearing of women's vigor and vitality. By the Tang Dynasty, with the increasing prosperity of the social economy and the increasing extravagance and pomp, the etiquette symbolized in gold Buyao started to tamper among the aristocracy and gradually became popular among ordinary people. The popular shape of Buyao in the Tang Dynasty was like " a gold phoenix, with a bottom at below, a pin at the front, decorated with colorful jade beads shaking as stepping by."(Yao Ronghua,2012)

===Court banquets===
In addition to embodying the deep love between Yang and Li， those two sentences "in revels as in feasts she shared her lord’s delight"（承欢侍宴无闲暇） and “drunk with wine and spring at banquet in Jade Tower”（玉楼宴罢醉和春） can also reflect the frequency of holding court banquets or banquets for all. Court banquet（宫廷飨宴） generally refers to the feast held by the emperor for rewarding reasons, attended by officials at all levels and envoys from all over the world, in which court music, dance and acrobatics performances on a certain scale would be arranged. If it was on a larger scale, where even ordinary people may attend, it was called "banquet for all"（酺会）, normally lasting for several days. Rulers held banquets for all, also known as "bestowing banquets"（赐宴）, and the whole country was covered in huge hilarity in the banquet hall during the events. Both the aristocracy and the common people could find their freedom and happiness in the private banquet. Concerning the purpose of bestowing banquets, on the one hand, it was to satisfy the cultural needs of the people as well as seek cohesiveness from them; on the other, was to consolidate its feudal regime, demonstrate the rulers' authority and give benefits to the people. (Yang Guoyu,2016)

===Palaces and architectures===
Among the names of palaces or places mentioned in the poem, some of which are authentic, while some are fictitious for artistic reasons.

“She bathed in glassy water of Huaqing Pool”（春寒赐浴华清池）, “ in lotus-flower curtain she spent the night blessed”（芙蓉帐暖度春宵”）, “her beauty served the night when dressed in Golden Bower ”（金屋妆成娇侍夜）, “drunk with wine and spring at banquet in Jade Tower”（玉楼宴罢醉和春） etc., these parts describe the Huaqing Pool, Golden Bower（Jinwu）, Jade Tower and other palaces or places served as living rooms for the imperial family. These descriptions have three functions: First, they describe the places where Tang Xuanzong and Yang Yuhuan dated and spent time together; Second, the poet describes the content of their life submerged in love, selecting some representative scenes, including bathing in Huaqing Pool, daily feasts and playing scenes; Third, as royal palaces, the poet has depicted the magnificence and glory of these architectures, in order to foil the noble identity of Tang Xuanzong and Yang Yuhuan as Emperor and Keifei(贵妃), and also render their love story.

In the sentences of " Knocking at the western gate of palace hall, he bade"（金阙西厢叩玉扃）, " days and months appeared long in the fairyland halls"（蓬莱宫中日月长）, "Jin Que" or “ Palace Hall”（金阙）, and "Penglai Palace"（蓬莱阁） both are palaces existing only in Chinese mythology, which are set off as the background for the appearance of this imperial concubine. Sentences "love and happiness long ended within the wall of Zhaoyang Palace"(昭阳殿里恩爱绝) and “on the seventh day of the seventh moon when none was near the Eternal Youth Palace(七月七日长生殿)” are still closely related to the theme of the whole poem -- love, indicating Yang’s unswerving love to Li. Among those two sentences, "Zhaoyang Palace" (昭阳殿)refers to the palace where they lived together during those years, while "Golden House"（金乌） and "Jade Tower"（玉楼） are also set off with the sentence " on the seventh day of the seventh moon when none was near the Eternal Youth Palace". These palaces witnessed their sweet love, but this love no longer existed. However, "Penglai Palace" in the poem implied that Yang's longing for Tang Xuanzong was everlasting and would never die away.

===Conclusion===
In a nutshell, descriptions of women’s appearances and dressings, imperial court life and architecture in ''The Everlasting Regret'' were meant to reflect the love between the two, and show us what the history was. On the other hand, regarding this poem as part of the historical materials provides a significant perspective on historical research.

===Preferences===
*Yao Ronghua姚榕华.(2012).唐代宫廷文化视野中的《长恨歌》研究[Research on the Poem “Changhenge” from the Perspective of Tang Dynasty’s Court Culture].''南京师大学报''(社会科学版)Journal of Nanjing University (06),121-127.

* Yao Ronghua姚榕华.(2012).《长恨歌》与唐代宫廷文化生活研究(博士学位论文,山东大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CDFD1214&filename=1013140595.nh
*Yang Guoyu杨国誉.(2016).“开禁”还是“飨宴”?——汉唐北宋赐酺举措缘起、背景与施行动因的再探讨. 北京社会科学(12),4-12. doi:10.13262/j.bjsshkxy.bjshkx.161201.
*Tian Miao田苗.(2003).唐代妇女眉妆演变考论. 西北大学学报(哲学社会科学版)(02),108-112.

===Terms and Expressions===
The Everlasting Regret 《长恨歌》
the Anshi Rebellion 安史之乱
eyebrow makeup 眉妆
headgear 头饰
the willow-leaf shaped eyebrow 柳叶眉
the moth eyebrow 蛾眉
golden-headdressed; Zan 簪
Chai 钗
Buyao 步摇
court banquet 宫廷飨宴
banquet for all 酺会
bestowing banquet 赐酺
Huaqing Pool 华清池
Golden Bower（Jinwu）金屋
Jade Tower 玉楼
Jin Que or Palace Hall: 金阙
Penglai Palace：蓬莱阁

=陈路瑶 202170081565 Ancient Chinese Values Handed Down Until Today=

=崔晓凡 202170081566 China Central Plain Culture=
--[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 13:01, 15 May 2022 (UTC)

=邓阳林 202170081567 A type of verse popular in the Yuan Dynasty =

=高智慧 202170081568 The History of Chinese Noodles=
--[[User:Gao Zhihui|Gao Zhihui]] ([[User talk:Gao Zhihui|talk]]) 14:04, 27 May 2022 (UTC)

=何丽娜 202170081569 Ancient Chinese Civilization--the Archaeological Ruins of Liangzhu City=

=胡良明 202170081570 A Study of the English Translation of Chu Ci by Xu Yuanchong=
--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 02:08, 31 May 2022 (UTC)

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Abstract
This paper combines the discourse cognitive model discourse social interaction perspective to analyze Hofstede's discourse describing and commenting on the cultural value dimension as a way to reveal the cultural bias embedded in Hoh's model. The analysis reveals that the bias arises mainly from the idea of Western cultural values inherent in the minds of different people and the inappropriate choice of language. The model has been accepted and widely used mainly because the research method and descriptions happen to be in line with the inherent cognitive and intellectual framework of Western society and are easily recognized by Western scholars and readers. Studies have shown that critical discourse analysis is one of the effective tools to reveal the problem of cultural bias in cross-cultural studies.

Keywords:
Cultural Value Dimension; Cross-Cultural Studies; Social Interaction Perspective

1. Introduction:

The issue of cultural bias has been the subject of strong criticism by scholars of intercultural communication research, but explicit or implicit cultural bias has never ceased to exist, and Hofstede's model of cultural values is no exception. In cultural studies, Hofstede (1991a) designed and conducted a large scale questionnaire borrowing from the "cultural value dimensions" proposed by Kluckhohn and Strodbeck (1961). Through factor analysis and theoretical derivation of the survey results, four latitudes were identified to distinguish different cultures in the world: Power Distance (PDI), Uncertainty Avoidance (UAI), Individualism/Collectivism (IDV), and the masculinity of society. (IDV), and the masculinity of society (MAS). Although he later added to the model several times (1991b; 1999), he vehemently denied that the study was fundamentally flawed in any way (Mcsweeney, 2002: 90) or that there was any form of cultural bias.
The model has been widely and thoroughly discussed by scholars for more than two decades, with both praise and criticism (Lustig
However, few scholars have conducted a more detailed micro-analysis of the problems with the model at the level of discourse analysis. To this end, this paper intends to combine van Dijk's model of discursive cognition with Fairclough's perspective on the social interaction of discourse to analyze Hoh's discourse describing the cultural value dimension, reveal the cultural biases embedded in it, and then further discuss how cultural biases are produced/reproduced in Youse-related discourse from a historical and social perspective and legitimization as a way to show that critical discourse analysis is one of the effective tools to reveal the problem of cultural bias in intercultural communication research.
Cultural bias as a cognitive process and social activity discourse Cultural bias is an incorrect perception held by people of one culture about people of another culture in intercultural communication research, and in practice it is more often manifested as an unfair attitude, i.e., it is "an acquired tendency, as a result of which people usually react in a consistent (negative) way to a particular group of people or event" (Chen, 2004). (Chen & Starosta, 1998: 40-41). Cultural bias sometimes appears in a visible way, but it is more often latent in language and other contextual factors in an implicit way. Once implicit cultural bias escapes people's attention, it can easily become accepted as discourse spreads and may transform into a power that influences and limits the correct perception of other cultural issues, Said (1999) Language acquisition. The discourse on Orientalism reveals this profoundly.

2.Prejudicial Discourse

Prejudicial discourse is one of the focuses of research by scholars of critical discourse analysis, who not only analyze the prejudices implicit in various specific discourses (van Dijk, 1980, 1985, 1987, 1989, 1991, 1993b; Fairclough & Wodak, 1997: 266; Teo, 2000; Wodak et al., 1990 ), and also theoretically reflect on the nature of discrimination discourse (Matouschek et al., 1995). These studies suggest that critical discourse analysis is a powerful tool for studying prejudice and racialized discourse and revealing the power relations and inequality factors within it. Although this study focuses on prejudice in cross-cultural contexts, it is believed that critical discourse analysis should have equal validity here as long as relevant (cross-cultural) contextual factors are taken into account in the analysis.
In terms of examining the issue of cultural bias in the Hoh model, we believe that Fairclough's perspective of social interaction in discourse should be combined with Van Dyke's model of discursive cognition. As mentioned earlier, the formation of cultural bias is a cognitive process, an incorrect reflection of reality by the mind, and once formed, it influences and changes people's perceptions of social reality by exerting influence on their perceptions. Therefore, the key to explaining this process through discourse analysis is to recognize that there is an interaction between discourse and society and that the interaction between discourse and society occurs only through cognition. Specifically, it is only through the lens of discourse-society interaction that it is possible to understand why cultural biases can permeate Fok's cultural patterns despite his efforts to avoid them and how discursive practices in turn further reinforce the cultural biases within them. However, this perspective does not explain the sources of cultural bias in Hoh's model and the possible consequences for people's perceptions, nor does it explain how cultural bias is constructed at the micro level of discourse and how discourse is linked to thinking. Only by considering cognition as a mediator of the connection between discourse and social reality, as Van Dyke (1993a) does, can we understand that cultural bias is acquired, used, and changed in social contexts, and that it influences the way people behave; that discourse is the most important source of the emergence, development, and change of cultural discourse; and that social behavior, social practice activities, relations of domination, relations of inequality, and power struggles in cross-cultural situations Social behavior, social practices, dominance relations, inequality relations, and power struggles in cross-cultural situations are ultimately expressed in discourse only under the influence of cultural biases and other social cognitive factors. It is for this reason that the analysis of language and discourse strategies at the micro level provides a basis for revealing the cultural biases in Hoh's model, and also shows that discourse analysis should not be limited to the formal analysis of language forms and discourse strategies, but should also focus on the cognitive, social, cultural and historical factors in the production of discourse.

3.Analysis of Hofstede’s Discourse Theory

The main content of the analysis in this paper is Hofstede's descriptions of different cultural value dimensions and related comments in his book The Consequences of Culture: Differences in Cultural Values in the Work Environment (1991a). These descriptions are mainly based on words, phrases and independent sentences, and their related comments are mainly expressed in a few short sentences. Therefore, the main object of analysis in this paper is the semantic units such as the relevant words and propositions in the text, and the analysis will adopt the three steps of description, interpretation and elucidation proposed by Fairclough (1989: 26).

3.1 Lexical analysis

Regarding the potential ability of vocabulary to participate in the construction of discourse ideas, domestic and foreign researchers in discourse analysis (Halliday, 1976;
Fowler & Kress, 1979; Trew, 1979; Huang, Ying, 2006
2007; You, Zeshun & Chen, 2009) have conducted many studies and they found that vocabulary is employed not only at the coprime level but also at the ephemeral level to reflect social change and construct ideas, etc. This means that the use of different vocabularies in cross-cultural studies may allow cultural biases to permeate and be accepted in discourse, as evidenced by the following semantic analysis of the vocabulary used by Hoh to describe different cultural value dimensions.
It can be seen that the vocabulary used by Hoh to describe both ends of each dimension are two/groups of mutually opposing words or phrases, which can be divided into the following categories.
(1) Positive/negative words
PDI (L/H): equal rights/privileges; less threatened/potential threatened; more prepared to trust/ rarely trusted; latent harmony/latent confl ict ( Hofstede, 1991a: 94)
UAI (L/H): (unsurety) accepted/a continuous threat; not threatening/dangerous; greater tolerance/intolerance; positive and suspected ( Hofstede, 1991a: 140)
Clearly, two of the words in the above groups exhibit a positive and negative opposition. This dichotomy can have a significant impact on human perceptions, leading readers to believe that the former is more desirable and the latter less desirable. Cultures that are not "superior" or "inferior" are immediately shown to be superior or inferior when they are modified by these words.
(2) Words that support/contradict the spirit of the Enlightenment
PDI (L/H): independence/dependence; reward, legitimate, and expert power/ coercive and referent power; redistributing power/dethrone those in power (Hofstede, 1991a: 94)
IDV (L/H): emotional dependence/emotional independence; (private life) invaded/ has a right; differ for ingroups and outgroups/apply to all ( Hofstede, 1991a: 171)
"Independence, freedom, and democracy" were the themes of the Western Renaissance.

It was promoted by Western thinkers such as Locke, Rousseau, and Kant, and has been appreciated by Western society to this day. Faced with the absolute dominance of Western humanistic and philosophical thought in today's world, these standards have influenced various cultures around the world to varying degrees. The result is that many people reading these opposing terms are likely to come to believe that cultures with low levels of individualism and high power distance are undesirable.
(3) Words that support/contradict the Christian creed
UAI (L/H): time is free/money (Hofstede, 1991a: 140)
"freedom" implies that people focus more on the "feeling of freedom," and "money" suggests that people value the role of "money," indicating uncertainty avoidance. This suggests that societies with a high degree of uncertainty and avoidance are more concerned with acquiring money than with enjoying life itself. This "money" mentality is undesirable in the light of the basic spirit of Christianity (Holy Bible, 1995: 982, 98), so a culture with a low level of uncertainty avoidance is clearly preferable to a culture with a high level of avoidance.
(4) Stereotypes of femininity/masculinity
MAS (H/L): people orientation/ money and things orientation; quality of life and environment/performance and growth; service/achievement; interdependent/independent; intuitive/ decisive; small and slow/big and fast; fluid sex role, unisex androgyny/ clearly differentiated sex role and machismo (Hofstede, 1991a: 205)
As can be seen from the above vocabulary, Hofstede's description of a high/low masculinity culture in society is closely linked to the long-standing image of masculinity/femininity in Western society. In this regard, men are affirmed and women are discriminated against, e.g., women act with emotions (people orientation, not rational) and men act with profit (money
Women act on intuition (intuitive) and men act on decisiveness (decisiveness). In addition, cultures with low levels of masculinity are described as fluid sex role, unisex, and androgyny, while cultures with high levels of masculinity are described as clearly differentiated sex role, machismo, and their gender roles are not clear. (machismo), and their gender roles develop normally.
Obviously, without considering the contextual factors, there is nothing special about the above-mentioned types of oppositional terms, because, they seem to be simply words that coincide with the most common ways people categorize and judge things. However, when they are put together in cross-cultural studies to describe different cultures, they actually construct an idea of cultural superiority/inferiority (ideology) in one's perception. For example, when describing the individualism/collectivism difference, one can clearly perceive discrimination against the collectivist culture. When the four dimensions are used simultaneously to judge the characteristics of various cultures, these terms more directly create the impression that certain cultures are superior to another, such as Australia, Canada, Britain, Ireland, South Africa, and the United States because of their high degree of individualism, low power distance, low uncertainty avoidance, and high degree of social masculinity." equality" and "democracy". Once these views are subconsciously accepted, people will unconsciously place a culture as superior or inferior first when dealing with and studying different cultures, and use this as a basis for further discussion, preventing them from further considering deeper questions such as whether there are superior or inferior cultures, and how different cultures really are.

3.2 Propositional analysis

Propositions are the smallest independent units of meaning in language and thought, usually expressed by independent sentences or clauses (van Dijk, 1988: 31). Since semantics deals with both meaning and enlightenment, propositions can also be seen as the smallest semantic units that are either true or false in the dimension of denotation. At any time when people want to express their ideas, communicate with others or learn something, they necessarily use propositions, so propositions are closely linked to thinking and social cognition. Because of this, propositions are also inseparable from ideas, "ideas as content are represented and communicated through language, and these are best thought of as propositions or relations between propositions" (Wood, 2004: 39). One of the most widely used ways of making propositions is by implication, i.e., when people's intentions are inappropriate or cannot be expressed clearly and unambiguously, they usually use those more readily acceptable entailments to imply or conceal their true intentions and make others agree on the validity of their assertions. In such cases, listeners or readers may find it difficult to grasp and reject these ideas. Hoh's description of the four dimensions of cultural values often consists of two sentence propositions that form opposites or contrasts with each other and that contain biases against certain cultures, in several categories.
(1) Propositions that support/contradict the spirit of the Enlightenment
Equality/Inequality
PDI: 1a. Inequality in society should be minimized.
1b. There should be an order of inequality in this world in which everyone has his rightful place; high and low are protected by this order
(Hofstede, 1991a: 94) Legal/illegal
PDI: 1a. The use of power should be subject to the judgment between good and evil.
Power is a basic fact of society which antedates good or evil.
(Hofstede, 1991a: 94) Independence/dependence
IDV. 1a:
1a. Identity is based in the individual.
1b. Identity is based in the social system. 2a.
2a. (There are) autonomy, variety, pleasure, individual fi nancial security. 2b.
2b. (There are) expertise, order, duty, security provided by organization or clan
(Hofstede, 1991a: 171) Normal/ abnormal development of human nature
UAI: 1a. Inner urge to work hard
1b. Hard work is not a virtue per se.
(Hofstede, 1991a: 140)
MAS: 1a. Work to live. 1b. Live to work.
(Hofstede, 1991a: 205)
Since the Enlightenment, "equality" and "freedom" have been considered by the West as two basic principles for judging the justice of a society (Rawls, 2003: 61), and "legitimacy Legitimacy" is the basic criterion for the exercise of power by elected leaders in a "democratic" society (Huntington, 1998: 9), and "autonomy" is the basic right of civic life. Work is an intrinsic need for the healthy and full development of human nature, but when hard work becomes the only means of earning a living or exploiting others, it is detrimental to human nature (Otero, 1994: 353, 357).
(2) Propositions for/against consumerism
Competitive/non-competitive
UAI: 1a. Confl ict and competition can be contained on the level of fair play and used constructively.
1b. Conflict and competition can unleash aggression and should therefore be avoided" means they can not.
(Hofstede, 1991a: 140)
MAS: 1a. (To show) sympathy for the successful achiever.
1b. (To show) sympathy for the unfortunate.
(Hofstede, 1991a: 205) Cooperation/non-cooperation
PDI: 1a. Cooperation among the powerless can be based on solidarity.
1b. Cooperation among the powerless is difficult to bring about because of low faith in people norm.
(Hofstede, 1991a: 94)
Commentators have repeatedly pointed out that the world today is entering a "consumer society", where "all people have entered the market, and they are both consumers and commodities" (Bauman, 2004: 91). This trend is due to the increasing size of multinationals and the decreasing number of companies, which has led to a few mega-multinationals holding most of the production and distribution capacity of the capitalist world (Fairclough, 1989: 35). MNCs have been able to survive mainly because they are more productive and able to enhance cooperation among their colleagues and improve their own competitiveness. The coexistence of competition and cooperation has had such a significant impact on areas other than production and distribution, including social life, that "being cooperative" and "competitive" are considered by most people to be good qualities for individuals in a consumer society. People who lack these two qualities are considered to be defective.
(3) Bravery/Cowardice
UAI: 1a. More willing to take risks in life.
1b. Concern with security in life.
(Hofstede, 1991a: 140)
The promotion of risk-taking is a common feature of almost all cultures, and heroic deeds are one of the major themes in the creation of various works. Thus, those who
"willing to take risk" are often revered for being "very brave" and those accustomed to "living with security"
(concerned with security) are despised for their "cowardice". Obviously, all the above-mentioned b propositions imply negative connotations, and the culture described by these propositions will undoubtedly bear a negative mark. Moreover, from a propositional perspective, cultural bias does not exist only in the description of the cultural value dimension. In fact, to make his cultural value dimensions more credible, Hofstede also discusses them specifically in terms of climate, geographical features, history, and level of economic development. Unfortunately, these interpretations and comments also contain cultural biases.
Statement 1. in low PDI countries, power is something of which power holders are almost ashamed and which they will try to underplay. i heard a Swedish I heard a Swedish university offi cial state that in order to exercise power, he tries not to look powerful.
(Hofstede, 1991a: 93-94)
What is power? What is the use of power? Power is "the ability to urge others to do something (as one wishes)," and by studying power, "we can identify who controls what resources and whose interests they serve" (Moore & Hendry, 1982: 127. cf. Thomas & Wareing, 2001: 10), that is, power is about control and benefit. In fact, people compete or cooperate with each other in their daily lives in order to gain power, and no one will refuse to be given more power, nor will those who control power be "ashamed to have it in their hands. However, "they may try to keep a low profile" because "power is only acceptable if it covers up most of its energy. The success of the use of power is directly proportional to its own ability to conceal the mechanisms of power" (Foucault, 1981: 86. cf. Fairclough, 1992: 51). Thus, the Swedish university official "tries not to look so powerful" not because he is ashamed of being in control, but as a strategy for exercising power; a culture with a small power distance is as unlikely to consider "being in control and exercising power" a "shame" as a culture with a large power distance. "It is only that they differ in the way they exercise power.
Statement 2. The differences in stress (between high MAS and low MAS) on achievement are also present in the school system. For example, school For example, school performance in Germany (high MAS) is an important issue; there is strong pressure for performance, which in extreme cases can lead to suicide attempts among students who fail. In the Netherlands (low MAS), for example, the amount of pressure for performance is much less; anything that looks like competitive pressure is socially disapproved. Suicides among young people occur, but rarely because of failed exams. (Hofstede, 1991a: 206)
The analysis shows that Huo's model of cultural values is implicitly culturally biased, yet his model has gained popularity in the field of cross-cultural studies. This contradictory phenomenon compels us to further consider how the cultural biases in his model are produced and how they are reproduced and transmitted in discursive practices.
In response to the first question, we believe that there are two main reasons for the production of cultural bias in Fok's model: the Western cultural values inherent in Fok's own mind; and his inappropriate choice of language. Here, we do not mean to say that he is a Western cultural centrist who is full of discrimination against non-Western cultures. Quite the contrary, we consider him to be a cross-cultural researcher who opposes cultural discrimination, as evidenced by his research methodology that employs large-scale questionnaires and data analysis methods to avoid subjective factors. However, as a scholar who grew up and was educated in the West, he could not completely avoid the values inherent in Western culture, thus making himself eventually fall into the trap of Western cultural ideas. The most typical of these is that his cultural value dimension is based on the Western "dualistic cognition". This way of cognition distinguishes the world as either "black" or "white," "good" or "bad," or "right" or "right. "Therefore, the distinction between his cultural model and specific societies can only be binary. In addition, his description of the "degree of male socialization" is biased against societies with "low male socialization" due to the influence of traditional Western society's discriminatory view of women. Another consequence of these Western cultural values is his inability to choose the precise language to describe the cultural value dimensions. In his descriptions, Fok refers to "less independent", "l e s s t o o", and "less social".
"l e s s t o l e r a n c e" exactly as "independent", "intolerance", and uses This is exemplified by the use of independent/dependent and tolerance/intolerance to describe the two cultures. However, we know that the dichotomy, while helping people to quickly distinguish between two cultures, can cause people to overlook the important reality that there are no absolute or essential differences between any two cultures in the world; they are more differences in degree (Wu, A. J.1998).
So why is the Hoh model still recognized by industry professionals? We believe that it is because Huo's research methods and descriptions are just "compatible with the cognitive and intellectual frameworks inherent in Western societies and are easily accepted by Western scholars" (van Dijk, 1993a: 107-113). As mentioned earlier, Hoh's research uses a combination of large-scale questionnaires and data analysis, and this combination of quantitative and qualitative research is precisely one of the most common methods used in modern Western social sciences, and is considered by Western academics to be the only research method that can help the social sciences achieve the same level of "precision" as the natural sciences. Therefore, research using this method is considered by many people (especially in the West) to be absolutely "scientific". This notion not only convinced Hoh himself that his research was absolutely free of subjectivity, but also largely removed any doubts about the "scientificity" of his research from other researchers and readers. Moreover, many Western scholars and readers of cross-cultural studies share a similar binary cognitive framework with Fok, which not only makes them feel that there is nothing wrong with Fok's binary description of the cultural dimension, but also that it feels natural. Under such circumstances, it is only natural for them to accept Fok's descriptions and ignore the cultural biases implicit in his discourse. For non-Western scholars and readers, their failure to micro-analyze the discourse and to examine the problems with Fok's model from a social and historical context prevents them from fundamentally dismantling the foundations of cultural bias in the model. Although they vaguely feel that there is something wrong with these descriptions, it is difficult to clearly explain what the problem is, and therefore, they accept Hoh's conclusions in the actual study.

4.Conclusion

A discourse analysis of Hofstede's cultural value model shows that both at the lexical and propositional levels, Hofstede's descriptions and comments on the cultural value dimension imply a bias against certain cultures, especially those that are inconsistent with Western values. This study suggests that we need to be sensitive to the limitations of the use of "widely used" theoretical models, including the cultural biases they imply, when dealing with them. At the same time, from a theoretical perspective, this study demonstrates that critical discourse analysis is one of the effective tools for unraveling the problem of cultural bias in cross-cultural studies.

Reference:
[1] Hofstede, G. Culture’s Consequences: International Differences in WorkRelated Values [M]. California: Sage Publications, 1991a.
[2] Hofstede, G. Cultures and Organizations: Soft-ware of thecMind [M]. London: McGraw-Hill, 1991b.
[3] Hofstede, G. The universal and the specific in 21st century global management [J]. Organizational Dynamics, 1999, (3): 34-43.
[4] van Dijk, T. A. Macrostructures: An Interdisciplinary Study of Global Structures in Discourse, Interaction and Cognition [M]. Hillsdale, NJ: Erlbaum, 1980. [22] van Dijk, T. A. Prejudice in Discourse [M]. Amsterdam: Benjamins, 1985. [23] van Dijk, T. A. Communicating Racism [M]. London: Sage, 1987.
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周皓熙 202170081612 Rhetorics in China

Abstract
Rhetorics is widely used in every language, aiming to get the best possible expression. The research on Rhetorics is wide worldwide but to go down to the Rhetorics in China, we can name too many. Prior to the early twentieth century, people studied mainly various social sciences, which can be basically grouped into two main categories: The handling of human relationships; Practical problem solving. Rhetoric belongs to the handling of human relationships, which is an important part of general education, a study that determines the ability to communicate efficiently, and a knowledge that is common to the majority of famous historical figures. The text is mainly on introducing the Rhetorics in China in specific ways.

Keywords:
Rhetorics China Language Communication

1. What is Xiuci (Rhetoric)
Rhetoric is a discipline of linguistics.
"Xiu" originally meant to modify and "Ci" meant words used in arguments, and later "Xiuci" was extended to all words.
Therefore, the original meaning of rhetoric (Xiuci) is to modify speech.
It is also a linguistic activity in the process of using language, using a variety of means to receive the best possible expression.
In fact, since the emergence of language, human beings have had the need for rhetoric.
For example, it is a way to decorate one's writing and language, to attract the attention of others, to deepen their impressions and to express emotions.
Rhetoric, on the other hand, is the art of increasing one's persuasiveness and influence through effective speech and writing.
Prior to the early twentieth century, people studied mainly various social sciences, which can be basically grouped into two main categories:
The handling of human relationships.
Practical problem solving.
Rhetoric belongs to the handling of human relationships, which is an important part of general education, a study that determines the ability to communicate efficiently, and a knowledge that is common to the majority of famous historical figures.

2. What is Rhetorics
Rhetorics is the study of rhetoric, which is an artistic technique to enhance the effect of words or sentences

2.1 The traditional view of rhetoric: rhetoric is the modification of words and the beautification of language.
The so-called "rhetoric", according to its literal meaning, means "modify words". For thousands of years before the establishment of modern Chinese rhetoric, "rhetoric" has always expressed such a meaning, and the study of rhetoric is the study of the means and techniques of decorating and beautifying literature.

2.2 Modern view of rhetoric: rhetoric is the adjustment of rhetoric or the choice of synonymous forms.
The publication of Fa Fan 《修辞学发凡》marked the establishment of the modern view of rhetoric in China, which added scientific connotations to rhetoric on the basis of inheriting the traditional view of rhetoric. Mr. Chen Wangdao(陈望道) points out that "rhetoric is originally a means of conveying meaning and sentiment, mainly for the purpose of meaning and sentiment... It is merely an effort to adjust the language and rhetoric to make it appropriate for conveying meaning and sentiment". Here are two points worth noting: one is that rhetoric is the adjustment of "language", while "language" is the opposite of "rhetoric", and emphasize "rhetoric" was to make it appropriate to convey the meaning and sentiment, which means that rhetoric pursues an appropriate language expression that is in line with the meaning of the situation, rather than the pursuit of flamboyance, which corrects the traditional view that rhetoric. This corrects the traditional one-sided idea that rhetoric is the pursuit of magnificent algae. On the basis of this definition, Chen put forward the concept of positive rhetoric, which corresponds to the traditional rhetorical style of rhetoric, and negative rhetoric, which corresponds to the plain rhetorical style of seeking "quality" as opposed to rhetoric.

3. Introduction to the development of rhetoric
3.1 Development of Rhetoric in China
From ancient times to modern times, the study of Chinese rhetoric has ignored the rhetorical phenomena in oral language and popular literature, and the object of study has been the written poems, words, chapters, which was the so-called "elegant words" in the historical canon. The two most influential works are: Liuxie's "Wenxin Diao Long" (刘勰的《文心雕龙》), which was written in the early 6th century AD, at the end of the Qi Dynasty and the beginning of the Liang Dynasty(南朝齐末梁初), and consists of 10 volumes with 50 articles. The 5 essays in volume 1 are a general discussion of the origin and basic principles of rhetoric and chapters, and play on the basic ideas of "The Quality of the Text and the Phase of the Capital"(《质文相资》). The 20 articles in volumes 2~5 list 20 literary genres, including poetry, fu and other literary genres, as well as historical biographies, treatises, and even practical genres such as imperial edicts, memorial to the throne, etc. Each genre not only describes its origin, but also evaluates the works of its predecessors. The 15 books in volumes 6 to 8 deal with style and technique, including, as we now call it, diction. The following two volumes contain 10 articles on the identification of diction, including a chapter on the relationship between diction and society in the "Preface to the Times"(《时序》). This is a masterpiece that carries on from the past to the future. It is the summary of the study of rhetoric and chapter since the pre-Qin dynasty, and the first to study the study of rhetoric and chapter for more than 1000 years afterwards.
3.1.1 Ancient China
Chen Yi's Wen Ze (陈骙的《文则》) was written in the sixth year of Qian Dao in the Southern Song Dynasty (1170). It subdivides metaphors into 10 categories: direct metaphors, metaphors, analogies, interrogative metaphors, pairs of metaphors, wide metaphors, simple metaphors, detailed metaphors, quoted metaphors, and virtual metaphors(直喻、隐喻、类喻、诘喻、对喻、博喻、简喻、详喻、引喻、虛喻), which is the most detailed of ancient rhetorical works.
It does not only talk about what should be, but also what should not be, or what should be in what situation. It also talks about the rhetorical effect of words that are used in the rhetorical sense. These are important additions to the various works on rhetoric sinnce the "Wenxin Diao Long", and they have influenced later generations to modern times. It is believed that the Wenzhi is the first monograph on rhetoric in history that is worthy of the name.
Beginning with Ouyang Xiu's "Liuyi Poetic Discourse"(欧阳修的《六一诗话》) in the Northern Song Dynasty, a large number of works on poetry, words, and literary discourse and works on essay composition appeared one after another through the Song, Yuan, Ming, and Qing Dynasties.
3.1.2 Modern times and before the founding of New China
In the early 20th century, around the time of the May Fourth Movement, there was a major development and breakthrough in the study of Chinese rhetoric. It was mainly manifested in two aspects. First, it introduced or referred to the rhetoric of Europe and Japan, and began to establish a systematic rhetoric of Chinese. The second is the gradual introduction of modern Chinese rhetoric, which is the object of study of modern vernacular languages. From the 1920s to the 1930s, a number of monographs on rhetoric appeared one after another. The following three kinds can be cited as representatives:
Tang Yue's "Rhetorical Patterns" (1923)(唐钺《修辞格》). It mainly refers to the traditional European rhetoric and is devoted to rhetorical patterns (see Rhetorical Patterns).
Chen Wangdao's " Fa Fan" (1932) (陈望道《修辞学发凡》). This book refers more to Japanese rhetoric, but has its own originality. It inherited and carried forward the tradition of referring to flaws and mistakes in Wenze and Wang Ruoxu's Hu Nan Ru Lao Ji （王若虚《滹南遗老集》）of the Yuan Dynasty, and distinguished rhetoric into positive and negative rhetoric; it inherited the tradition of ancient writings on rhetorical techniques such as metaphor, exaggeration, and even-likeness, and referred to the rhetorical grammar of the East and West, and classified them into 38 grammars; these have had great influence on the study of Chinese rhetoric since then (see Chen Wangdao).
Wang Zhen's "Rhetoric of the Chinese Language" (1935) (汪震《国语修辞学》) is entirely in the vernacular. In the first chapter it is stated that "Mandarin rhetoric is limited to the standard Chinese language, which is neither a dialect of a certain place, nor a Classicial chinese language that can be used for reading only... We are living human, and we speak living human's words. If we could use living human words vividly without mistakes and misunderstandings, ' Rhetoric of the Chinese Language' could be counted as useful" This point was in tune with the historical situation of the Mandarin movement at that time.
3.1.3 After the Establishment of New China
After the establishment of the People's Republic of China in 1949, there were some new developments in the study of rhetoric.
Those parts of the Wenzhi and the Hu Nan Ru Lao Ji that correct errors and refer to fallacies, as well as those parts of Rhetoric Fa Fan that are summarized as negative rhetoric, are intertwined with grammar in many places. The interrelationship between grammar, rhetoric, and even logic is closer in a non-formal language like Chinese than in Western languages. This fact was gradually perceived by the scholars of linguistics, which led to the conception and attempt to combine them for the purpose of application.
In 1951, Lu Shuxiang and Zhu Dexi published their "Address on Grammar and Rhetoric"(吕叔湘、朱德熙《语法修辞讲话》). The so-called rhetoric here is more focused on the negative rhetoric described in "Rhetoric Fa Fan", which is told in conjunction with grammar.
In the preface of the monography, it is clearly stated that the main task of the book is to "correct the errors and the vulgarities" (see Address on Grammar and Rhetoric).
In the 1950s, there were more references to Soviet academic developments. At that time, the Soviet rhetoric community had a distinction between rhetoric of language and rhetoric of art. In view of the fact that ancient Chinese rhetoric had a tradition of speaking about syntax and word syntax, and the close relationship between grammar and rhetoric in Chinese, some people also made an attempt to refer to the so-called linguistic rhetoric, and to incorporate certain elements of word usage and sentence formation into rhetoric in terms of positive expressive effects.
In the 1960s, the linguistic community initiated a study of rhetoric in the Chinese Language(《中国语文》). In the 1960s, a discussion on rhetorical research was initiated in the Chinese Language. Some new ideas, attempts and visions emerged.
In 1979, Guo Shaoyu's New Inquiry into Chinese Grammar and Rhetoric(郭绍虞《汉语语法修辞新探》) was published. This was another work that attempted to integrate grammar and rhetoric.
In the 1980s, the study of Chinese rhetoric was revitalized. Many scholars of the younger generation were exploring new ideas from different perspectives. Some of them are exploring Chinese rhetorical techniques, especially rhetorical patterns, more extensively and deeply; some of them are focusing on the comprehensive study of modern Chinese, including the study of modern Chinese rhetoric and rhetorical monographs; some of them are focusing on the study of rhetoric in the works of modern and contemporary writers; some of them are trying to explore practical rhetoric, or essayology, which is closely related to writing training; some of them are focusing on the different communicative functions of different genres. Some of them focus on the so-called functional rhetoric, which explores the different communicative functions of different genres; some focus on the so-called discourse linguistics, which is at the edge of grammar and rhetoric, with the use of coherent language as the object of study, and so on. It will take time to mature. However, the situation already makes people foresee that one or several new systems of Chinese rhetoric are being nurtured and some new fields are being opened up.

3.2 Development of Rhetoric in the West
In the West, the development of rhetoric has roughly gone through four periods: (1) the period of flourishing, from the fifth century B.C. to the second century A.D.; (2) the period of stagnation, from the gradual decline of the Roman Empire in the second century to the eve of the Renaissance; (3) the period of ups and downs, from the sixteenth century to the early nineteenth century; and (4) the period of innovation, from the early twentieth century to the present.
3.2.1 The period of prosperity
From the fifth century B.C. to the second century A.D., there was a period of rhetorical prosperity in ancient Greece and Rome. In this period, rhetoric was integrated with oratory and separated from dialectic. It was the art of persuasion, the study of the means of persuasion and the way of debate, and focused on three types of oratory: political deliberation, courtroom debate, and ceremonial ornamentation, including the five major components of argument, arrangement, style, recitation, and delivery. There were famous courtroom orators, eloquent orators and teachers of rhetorical persuasion, such as Croax, Gorigas and Cicero, while Aristotle's Rhetoric and the Roman writer Quintilian's Principles of Oratory are the classics of this discipline and the source and mainstream of Western rhetoric.
The systematic study of the art of persuasion was born in Sicily as a result of the courtroom debates that emerged from the political revolution that overthrew the oligarchy and established democracy. Colas and Tisias were the first renowned teachers of rhetoric who taught young people the art of persuasion, and although their teaching was not systematic, it nevertheless included a variety of techniques and training and arrangements useful for oratory. The great impact of eloquent rhetoric on the public is well demonstrated. Later, Goghias further developed the rhetorical ornamental features of rhetoric and developed a style of prose filled with beautiful verse, metaphors, stunning vocabulary, and short sentences with a fine balance of long sentences.
As E. M. Cope points out in his book The Rhetoric of Aristotle, sophistry rather than truth, and the splendor of vocabulary rather than the rationality of argument were the goals of the early teachers of rhetoric. In contrast, Socrates, the great eloquent speaker of truth, was not a mere pile of rhetoric, but rather a masterful use of question and answer techniques. The fundamental difference between Socrates and the teachers of rhetoric, however, is that they had very different goals in mind. Whereas the aim of the rhetorical teachers was to teach young people how to gain power through eloquence, Socrates taught them the way to truth. Rhetoric, Gogicus declared, is the art of persuasion in the courtroom and in the council. For Socrates, on the other hand, rhetoric was not a real art, but merely sophistry.
In his monograph Rhetoric, Aristotle gives a clear definition of rhetoric: rhetoric is the art of discovering ways of persuasion in any subject matter, and can be applied to various methods in prose and poetry, such as debating, moral, emotional, and just methods. He divided three types of speeches: (l) the political municipal style, which is applied to parliamentary and municipal meetings, etc., (2) the courtroom debate style, which is applied to courtroom arguments, and (3) the ceremonial algory style. In the book, he also explores some rhetorical patterns, such as explicit metaphors, metaphors, and similes. And paying attention to different levels of audience, he argues that the speech is not only composed of the speaker and his topic, but also includes the audience that the speaker faces.
3.2.2 The period of stagnation
From the gradual decline of the Roman Empire in the second century, through the long Middle Ages, to the eve of the European Renaissance, this was a period when Western rhetoric went from flourishing to stagnation and even degradation. Although rhetoric, grammar and logic were included as the "three arts" and occupied an important place in the university curriculum at this time, rhetoric had no great achievements either in theory or in practice.
3.2.3 The period of ups and downs
The Renaissance revived classical rhetoric, and from the sixteenth century to the early nineteenth century, rhetorical monographs and textbooks were produced. Leora
wrote The Art or Craft of Rhetoryle, and Thomas Wilson published The Art of Rhetoric. However, they can be broadly divided into three categories, namely: the traditional school, which adheres to the classical rhetorical model; the French school of Peter Ramus, which focuses only on phrasing and stylistic style, while attributing logic to the establishment and layout; and the school of rhetoric, which is mainly interested in the naming and classification of rhetorical patterns. The whole rhetoric was too much in favor of rhetorical classification and tedious mechanical methods, and gradually fell into decline. So much so that Samcul Butler, the 17th century English satirist poet, ridiculed the rhetoricians for their entire code of rules and regulations, which was nothing more than teaching people to name the tools in their hands.
3.2.4 A period of innovation
In the early twentieth century, the development of modern linguistics, modern Western philosophy, psychology, aesthetics, and literary criticism created the conditions for the emergence and development of modern rhetoric. But the revitalization and innovation of Western rhetoric really began in the 1930s. The French linguist Charles Bally, in his Traite de Stylisique Francaise, published as early as 1905, explored the expressive power of the various elements of the linguistic system. The English linguist Richards. (In his book The Philosophy of Rhetoric, I.A. Richards proposed that the new rhetoric he advocated is the study of "the understanding and misunderstanding of words and their remedies. "In order to delve into the various ways of expressing ideas, it is necessary not only to discuss the different effects of processing the larger units of discourse on a macro level, but also to examine the basic units of meaning and their interrelationships on a micro level. He advocated that if the key to the old rhetoric was "persuasion," the key to the new rhetoric is that both sides of the communication seek to be intellectually, emotionally, and attitudinally The key to the new rhetoric is that both sides of the communication seek to "equate" in terms of reason, emotion, and attitude, whether in terms of intention, structure, style, or wording, as a rhetorical device to produce the desired effect in the reader's audience. At the same time there is the Belgian philosopher Chiam Perelman who advocates a "new rhetorical school" based on persuasion and debate. In addition, the phenomena of style and expression have become a common subject of interest for linguists and literary critics. In Western Europe and the United States, stylistics has emerged as a linguistic theory and approach to the study of language and style. In the former Soviet Union, the study of various functional corpora, especially literary corpora, has become the main body of modern rhetoric. The use of mathematical and statistical methods, the rise of discourse chapter rhetoric, and the interdisciplinary study of rhetorical theory and rhetorical phenomena have added vitality to modern rhetoric and made it increasingly systematic and diversified.

4. Introduction and examples of Chinese rhetoric
There are 63 major categories and 79 subcategories of rhetorical devices. It is a way to improve the effect of language expression by modifying and adjusting statements and using specific expression forms.
I will introduce several Chinese Rhetoric methods in the following part.
.
4.1 Metaphor
1、Definition
Metaphor, i.e. a rhetorical method that indicates two things of different degrees of similarity between each other, using one thing to compare another thing.
2、Structure
A simile is generally composed of three parts, namely, the subject (the thing or situation being compared), the metaphor and the simile (the iconic word of the metaphorical relationship).
3. Classification
According to the similarities and differences of the three parts of the metaphor structure and the implicit features, there are four types of metaphors.
(1) Explicit metaphors. Both the body and the metaphor appear, and the metaphorical words "like, like, if, as if, as if, as if, like, as if ......, as if ......
The metaphors are connected by the words "like, as if, as if, as if". The common form is "A is like B". For example, the leaves come out of the water very high, like the skirt of a pavilion dancer.
(2) Allusion. The metaphor is connected with the metaphor "is, becomes, constitutes". A typical form is: "A becomes B."
For example, the square is a sea of snow-white wreaths, and the monuments have been piled up into snow-white hills.
In addition, there are some variants of allusion to be noted
① Modifying allusion: The metaphorical relationship between the subject and the metaphor is realized in the form of modifying and being modified, restricting and being restricted. For example.
This is a sea of flowers.
②Implied metaphor: The metaphorical relationship between the subject and the metaphor is expressed in the form of the same compound reference. For example: Old King, don't pour soup.
③Commentary metaphor: The metaphorical relationship between the subject and the metaphor is expressed in the form of commentary, often connected by dashes.
The siren sounded. The lid of the red brick "can" - the iron door pushed open ......
(3) metaphor. The metaphor is a direct description of the metaphor, without the presence of the body and the metaphor. The typical form of metaphor is "A for B". For example, the most detestable ones
The snakes and beasts have eaten up our flesh and blood.
(4) Metaphors. Several metaphors are used together to describe an object. For example: A huge white lilac put its flowers on the gray 8 corrugated roof, like snow, like jade, like splashing waves.
(5) Back metaphor:Also known as mutual metaphor, it is a form of metaphor that uses metaphor as the ontology and then uses the ontology as the metaphor to set up metaphors with each other. It has a twist and turns, which can enhance the artistic impact.
Example 1: The street lights were bright from afar, / as if they were shining with countless stars. / The stars in the sky are now, / as if they were lit with countless street lamps. ("The Market in the Sky")
Example 2: At that time, the mine made a terrible rattling sound, like thunder, no, more terrible than thunder. (The Dialogue of Coal) (This is a kind of roundabout metaphor, which proposes the metaphor "thunder", then negates the metaphor, and finally proposes the metaphor again. After affirming, negating and negating again, it strengthens the distinctness of the metaphor.)
Example 3: My teacher took my small hand with her big gentle hand and didn't let go of it for a long time. I knew that my teacher was expecting my answer, my vow, my progress. It was, a warm stream injected into my heart! No, it was a spring rain that sprinkled me with my head held high. (Such a flat affirmation, a steep suppression and denial, and then a sudden affirmation, back and forth, so that the lyric dripping.)
4、Role
(1) metaphorical reasoning is simple and easy to understand, so that people can easily accept.
(2) The metaphor can make something badly imagined concrete, and it can be illustrated by other similar things, so that people can understand it more clearly.
(3) Metaphors can make the general things visualized and give people a deep impression.
(4) It plays the role of modifying the article.
(5) to make things image, vivid, highlight the characteristics, render the atmosphere, side by side.
5、Composition conditions
The subject and the metaphor must be essentially different things, otherwise, it is not a metaphor. If a sentence is not a metaphor, you can't look at the metaphor alone.
The following are a few examples of sentences that are not metaphors.
(1) His character is like his mother - similar things for comparison
(2) It's dark and dreary as if it's going to rain - an expression of speculation
(3) Do not go to work with the burden of thought - the metaphorical meaning of the word
6、Commonly used metaphors
like, as if, if, as if, like, seem, as if, as if, as if, as if, as if, as if, as if, as if, as if, like, as the same, into, is, into
4.2 Exaggeration
1. Definition
In order to achieve a certain expression effect, the method of deliberately expanding or reducing the image, characteristics, function and degree of things is called exaggeration.
2. Types
(1) Enlargement exaggeration. It is a form of exaggeration that deliberately makes things "bigger, more, higher, deeper, stronger". For example: The difficulty of the Shu Road is more difficult than the sky.
(2) Narrowing exaggeration. Deliberately put the objective facts "small, small, low, shallow, weak" and other exaggerated techniques. For example: Wumeng pounding away the mud pills.
(3) Exaggerate ahead. The future results of a thing may appear in the future to describe the present state of this thing, or the future state of a thing to the present state before the exaggeration technique. For example, the farmers said, "When I see such green wheat fields, I can smell the fragrance of white bread." "The powdered face contains the power of spring without revealing it, and the lips of the dan are smiling before they open." (Cao Xueqin, "Dream of the Red Chamber", Qing Dynasty)
3. Role
Distinctly express the author's emotions and attitudes towards things, highlight the essential features of things, set the mood, enhance the infectious power, and enhance the vividness of language.
4. Attention to problems when using
(1) Exaggeration is not pompous, it must be reasonable and not detached from the basis and foundation of life.
(2) exaggeration and the truth must have a certain distance. Otherwise, it is not clear whether it is telling the truth or exaggerating.
(3) exaggeration should pay attention to the application of the occasion. Serious reports, reports, scientific and technical explanatory articles, reasoning articles and other styles of writing, should not use the rhetoric of exaggeration.
4.3 Prose
Arrange three or more sentences that are similar in structure and length, consistent in tone, and related or identical in meaning.
Effects: To strengthen the rhythm and atmosphere of the language, to enhance the rhythm and organization of the text, and to facilitate the expression of strong feelings (expression effect).
To enhance the language momentum, to highlight a certain feature of something, to express a certain emotion of the author.
Example sentence: Their quality is so pure and noble, their will is so tough and strong, their temperament is so simple and humble, their mind is so beautiful and broad.
4.4 Repetition
In order to highlight a certain meaning and emphasize a certain feeling, a certain word or sentence is intentionally repeated. Repetition is to repeat certain words or sentences in order to emphasize a certain meaning or highlight a certain emotion, and the focus of expression is on the repeated words or sentences.
Function: It is mainly used in poetry to express strong emotions by repeatedly chanting. At the same time, the rhetorical technique of repetition can also make the format of the poem neat and orderly, but also undulating, full of linguistic beauty.
⒈ continuous repetition (no other words in between).
Example sentence: the valley echoes, he just left, he just left.
⒉Repetition
Example sentence: as if the loss of the three provinces, the more the party state is like a country, the loss of the three eastern provinces who do not sound, the more the party state is like a country.

4.5 Pairs
A pair of phrases or sentences with equal number of words, the same or basically the same structural form, and symmetrical meaning, expressing two opposite or similar meanings.
Effects: neat and proportional, rhythmic, highly general, easy to remember, and musically beautiful.
Main ways.
1、Pairing. The upper and lower sentences are similar, similar, complementary, and contrastive in meaning.
For example, the reed on the wall is heavy at the head and light at the bottom; the bamboo shoot on the mountain has a thick mouth and a hollow stomach.
2、Opposition. The pairing of the upper and lower sentences that are opposite or opposed in meaning.
For example: . Cross-eyed cold to a thousand fingers, bending the head willingly for the children's cattle.
3、String pair (running pair). The upper and lower sentences have the meaning of succession, progression, cause and effect, assumptions, conditions and other relations of the couplet form.
Example sentence: . I drank the water of Changsha and ate the fish of Wuchang.
4.6 Questioning
In order to attract the attention of others, deliberately ask a question first and then answer it yourself. Strong emotion.
Effects: To attract attention and inspire readers to think; to make the hierarchy clear and compact; to allow better description of the characters' thought activities.
Strengthens the tone, highlights what is going on, expresses a certain emotion of the author.
Example sentence: Why is the flower so red? It has its material basis in the first place.
4.7 Rhetorical question
Also called provocative question, rhetorical question, cross-examination. It expresses a definite meaning in the form of a question, a negative in the form of an affirmative rhetorical question, and a positive in the form of a negative rhetorical question.
Effects: To strengthen the tone, to make people think, to stimulate the reader's feelings, to deepen the reader's impression, to enhance the momentum and persuasive power of the text.
To strengthen the tone, highlighting what is, expressing a certain emotion of the author.
Examples
What about me, don't I have something to blame?
4.8 Borrowing
Instead of directly stating the person or thing to be expressed, borrow someone or something closely related to it.
Types of borrowing: feature instead of thing, concrete instead of abstract, part instead of whole, whole instead of part.
Effects: To highlight the essential characteristics of things, to enhance the image of language, to make the writing simple and concise, language rich in variety and humor; to draw people's imagination, so that the expression receives the effect of outstanding image, distinctive features, concrete and vivid.
Methods.
①Part for the whole. That is, the representative part of the thing is used in place of the main thing.
For example, the green hills on both sides of the shore are opposite to each other, and a lone sail comes by the sun. --- "Looking at Tianmen Mountain
②Replacement of the whole with characteristics. That is, to use the borrowed body (people or things) characteristics, signs to replace the name of the body things.
For example: If you love fine waist and pink legs, you have a dance floor. (Mao Dun, "Words of Modernization")
③ Concrete instead of abstract. That is, the abstract concept is replaced by a concrete thing related to the abstract concept.
For example: The beacon in the South is in its tenth year. --(Three Chapters of Meiling)
(4) Tool instead of ontology.
For example, when the earth is plowed in the season of jingxing, eight out of ten families have already lit up the bottom of their hoard and cannot uncover the pot. --The Rice of Elm Money
⑤ The proper name is used instead of the general term. The name of a typical person or thing is used instead of the name of the thing itself.
For example: If you kill one Li Gong Park, millions of others will rise up! -- "The Last Lecture" Identification of metaphor and borrowing
4.9 Antithesis
The original meaning is expressed in words or sentences that are opposite to the original meaning, to enhance the effect of expression by saying the opposite. Some of them are sarcastic and revealing, while others express close and friendly feelings.
For example: (The foreign students in the Qing Dynasty) also have disbanded braids, coiled flat, and remove the cap, the oil can be seen, just like a little girl's hair bun, and twist the neck a few times, really beautiful. ("Mr. Fujino")
4.10 sense
The rhetorical method of using the psychological phenomenon of mutual communication of various senses to describe and express one sense to another.
Function: The use of generic sense can receive evocative effects, and its expressive effect is irreplaceable. It can turn abstraction into image, so that readers can better understand; it can evoke rich associations from this to the other; it can be unconventional and lively; it can express accurately and have far-reaching meaning; it can enrich the mood of poetry and constitute a special artistic beauty.
4.11 Puns
The use of multiple meanings of words and homophonic (or near-sounding) conditions, intentionally make the statement have a double meaning, the words in this and the meaning in the other, that is, puns.
The pun can make the language subtle and humorous, and it can deepen the meaning and give people a deep impression.
4.12 Top Truth
Use the end of the previous text for the beginning of the following, the first and last connected more than twice, so that the adjacent statements or fragments or sections pass down to the next, the first and last cascade, expressed in symbols is "ABC, CDE". This rhetorical technique is called top-true, also known as thimble or joint pearl.
The use of top-true rhetoric, not only can make the structure of the sentence neat, the tone is consistent, and can highlight the organic link between things interlocking.
4.13 Intertextuality
Also called intertextuality, it is a rhetorical method often used in ancient poetry.
In ancient texts, the meaning belonging to one sentence (or phrase) is divided into two sentences (or phrases), and the meaning of the upper and lower sentences are explained to complement each other, which is intertextuality.
The ancient explanation of it is: "The reference to the mutual text, containing and seeing the text." Specifically, it is a form in which the upper and lower sentences or two parts of a sentence, which seem to say one thing each, actually echo each other, elaborate each other, and complement each other, say the same thing. For example.
Qin Shi Ming Yue Han Shi Guan
4.14 Loopback
To put it simply, to loop is to read the same thing in the same way.
The loop is the organization of the preceding and following phrases into the same circular form of shuttle, in order to express the connection between different things. The loop can make the statement neat and proportional, reveal the dialectical relationship of things, and make the language incisive and alarming.
For example.
The water in the Lingshui Lake rings; the gold in the Golden Valley is golden.
The Buddha mountain incense to respect the Buddha mountain; Weng Yuan milk to raise Luyuan weng.
4.15 拈连
The rhetorical technique is called xianlian (niān lián), when two things are described together, the words originally applied only to things A are used to things B. This rhetorical technique is called xianlian, also known as "smooth". The use of the flicker can make the context closely linked to natural, vivid and profound expression.
Example Sentences
Example (1): Bees are making honey, and they are making life.
Example (2): The moon is like a hook when I go up to the west tower alone without words. The moon is like a hook. The lonely wutong tree is locked in the deep courtyard in the clear autumn. Li Yu (A Meeting with Joy)
Example (3): Don't look at me as deaf, but my heart is not deaf! ......
4.16 Comparison
1. Concept
The rhetorical way of writing is to simulate thing A as thing B. It includes several forms of writing things as people (anthropomorphism), writing people as crops (anthropomorphism) and writing this thing as another thing (anthropomorphism). In fact, the former form is to "humanize" things, the latter two forms are "object" or "object A B object".
4.17 Parallelism
In order to make the sentences compact and concise, the ancients often used the method of parallel mentions to line the text. The so-called "parallel mention" is generally to put two related things side by side in one sentence to express.
For example, "Zhong and Li did not commit a single crime, but died". (Shi Ji. This sentence means: "If Zhong did not commit a single crime, he died; if Li did not commit a single crime, he died. (Go away, flee)".
If we take the word "death" here as a word to understand it is wrong. According to the historical facts, the one who committed suicide was Dafu Zhong, and the one who fled was Fan Li.
4.18 Transfer
Transfer is a rhetorical way to transfer the word used to describe thing A to modify thing B when the two things are related. Example The rhythm of the buildings in the square is actually harmonious. (Using the word "harmony" to describe music to modify "architecture")
4.19 Contrast
It is a rhetorical way to compare two opposing or opposite things, or two different aspects of a thing, side by side.
The function of contrast is to make the good appear better and the bad appear worse at the same time.
There is a man who is alive and he is dead; there is a man who is dead and he is alive.
4.20 Mirroring
In order to highlight the main thing, the rhetorical method of describing the things that are related to it first as a companion to set it off. This rhetorical method is divided into positive and negative, according to the relationship between the things that are presented and the things that are set off.
The main thing and the accompanying thing change in the same direction.
The desolate and depressed environment and atmosphere are used to set off a sad mood.
Contrary: The main thing and the accompanying thing change in the opposite direction.
Use "...... but I thought the boat was slow" to contrast the eagerness of "I" [2]
4.21 Cascading
Cascade is one of the traditional rhetorical patterns in Chinese; cascade is also called gradual, progressive. According to the logical relationship of things, three or more similarly structured phrases, sentences, paragraphs express in the number, degree, scope, etc., the proportion of light and heavy, high and low size of the end, in order to layer increasing or decreasing rhetorical techniques. The layers are divided into increasing (ascending) and decreasing (descending) two categories.
Incremental (ascending): the order of the layer of progression, from small to large, from light to heavy, from shallow to deep, from low to high, layer by layer.
Decreasing (descending) type: the order of the layers, from large to small, from heavy to light, from deep to shallow, from high to low, decreasing layers.
Derived meanings.
1, layer by layer progression. Yan Fu's "original strong": "China's people today, its strength, wisdom, morality, if we talk about it, it is the accumulation of thousands of years of layers of progression, the essence of the mountains and rivers and the terroir of the difference, the guidance of the penal and religious customs of repeated changes, Taojun furnace hammer and into this last one of the realm."
2、Delivered step by step. The Qing dynasty history manuscript - criminal law three: "Where the lawsuit outside the state and county level delivery to the governor, within the total in the three law division."
3、A kind of rhetorical pattern. Use the same or similar structure of the phrase to express the meaning of the progression of layers.
For example: after knowing the stop and in the fixed, fixed and can be quiet, quiet and can be safe, safe and can consider, consider and can get. --Zeng Zi, "The Great Learning

Reference
[1]姜平: 中西修辞学发展初探[J], 四川教育学院学报, 1998(1), 48-50.
[2]许红菊: 汉语修辞与发展[D], 湖北: 华中科技大学，2012.

周哲 202170081613 Confucian Teaching Thoughts

朱丽娟 202170081614 Eco-awareness in Traditional Chinese Culture--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 12:30, 10 May 2022 (UTC)

段小蝶 202170081615 Chinese Movies

方楚晗 202170081616 Bullet Screen in Chinese Online Video Sites--[[User:Fang Chuhan6|Fang Chuhan6]] ([[User talk:Fang Chuhan6|talk]]) 02:04, 10 May 2022 (UTC)

胡雯雯 202170081617 Chinese Baijiu Culture

=黄天琪 202170081618 Marriage Culture in China=
<center>'''Marriage Culture in China'''</center>

<center>Huang Tianqi</center>

===Introduction===
Marriage is something related to all of us. It is the start of family and kinship. Most of our life will be spent within a marriage. And an unhappy marriage will ruin many things. This starts by lowering the quality of our life, then threatening the life of our children, and forming a family without happiness and warmth. Eventually, this will have a bad impact on the harmony of the society. Judging from all these, we can see that how important marriage is to our life and society. Besides, marriage represents not only a union between couples, but also a union of two families. In the past, marriage was often arranged by parents, while today’s young people prefer to choose spouse that they love by themselves. However, it is still common that parents hold sway over the marriage of their children. Marriage culture is a part of social culture, which can reflect people’s mentality and views towards marriage in a particular period. In the following, marriage system, wedding customs, and dissolution of marriage will be covered.

===Marriage System===
From the earliest group marriage to monogamy, marriage system has become increasingly rigorous, which is conducive to ensuring family stability and social peace. China went through primitive society, slave society, feudal society, modern society, and it is now contemporary society. The characteristics of marriage system in each period are distinctive. From the evolution of our marriage system we can see that each change has been in line with the change in the political and economic system. The marriage system is a guarantee of social stability, and the main evolutionary history includes the following periods.
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Wedding Customs===

===Dissolution of Marriage===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

兰绮 202170081619 Chinese Panda Diplomacy--[[User:Lan Qi|Lan Qi]] ([[User talk:Lan Qi|talk]]) 01:02, 10 May 2022 (UTC)

李丹 202170081620 Differences of Tea Culture between China and the UK--[[User:Li Dan|Li Dan]] ([[User talk:Li Dan|talk]]) 06:13, 10 May 2022 (UTC) ([[User talk:Li Dan|talk]]) 01:42, 10 May 2022 (UTC)

李立飞 202170081621 Memes in China

莫雨婷 202170081622 Chinese animal symbolism--[[User:Mo Yuting|Mo Yuting]] ([[User talk:Mo Yuting|talk]]) 12:23, 10 May 2022 (UTC)

彭慧璇 202170081623 Foot binding in China --[[User:Peng Huixuan|Peng Huixuan]] ([[User talk:Peng Huixuan|talk]]) 04:17, 15 May 2022 (UTC)

时友洁 202170081624 Makeup Evolution in Ancient China --[[User:Shi Youjie|Shi Youjie]] ([[User talk:Shi Youjie|talk]]) 01:47, 10 May 2022 (UTC)

=伍佳惠 202170081625 Chinese Dragon Culture=
--[[User:Wu Jiahui|Wu Jiahui]]

<center>'''Chinese Dragon Culture'''</center>

===Introduction===
The Chinese dragon, also known as long, loong, or lung, is a legendary creature in Chinese mythology, Chinese culture, and Chinese folklore as a whole. For thousands of years, the dragon has permeated all aspects of Chinese society, becoming a cultural cohesion and accumulation. The dragon has become a symbol of China, a symbol of the Chinese nation, and a symbol of Chinese culture. To every Chinese descendant, it carries national emotions.

The creature can be found in the mythology of many ancient cultures, but nowhere else in the world is the creature quite so revered as in China. The Chinese dragon is a benevolent creature that delivers fertilizing rain to the earth. Strength, good luck, and awe-inspiring might are the spiritual meanings of the dragon. The oriental dragon is widely regarded as a spiritual or supernatural sign of heavenly power. As a result, it has long served as the emperor’s symbol.

The Chinese dragon is easily identified by its long serpentine body which is usually wingless, and its anthropomorphic face with beards. The dragon is considered the most auspicious year sign, so the image is embroidered on the robes of emperors, portrayed in the most valuable materials, such as gold jewelry and jade sculptures. In addition, it has endless references in performing arts and literature.

Generally speaking, the dragon was everywhere in ancient China and looms as large nowadays in the Chinese psyche as ever.

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

夏晶 202170081626 The Differences of Table Manners Between China and West--[[User:Xia Jing|Xia Jing]] ([[User talk:Xia Jing|talk]]) 14:29, 11 May 2022 (UTC)

向师琦 202170081627 The Collision between Confucian Culture and Chinese Modernist Literature --[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 02:30, 10 May 2022 (UTC)

向望 202170081628 Fandom Culture in China --[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 10:32, 26 May 2022 (UTC)

徐舞 202170081629 Analysis on Chinese"Chi+O" Construction

张静芝 202170081630 The Chinese cheongsam culture --[[User:Zhang Jingzhi|Zhang Jingzhi]] ([[User talk:Zhang Jingzhi|talk]]) 03:11, 12 May 2022 (UTC)Zhang Jingzhi

张旻丰 202170081631 Chinese chess culture --[[User:Zhang Minfeng|Zhang Minfeng]] ([[User talk:Zhang Minfeng|talk]]) 06:08, 14 May 2022 (UTC) --[[User:Zhang Minfeng|Zhang Minfeng]] ([[User talk:Zhang Minfeng|talk]]) 08:38, 28 May 2022 (UTC)

曹梦然 202170081632 Wedding costumes of China --[[User:Cao Mengran|Cao Mengran]] ([[User talk:Cao Mengran|talk]]) 08:36, 11 May 2022 (UTC)Cao Mengran

胡梦琪 202170081633 Huangmei opera

张白鹭 202170081634 An analysis of Chinese translation of Modern Japanese literature

刘安莉 202170081635 China’s internet literature IP

王思佳 202170081636 Longevity culture of Nanyue--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 08:56, 27 May 2022 (UTC)

徐盖 202170081638 Nuo Culture in China

徐文慧 202170081639 Chinese Writing: The “scholar's four jewels” (writing brush, ink stick, ink slab and paper) --[[User:Xu Wenhui|Xu Wenhui]] ([[User talk:Xu Wenhui|talk]]) 14:05, 18 May 2022 (UTC)

Akira 202121080009 The emergence of new linguistic forms in Chinese (neologisms?)

Mahzad Heydarian 202021080004 Chinese Mythology and its impact on Chinese Cinema

20220526 culture

2022-06-02T02:10:40Z

Liang Siting: /* 英语笔译李梓婕 Li Zijie 202170081580 */

Quicklinks:[[Chinese Language and Culture 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Joint_translation_terms]]

[[20220526_culture|culture of session 14 for session 15 May.26]]

'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is

27 Globalization: The Westernization Movement 54% 黄天琪 Huang Tianqi

31 Globalization: The Eastward Spread of Western Learning 53% 莫雨婷Mo Yuting

'''Assignment 2''': '''Click here''' to answer the questions of the topics below

27 Globalization: The Westernization Movement

31 Globalization: The Eastward Spread of Western Learning

Due before 4:30 pm Jun.2

'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.

Due before 6:00 pm Jun.1

IN PREPARATION

=Please write your homework directly down here=
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line.

While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.

When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".

Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.

==英语笔译卞王倩 Bian Wangqian 202170081563==

因又笑说道：“几年间，门子也会钻了，由知府推升转了御史，不过几年，升了吏部侍郎，署兵部尚书。为着一件事降了三级。如今又要升了。”冯紫英道：“人世的荣枯，仕途的得失，终属难定。”贾政道：“像雨村算便宜的了。还有我们差不多的人家，就是甄家，从前一样功勋，一样的世袭，一样的起居，我们也是时常往来。不多几年，他们进京来，差人到我这里请安，狠还热闹。一回儿抄了原籍的家财，至今杳无音信。不知他近况若何，心下也着实惦记，看了这样，你想做官的怕不怕？”贾赦道：“咱们家是最没有事的。”

Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The rise and fall of one’s fate and the gain and loss of one’s official career are unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years ago, when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious with his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant didn’t care.

Thank you for your correction work this semester.(*￣︶￣)
（Reply: My enjoyment,sweetie~ (づ￣︶￣)づ）

Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The ups and downs of one’s fate and the gain and loss of one’s official career are both unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once as illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years later when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious about his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant replied disapprovingly.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:05, 30 May 2022 (UTC)

==英语笔译曹姣 Cao Jiao 202170081564==

冯紫英道：“果然尊府是不怕的：一则里头有贵妃照应；二则故旧好，亲戚多；三则你家自老太太起，至于少爷们，没有一个刁钻刻薄的。”贾政道：“虽无刁钻刻薄，却没有德行才情。白白的衣租食税，那里当得起？”贾赦道：“咱们不用说这些话，大家吃酒罢。”大家又喝了几杯，摆上饭来。吃毕喝茶。冯家的小厮走来，轻轻的向紫英说了一句。冯紫英便要告辞了。贾赦贾政道：“你说什么？”小厮道：“外面下雪，早已下了梆子了。”贾政叫人看时，已是雪深一寸多了。贾政道：“那两件东西，你收拾好了么？”

“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.

“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 11:19, 30 May 2022 (UTC)

==英语笔译陈路瑶 Chen Luyao 202170081565==

冯紫英道：“收好了。若尊府要用，价钱还自然让些。”贾政道：“我留神就是了。”冯紫英道：“我再听信罢。天气冷，请罢，别送了。”贾赦贾政便命贾琏送了出去。却说冯紫英去后，贾政叫门上的人来吩咐道：“今儿临安伯那里来请吃酒，知道是什么事？”门上的人道：“奴才曾问过，并没有什么喜庆事，不过南安王府里到了一班小戏子，都说是个名班，伯爷高兴，唱两天戏，请相好的老爷们瞧瞧，热闹热闹。大约不用送礼的。”说着，贾赦过来问道：“明儿二老爷去不去？”贾政道：“承他亲热，怎么好不去的？”

“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.

“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.--[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 13:14, 28 May 2022 (UTC)

==英语笔译崔晓凡 Cui Xiaofan 202170081566==

说着，门上进来回道：“衙门里书办来请老爷明日上衙门。有堂派的事，必得早些去。”贾政道：“知道了。”说着，只见两个管屯里地租子的家人走来，请了安，磕了头，旁边站着。贾政道：“你们是郝家庄的？”两个答应了一声。贾政也不往下问，竟与贾赦各自说了一回话儿散了。家人等秉着手灯，送过贾赦去。这里贾琏便叫那管租的人道：“说你的。”那人说道：“十月里的租子，奴才已经赶上来了。原是明儿可到。谁知京外拿车，把车上的东西，不由分说，都掀在地下。奴才告诉他，说是府里收租子的车，不是买卖车，他更不管这些。

Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.

Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 12:43, 30 May 2022 (UTC)

==英语笔译邓阳林 Deng Yanglin 202170081567==

奴才叫车夫只管拉着走，几个衙役就把车夫混打了一顿，硬扯了两辆车去了。奴才所以先来回报。求爷打发个人到衙门里去要了来才好。再者，也整治整治这些无法无天的差役才好。爷还不知道呢，更可怜的是那买卖车，客商的东西全不顾，掀下来，赶着就走。那些赶车的但说句话，打的头破血出的。”贾琏听了，骂道：“这个还了得！”立刻写了一个帖儿，叫家人：“拿去向拿车的衙门里要车去，并车上东西。若少了一件，是不依的！快叫周瑞。”周瑞不在家。又叫旺儿。旺儿晌午出去了，还没有回来。贾琏道：“这些忘八羔子，一个都不在家！他们终年家吃粮不管事。”

The slave told the coachman to pull it away, but some government soldiers beat up the coachman and drove off with two carts. The minion returns the favor first. Please send someone to the Yamen for it. Moreover, it is good to punish these lawless servants. Ye still don't know, more pitiful is that the business car, the merchant's things all disregard, lift down, hurried away. Those who drive the wagons say nothing and bleed from the head." Romance Merchant, hearing this, cursed: "This is remarkable!" Immediately she wrote a post, telling her family: "Go to the government office where the cart is taken and ask for the cart and its contents. If one is missing, it will not depend on! Call Zhou Rui quickly." Zhou Rui is not at home. Also known as Wanger. Prosperous went out at noon and did not return. Romance Merchant said, "None of these forgetful kids are at home! They don't care what they eat all year round."

The slave told the coachman to pull it away, but some government soldiers beat up the coachman and drove off with two carts. The minion returns the favor first. Please send someone to the Yamen for it. Moreover, it is good to punish these lawless servants. Ye still don't know, more pitiful is that the business car, the merchant's things all disregard, lift down, hurried away. Those who drive the wagons say nothing and bleed from the head." Romance Merchant, hearing this, cursed: "This is remarkable!" Immediately she wrote a post, telling her family: "Go to the government office where the cart is taken and ask for the cart and its contents. If one is missing, it will not depend on! Call Auspicious Surrounding quickly." Auspicious Surrounding is not at home. Also known as Vigor. Prosperous went out at noon and did not return. Romance Merchant said, "None of these forgetful kids are at home! They don't care what they eat all year round."

==英语笔译高智慧 Gao Zhihui 202170081568==

因吩咐小厮们：“快给我找去。”说着，也回到自己屋里，睡下不提。且说临安伯第二天又打发人来请。贾政告诉贾赦道：“我是衙门里有事。琏儿要在家等候拿车的事情，也不能去。倒是大老爷带宝玉应酬一天也罢了了。”贾赦点头道：“也使得。”贾政遣人去叫宝玉，说“今儿跟大爷到临安伯那里听戏去。”宝玉喜欢的了不得，便换上衣服，带了焙茗、扫红、锄药三个小子，出来见了贾赦，请了安，上了车，来到临安伯府里。门上人回进去，一会子出来说：“老爷请。”

Shouting to his pages to find them both at once, Romance Merchant retired to his apartment for the night. Next morning brought a reminder from the Earl of Linan. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent word to Precious Jade that he was to accompany his uncle to the Earl of Lin-an’s theatre party. Precious Jade was thrilled. He changed, and choosing three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him, came out to pay his morning respects to Jia She. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in. Pardon Merchant led Precious Jade into the main courtyard, which was packed with a noisy throng. They paid their respects to the Earl and exchanged civilities with the other guests before sitting down and joining in the flow of light-hearted conversation. Before long the manager of the troupe came forward with two playbills, an ordinary one and a fancy one in the form of an ivory tablet, and saluting his patrons by dropping one knee to the ground in Manchu-style, announced: ‘Will the gentlemen please select their favourite plays?’

Shouting to his pages to find them at once, Romance Merchant retired to his apartment for the night. Next morning came a reminder from the Earl Temporary Settlement. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent words to Precious Jade that he was to accompany his uncle to the Earl Temporary Settlement’s theatre party. Precious Jade was thrilled with joy. He got himself dressed, chose three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him,and came out to pay his morning respects to Pardon Merchant. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in.
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 13:55, 28 May 2022 (UTC)

==英语笔译何丽娜 He Lina 202170081569==

于是贾赦带着宝玉走入院内，只见宾客喧阗。贾赦宝玉见了临安伯，又与众宾客都见过了礼，大家坐着，说笑了一回。只见一个掌班的拿着一本戏单，一个牙笏，向上打了一个千儿，说道：“求各位老爷赏戏。”先从尊位点起，挨至贾赦，也点了一出。那人回头见了宝玉，便不向别处去，竟抢步上来，打个千儿道：“求二爷赏两出。”宝玉一见那人，面如傅粉，唇若涂朱；鲜润如出水芙渠，飘扬似临风玉树：原来不是别人，就是蒋玉菡。前日听得他带了小戏儿进京，也没有到自己那里；此时见了，又不好站起来，只得笑道：“你多早晚来的？”

Then Pardon Merchant took Precious Jade into the courtyard which was fraught with the hustle and bustle. After the two paid their respects to Count Temporary Settlement and greeted the other guests, they sat down to talk . Then the one in charge of the troupe with a playlist and a ivory tablet stepped up and fell down on one kneel, saying, "Beg your lords to choose one and enjoy the play." In the order of seniority,they choose the operas. When it came to Pardon Merchant's turn, he also chose one. At that moment, turning around and catching sight of Precious Jade, that person unexpectedly come over to him and fell on one of his kneel, "Beg master to choose one." When Precious Jade saw the man whose face seemed powdered and his lips looked scarlet, it occurred to him that he was Jade Lotus Chiang. The day before yesterday, Precious Jade heard that he had brought a group of young actors with him to Peking, but he did not come to visit him. On such an occasion, Precious Jade could not just stand up to greet him, so he had to smile instead and asked, "When did you come?"

Then Pardon Merchant took Precious Jade into the courtyard which was fraught with the hustle and bustle. After the two paid their respects to Count Temporary Settlement and greeted other guests, they sat down to talk . Then the one in charge of the troupe with a playlist and a ivory tablet stepped up and fell down on one kneel, saying, "Beg your lords to choose one and enjoy the play." In the order of seniority,they choose the operas. When it came to Pardon Merchant's turn, he also chose one. At that moment, turning around and catching sight of Precious Jade, that person unexpectedly come over to him and fell on one of his kneel, "Beg master to choose one." When Precious Jade saw the man whose face seemed powdered and his lips looked scarlet, it occurred to him that he was Jade Lotus Chiang. The day before yesterday, Precious Jade heard that he had brought a group of young actors with him to Peking, but he did not come to visit him. On such an occasion, Precious Jade could not just stand up to greet him, so he had to smile instead and asked, "When did you come?"--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 05:12, 31 May 2022 (UTC)

==英语笔译胡良明 Hu Liangming 202170081570==

蒋玉菡把手在自己身子上一指，笑道：“怎么二爷不知道么？”宝玉因众人在坐，也难说话，只得胡乱点了一出。蒋玉菡去了，便有几个议论道：“此人是谁？”有的说：“他向来是唱小旦的，如今不肯唱小旦，年纪也大了，就在府里掌班。头里也改过小生。他也攒了好几个钱，家里已经有两三个铺子，只是不肯放下本业，原旧领班。”有的说：“想必成了家了。”有的说：“亲还没有定。他倒掌定一个主意，说是人生配偶，关系一生一世的事，不是混闹得的，不论尊卑贵贱，总要配的上他的才能。所以到如今还并没娶亲。”

Jade Lotus Buds put his hand on his body and smiled, "Why don't you know my second master?" Precious Jade couldn't speak because everyone was sitting, so he had to choose randomly. When Jade Lotus Buds went, there were several discussions: "Who is this person?" Some said: "He has always sung Xiaodan, but now he refuses to sing Xiaodan, and he is too old, so he is in charge of the house. He has also changed to Xiaosheng. He has saved a lot of money, and his family already has two or three shops, but he refused to let go of his business, and still worked as the former foreman." Some said,"He must get married." Some said: "The marriage has not yet been decided. He has made up an idea, saying that it is a life spouse, a matter of life, not a mess, no matter how high or low, you must always be worthy of his talents. So there is no such thing as yet."

Jade Lotus Buds put his hand on his body and smiled, "Don't you know my second master?" Precious Jade couldn't speak because everyone was sitting, so he had to choose randomly. When Jade Lotus Buds left, some people discussed: "Who is him?" Some said: "He has always sung Xiaodan, but now he refuses to do so, and he is too old, so he is in charge of the house. He has also performed Xiaosheng. He has saved a lot of money, and already has two or three shops, but he is unwilling to let go of his business, and still worked as the former foreman." Some said, "He must get married." Some replied: "The marriage has not yet been decided. He has made up an idea that the spouse is a matter of life, not a mess, no matter how high or low, you must always be worthy of his talents. So there is no such thing as yet."--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 13:26, 31 May 2022 (UTC)

==英语笔译黄琼 Huang Qiong 202170081571==

宝玉暗忖度道：“不知日后谁家的女孩儿嫁他？要嫁着这样的人材儿，也算是不辜负了。”那时开了戏，也有昆腔，也有高腔，也有弋腔，梆子腔：做得热闹。到了晌午，便摆开桌子吃酒。又看了一回，贾赦便欲起身。临安伯过来留道：“天色尚早。听见说蒋玉菡还有一出《占花魁》，他们顶好的首戏。”宝玉听了，巴不得贾赦不走；于是贾赦又坐了一会。果然蒋玉菡扮着秦小官，伏侍花魁醉后神情，把这一种怜香惜玉的意思，做得极情尽致。以后对饮对唱，缠绵缱绻。宝玉这时不看花魁，只把两支眼睛独射在秦小官身上。

Precious Jade wondered who the lucky girl would be to marry such an intelligent man. Then the performance started with Kun opera, Yi Opera, Gao Opera and Ban Zi operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave.“It’s early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.”Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the woman, but staring at the male role.

Precious Jade wondered who the lucky girl would be to marry such a man of his ability. Then the performance started with Kun opera, High-pitched Tunes, Yi-qiang and Pangtse operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave. “It’s still early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.” Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the heroine, but staring at the male role.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 14:58, 29 May 2022 (UTC)

==英语笔译邝雨琪 Kuang Yuqi 202170081572==

更加蒋玉菡声音响亮，口齿清楚，按腔落板，宝玉的神魂都唱了进去了。直等这出戏进场后，更知蒋玉菡极是情种，非寻常戏子可比。因想着：“《乐记》上说的是：‘情动于中，故形于声；声成文，谓之音。’所以知声，知音，知乐，有许多讲究。声音之原，不可不察。诗词一道，但能传情，不能入骨，自后想要讲究讲究音律。”宝玉想出了神，忽见贾赦起身，主人不及相留。宝玉没法，只得跟了回来。到了家中，贾赦自回那边去了。宝玉来见贾政。贾政才下衙门，正向贾琏问起拿车之事。贾琏道：“今儿叫人拿帖儿去，知县不在家。

Precious Jade was quite enraptured by his singing, for Jade Lotus had a resonant voice, clear enunciation and good sense of rhythm. By the end of the performance, he was firmly convinced that Jade Lotus was a romantic, completely unique artist, and not to be compared with the common actors. He thought, "The Book of Music rightly says, 'Stirred feelings find expression in sound, and when the sound follows a pattern we call it music.' So sounds, notes and music take some understanding, and a study has to be made of their origin. Poetry can convey emotions, but it can't thrill us to the marrow. In future I really must make a study of music." His reverie was interrupted by Pardon Merchant rising to leave. As their host could not prevail on him to stay, Precious Jade had no choice but to go back with him. On their return Pardon Merchant went straight to his own home. And Precious Jade, paying his duty call on his father, found him just back from the ministry questioning Romance Merchant about the seizure of their carts. Romance Merchant said, "I sent servants there today with my card, but the local mandarin was out.

==英语笔译黎溢佳 Li Yijia 202170081573==

他的门上说了：‘这是本官不知道的，并无牌票出去拿车，都是那些混帐东西在外头撒野挤讹头。既是老爷府里的，我便立刻叫人去追办，包管明儿连车连东西一并送来。如有半点差迟，再行禀过本官，重重处治。此刻本官不在家，求这里老爷看破些，可以不用本官知道更好。”贾政道：“既无官票，到底是何等样人在那里作怪？”贾琏道：“老爷不知，外头都是这样。想来明儿必定送来的。”贾琏说完下来。宝玉上去见了。贾政问了几句，便叫他往老太太那里去。贾琏因为昨夜叫空了家人，出来传唤，那起人多已伺候齐全。

==英语笔译李思敏 Li Simin 202170081574==

贾琏骂了一顿，叫大管家赖升：“将各行档的花名册子拿来，你去查点查点，写一张谕帖，叫那些人知道。若有并未告假，私自出去，传唤不到，贻误公事的，立刻给我打了撵出去！”赖升连忙答应了几个“是”，出来吩咐了一回，家人各自留意。过不几时，忽见有一个人，头上载着毡帽，身上穿着一身青布衣裳，脚下穿着一双撒鞋，走到门上，向众人作了个揖。众人拿眼上上下下打谅了他一番，便问他：“是那里来的？”那人道：“我自南边甄府中来的。并有家老爷手书一封，求这里的爷们呈上尊老爷。”众人听见他是甄府来的，才站起来让他坐下，道：“你乏了，且坐坐。我们给你回就是了。”

Romance Merchant scolded and asked Advancement, the major housekeeper, "bring me the roster of various lines of business, and you go and check them out, and write an oracle post to let those people know. If anyone goes out without asking for leave and cannot be summoned, he will be beaten and kicked out immediately! "Advancement hurriedly agreed with a few "yes" and came out to give orders, letting servants pay attention to it. After a while, a man came into sight with a felt hat on his head, dressed in blue cloth and a pair of slippers under his feet, he went to the door of the room and made a bow to the crowd. The crowd look at him up and down to and asked, "where did you come from?" The man said, "I'm from the Zhen House in the south. And there is a letter from the master of the Zhen family, Please give the letter to your master. " When they heard that he was from the Zhen House, they stood up and asked him to sit down and said, "you must be tired, sit down, please. We'll give it to our master. "--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 13:36, 28 May 2022 (UTC)

Romance Merchant scolded and asked Advancement, the major housekeeper, "bring me the roster of various lines of business, and you go and check them out, and write an oracle post to let those people know. If anyone goes out without asking for leave and cannot be summoned, he will be beaten and kicked out immediately! "Advancement hurriedly agreed with a few "yes" and came out to give orders, letting servants pay attention to it. After a while, a man came into sight with a felt hat on his head, dressed in blue cloth and a pair of slippers under his feet, he went to the door of the room and made a bow to the crowd. The crowd look at him up and down to and asked, "where did you come from?" The man said, "I'm from the Zhen House in the south. And there is a letter from the master of the Zhen family, Please give the letter to your master. " When they heard that he was from the Zhen House, they stood up and asked him to sit down and said, "you must be tired, sit down, please. We'll give it to our master. "--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 14:24, 1 June 2022 (UTC)

==英语笔译李思源 Li Siyuan 202170081575==

门上一面进来回明贾政，呈上来书。贾政拆书看时，上写着：世交夙好，气谊素敦，遥仰襜帷，不胜依切。弟因菲材获谴，自分万死难偿，幸邀宽宥，待罪边隅。迄今门户雕零，家人星散。所有奴子包勇，向曾使用，虽无奇技，人尚悫实。倘使得备奔走，糊口有资，屋乌之爱，感佩无涯矣！专此奉达，余容再叙。不宣。贾政看完，笑道：“这里正因人多，甄家倒荐人来。又不好却的。”吩咐门上：“叫他见我，且留他住下，因材使用便了。”门上出去，带进人来，见贾政，便磕了三个头，起来道：“家老爷请老爷安。”自己又打个千儿，说：“包勇请老爷安。”

A subordinate walked into the house to report to Master Merchant and presented the letter. He immediately opened the letter and read, "Every generation in our family is very close and has a deep friendship. When I see the eaves of your house from a distance, I feel very kind in my heart. My brother was convicted for breaking the law. When he was sentenced, I thought he would be given a heavy sentence. Fortunately, the law treated him leniently and only sent him to the frontier. Now my family is gradually declining, and there are few members of the family. There are many slaves in my family who have served for many years. Although they do not have any skills, they are Be honest and honest. If you can give them some relief, so that they can survive, I will feel at ease. I express my heartfelt thanks for this. The above is all I have to say, and I will talk about it later. Master Merchant smiled after reading it, "There are already so many people in my family, and now there are so many. The problem is that I have a hard time saying no. "He instructed his servants: "Call the one with the letter to see me, and let him stay." As for his subordinates, I will consider them according to their abilities. The subordinate went out and led him in. The latter kowtowed three times, got up and said, "My master has given you a greeting." "Then he knelt down again and said, "I give you my best wishes." "--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 14:23, 1 June 2022 (UTC)

A doorman walked into the house to report to Master Merchant and presented the letter. He immediately opened the letter and read, "Every generation in our family is very close and has a deep friendship. When I see the eaves of your house from a distance, I feel very kind in my heart. My brother was convicted for breaking the law. When he was sentenced, I thought he would be given a heavy sentence. Fortunately, the law treated him leniently and only sent him to the frontier. Now my family is gradually declining, and there are few members of the family. There are many slaves in my family who have served for many years. Although they do not have any skills, they are Be honest and honest. If you can give them some relief, so that they can survive, I will feel at ease. I express my heartfelt thanks for this. The above is all I have to say, and I will talk about it later." Master Merchant smiled after reading it, "There are already so many people in my family, and now the Truth family also recommend some servants to us. The problem is that I cannot decline his good intention. "He instructed his servants: "Call the one to see me, and let him stay. I will consider them according to their abilities." The doorman went out and led him in. The latter kowtowed three times, got up and said, "My master has given you a greeting." "Then he knelt down again and said, "I give you my best wishes, Sir."--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 14:32, 1 June 2022 (UTC)

==英语笔译李婷 Li Ting 202170081576==

贾政回问了甄老爷的好，便把他上下一瞧，但见包勇身长五尺有零，肩背宽肥，浓眉爆眼，磕额长髯，气色粗黑，垂着手站着。便问道：“你是向来在甄家的，还是住过几年的？”包勇道：“小的向在甄家的。”贾政道：“你如今为什么要出来呢？”包勇道：“小的原不肯出来，只是家爷再四叫小的出来，说是别处你不肯去，这里老爷家里只当原在自己家里一样的，所以小的来的。”贾政道：“你们老爷不该有这事情，弄到这样的田地。”包勇道：“小的本不敢说：我们老爷只是太好了，一味的真心待人，反倒招出事来。”贾政道：“真心是最好的了。”

Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. Bag Valiant said, "I didn’t want to, but my master insisted. He said, ‘You wouldn’t agree to going anywhere else, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."

Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. "I didn’t want to, " Bag Valiant said,"but my master insisted again and he told me that other place you didn't want to go, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 03:40, 29 May 2022 (UTC)Li Ying

==英语笔译李颖 Li Ying 202170081578==

包勇道：“因为太真了，人人都不喜欢，讨人厌烦是有的。”贾政笑了一笑道：“既这样，皇天自然不负他的。”包勇还要说时，贾政又问道：“我听见说你们家的哥儿不是也叫宝玉么？”包勇道：“是。”贾政道：“他还肯向上巴结么？”包勇道：“老爷若问我们哥儿，倒是一段奇事。哥儿的脾气也和我家老爷一个样子，也是一味的诚实，从小儿只管和那些姐妹们在一处顽。老爷太太也狠打过几次，他只是不改。那一年太太进京的时候儿，哥儿大病了一场，已经死了半日，把老爷几乎急死，装裹都预备了。

Bag Valiant said:"Because he was too honest,nobody liked him and he offended some people.Master Merchant laughed:" Well, in that case, the God will give him due deserts."Bag Valiant were plant to reply, Master Merchant continued to say that:"I heard that your younger master's name is Precious Jade, is that true?"Bag Valiant said:" That is right, sir."Master Merchant said:" Is he still willing to flatter on the top?"Bag Valiant said:Your majesty asked me about my younger master, there were something strange about him. His temper is the same as our master's. Both of them were too honest, when he was a kid, he only played with those sisters. My masters also beat him severely,but there's no change in my younger master. That year our mistress came to the capital, younger master fell very ill.He lost his consciousness for so long that his father was frantic and had all the funeral preparations made."

Valiant Bag said:"He is too honest, so nobody likes him and he has offended some people." Master Merchant laughed:" Well, in that case, the God will give him due deserves." When Valiant Bag were plant to reply, Master Merchant continued to say. "I heard that your younger master's name is Precious Jade. Is that true?" he added. Valiant Bag said: "That's right, sir." Master Merchant said:" Is he still willing to flatter the top?" Bag Valiant replied: "If you ask me about my younger master, there is something strange about him. His temper is the same as our master's. Both of them are too honest. When he was a kid, he only played with those sisters. My master and mistress also beat him severely, but there's no change of my younger master. That year when our mistress headed for the capital, my younger master was severely ill. He lost his consciousness for so long that his father was almost worried to dead and had all the funeral preparations made."--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 04:07, 31 May 2022 (UTC)

==英语笔译李媛 Li Yuan 202170081579==

幸喜后来好了，嘴里说道：走到一座牌楼那里，见了一个姑娘，领着他到了一座庙里，见了好些柜子，里头见了好些册子；又到屋里，见了无数女子，说是多变了鬼怪似的，也有变做骷髅儿的；他吓急了，便哭喊起来。老爷知他醒过来了，连忙调治，渐渐的好了。老爷仍叫他在姐妹们一处顽去，他竟改了脾气了：好着时候的玩意儿一概都不要了，惟有念书为事。就有什么人来引诱他，他也全不动心。如今渐渐的能彀帮着老爷料理些家务了。”贾政默然想了一回，道：“你去歇歇去罢。等这里用着你时，自然派你一个行次儿。”包勇答应着，退下来，跟着这里人出去歇息不提。

“Fortunately, he recovered in the end. He talked that he saw a girl at a memorial arch, who led him to a temple, where there were a great number of cabinets with many volumes of books inside. Walking inside, he saw many girls, who became ghosts and skeletons. He was so scared that he yelled and cried. When the Master knew he had woken, he set some doctors to give him a treatment. After that, he became well gradually. The Master then still allowed him to play with his sisters, but his character changed a lot. He threw away all the gadgets that he liked before and focused on books. Also, he would not be tempted to do other things by anyone. Now, he was able to help the Master with some family affairs.” Master Merchant pondered for a while after hearing what he said. “You can leave now. You will have your task when we need you,” Master Merchant said. Courage Bag showed his gratitude and left the room with other servants. His part ended.

==英语笔译李梓婕 Li Zijie 202170081580==

一日贾政早起，刚要上衙门，看见门上那些人在那里交头接耳，好像要使贾政知道的是的，又不好明回，只管咕咕唧唧的说话。贾政叫上来问道：“你们有什么事这么鬼鬼祟祟的？”门上的人回道：“奴才们不敢说。”贾政道：“有什么事不敢说的？”门上的人道：“奴才今儿起来，开门出去，见门上贴着一张白纸，上写着许多不成事体的字。”贾政道：“那里有这样的事！写的是什么？”门上的人道：“是水月庵里的腌臜话。”贾政道：“拿给我瞧。”门上的人道：“奴才本要揭下来，谁知他贴得结实，揭不下来，只得一面抄，一面洗。
One morning,Master Merchant rose early and was setting off to his yamen when he noticed the servants at the gate whispering and muttering among themselves as if they had some news for him which they dared not report outright. He called them over.“What is this hole-and-corner business’?” he demanded.“We hardly dare tell you, sir,” one of them answered.“Why not? Out with it!”“This morning when we got up and opened the gate, we found a sheet of paper pasted on it, covered with scurrilous writing.”“The idea!” exclaimed Master Merchant. “What was it?”“Dirty talk about Water Moon Convent, sir.”“Bring me the paper,” he ordered.“We tried to take it down, but it was glued on too firmly; so we copied it out, then soaked the paper to get it off.

On the morning,Master Merchant rose early and was setting off to his yamen when he noticed the servants whispering and muttering among themselves at the gate as if they had some news for him which they dared not report outright. He called them over.“What is this hole-and-corner business’?” he demanded.“We hardly dare tell you, sir,” one of them answered.“Why not? Out with it!”“This morning when we got up and opened the gate, we found a sheet of paper pasted on it, covered with scurrilous writing.”“The idea!” exclaimed Master Merchant. “What was it?”“Dirty talk about Water Moon Convent, sir.”“Bring me the paper,” he ordered.“We tried to take it down, but it was glued on too firmly; so we copied it out, then soaked the paper to get it off.--[[User:Liang Siting|Liang Siting]] ([[User talk:Liang Siting|talk]]) 02:04, 2 June 2022 (UTC)

==英语笔译梁思婷 Liang Siting 202170081581==

刚才李德揭了一张给奴才瞧，就是那门上贴的话。奴才们不敢隐瞒。”说着，呈上那帖儿。贾政接来看时，上面写着：“西贝草斤”年纪轻，水月庵里管尼僧。一个男人多少女，窝娼聚赌是陶情。不肖子弟来办事，荣国府内出新闻。贾政看了，气得头昏目晕，赶着叫门上的人不许声张，悄悄叫人往宁荣两府靠近的夹道子墙壁上再去找寻。随即叫人去唤贾琏出来。贾琏即忙赶至。贾政忙问道：“水月庵中寄居的那些女尼女道，向来你也查考查考过没有？”贾琏道：“没有，一向都是芹儿在那里照管。”贾政道：“你知道芹儿照管得来，照管不来？”

Just now Li de got one for me. On it were with the same words on the gate. I dared not to hide anything from you." Saying, he handed over the post. Master Merchant took it and saw it writing, "Xibeicaojin is young, managing nuns and monks in the Water Moon Nunnery. A man with so many women, the place made prostitute and gambling a cultivation. The unfilial came and the Merchant family made a bust." Master Merchant almost passed out by the post. He hurriedly asked the gatekeeper to conceal it and ordered servants to search for the rest of the posts on the wall of the mansion. He then asked someone to bring Romance Merchant. Romance rushed over and Master asked, "Have you investigate on the nuns in the Water Moon Nunnery?" Roamcne replied, "No. Celery is in charge." Master asked, "How do you know that Celery is capable?"

Just now Li De got one for me. On it was with the same words on the gate. We dared not to hide anything from you." Saying, he handed over the post. Master Merchant took it and saw it, "Xibeicaojin is young, managing nuns and monks in the Water Moon Nunnery. A man with so many women, the place made prostitute and gambling a cultivation. The unfilial came and the Merchant family made a bust." Master Merchant almost passed out by the post. He hurriedly asked the gatekeeper to conceal it and ordered servants to search for the rest of the posts on the wall of the mansion. He then asked someone to bring Romance Merchant. Romance rushed over and Master asked, "Have you investigated the nuns in the Water Moon Nunnery?" Romance replied, "No. Celery is in charge." Master asked, "How do you know whether Celery is capable of it or not?"--[[User:Liao Shiyun|Liao Shiyun]] ([[User talk:Liao Shiyun|talk]]) 02:10, 2 June 2022 (UTC)

==英语笔译廖诗韵 Liao Shiyun 202170081582==

贾琏道：“老爷既这么说，想来芹儿必有不妥当的地方儿。”贾政叹道：“你瞧瞧这个帖儿写的是什么。”贾琏一看道：“有这样事么。”正说着，只见贾蓉走来，拿着一封书子，写着“二老爷密启”。打开看时，也是无头榜一张，与门上所贴的话相同。贾政道：“快叫赖大带了三四辆车子到水月庵里去，把那些女尼女道士一齐拉回来。不许泄漏，只说里头传唤。”赖大领命去了。且说水月庵中小女尼女道士等，初到庵中，沙弥与道士原系老尼收管，日间教他些经忏。以后元妃不用，也便习学得懒怠了。那些女孩子们年纪渐渐的大了，都也有个知觉了。
Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.

Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:02, 30 May 2022 (UTC)

==英语笔译刘唱 Liu Chang 202170081583==

更兼贾芹也是风流人物，打量芳官等出家，只是小孩子性儿，便去招惹他们。那知芳官竟是真心，不能上手，便把这心肠移到女尼女道士身上。因那小沙弥中有个名叫沁香的，和女道士中有个叫做鹤仙的，长得都甚妖娆，贾芹便和这两个人勾搭上了，闲时便学些丝弦，唱个曲儿。那时正当十月中旬，贾芹给庵中那些人领了月例银子，便想起法儿来，告诉众人道：“我为你们领月钱，不能进城，又只得在这里歇着。怪冷的，怎么样？我今儿带些果子酒，大家吃着乐一夜，好不好？”那些女孩子都高兴，便摆起桌子，连本庵的女尼也叫了来，惟有芳官不来。

Moreover, Celery Merchant was a also a play boy, he saw the nuns including Fagrant Official and flirted with them for the sake of his curiosity.However, Fragrant Official was serious about love affairs so that he could’t get anything from her and just targeted at other nuns and women Taoist priest, There were a little monk named Aroma and a woman Taoist priest named Crane Fairy. They both had a pretty appearance so that Celery Merchant made friends with them. He spent his spare time learning instruments and singing opera. It was the middle of Octorber, and Celery Merchant got the salary fort the people in the convent. Then a thought occurred in his mind. He told the people that:”I got the salary for you so that I can’t get into the town and I have to stay at such a cold place. I brought some fruit wine and we can have a feast tonight, how about it?” The girls were happy about it and set the tables. They even invited the nuns in the convent, however, Fragrant Official refused it.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:01, 30 May 2022 (UTC)

==英语笔译刘乐乐 Liu Lele 202170081584==

贾芹喝了几杯，便说道要行令。沁香等道：“我们都不会，到不如搳拳罢。谁输了喝一杯，岂不爽快？”本庵的女尼道：“这天刚过晌午，混嚷混喝的不像，且先喝几盅，爱散的先散去。谁爱陪芹大爷的，回来晚上尽子喝去，我也不管。”正说着，只见道婆急忙进来说：“快散了罢，府里赖大爷来了。”众女尼忙乱收拾，便叫贾芹躲开。贾芹因多喝了几杯，便道：“我是送月钱来的，怕什么！”话犹未完，已见赖大进来。见这般样子，心里大怒。为的是贾政吩咐不许声张，只得含糊装笑道：“芹大爷也在这里呢么？”贾芹连忙站起来道：“赖大爷，你来作什么？”

After a few drinks, Celery Merchant proposed to play a drinking game. Pleasure Fragrance and the others said that they didn’t know the game so it would be better if they play finger-guess which is easy and fun: losers drink.“it’s inappropriate to drink and game since it’s only past midday. We can drink a little and return. For those who want to game with Mr. Merchant, just come here at night and I would say nothing about it.”A nun objected. As they spoke, a nun rushed in and said, “Stop it right now! Mr.Rely is here.”All the nuns started to clean it up and advised Celery Merchant to hide. “No need to panic. I’m here to deliver you the month allowance.”Celery Merchant bragged since he got loaded. He didn’t finish his words when Big rely came in, who was infuriated at the scene, but had to follow Master Merchant’s instruction to keep it down and so he smiled, “Didn’t expect to see you here, Mr.Celery Merchant. Celery Merchant stood up immediately, “Mr.Rely, what brings you here?”--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 12:35, 29 May 2022 (UTC)

==英语笔译刘双英 Liu Shuangying 202170081585==

赖大说：“大爷在这里更好。快快叫沙弥道士收拾，上车进城，宫里传呢。”贾芹等不知原故，还要细问。赖大说：“天已不早了，快快的，好赶进城。”众女孩子只得一齐上车。赖大骑着大走骡，押着赶进城，不提。却说贾政知道这事，气得衙门也不能上了，独坐在内书房叹气。贾琏也不敢走开。忽见门上的进来禀道：“衙门里今夜该班是张老爷。因张老爷病了，有知会来请老爷补一班。”贾政正等赖大回来要办贾芹，此时又要该班，心里纳闷，也不言语。贾琏走上去说道：“赖大是饭后出去的，水月庵离城二十来里，就赶进城，也得二更天。今日又是老爷的帮班，请老爷只管去。

Big Rely replied:“I’m glad you’re here, sir. Tell these novices to get ready at once to drive to town. They’re wanted in the palace.”This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.

“Pleased to find you here, sir,” said Lai Da, ”We must get the young ladies ready as quickly as possible, and take them back to town. They're wanted at the Palace.” This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 11:20, 30 May 2022 (UTC)

==英语笔译刘婷 Liu Ting 202170081586==

赖大来了，叫他押着，也别声张，等明儿老爷回来再发落。倘或芹儿来了，也不用说明，看他明儿见了老爷怎么样说。”贾政听来有理，只得上班去了。贾琏抽空才要回到自己房中，一面走着，心里抱怨凤姐出的主意，欲要埋怨，因他病着，只得隐忍，慢慢的走着。且说那些下人，一人传十，传到里头，先是平儿知道，即忙告诉凤姐。凤姐因那一夜不好，恹恹的总没精神，正是惦记铁槛寺的事情。听说“外头贴了匿名揭帖”的一句话，吓了一跳，忙问：“贴的是什么？”平儿随口答应，不留神，就错说了，道：“没要紧，是馒头庵里的事情。”

When Lai Da gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Qin comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Jia Zheng left with some reluctance for the Board. As soon as he had gone Jia Lian set off back to his own apartment, brooding as he went on what he was going to say to Xi-feng. He held her to blame for having given Qin this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Xi-feng had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”

When Big Rely gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Celery comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Master Merchant left with some reluctance for the Board. As soon as he had gone Romance Merchant set off back to his own apartment, brooding as he went on what he was going to say to Sister Phoenix. He held her to blame for having given Celery this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Sister Phoenix had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 14:50, 30 May 2022 (UTC)

==英语笔译刘瑶 Liu Yao 202170081587==

凤姐本是心虚，听见“馒头庵的事情”，这一唬直唬怔了，一句话没说出来，急火上攻，眼前发晕，咳嗽了一阵，哇的一声，吐出一口血来。平儿慌了，说道：“水月庵里，不过是女沙弥女道士的事，奶奶着什么急？”凤姐听是水月庵，才定了定神，说道：“呸，糊涂东西！到底是水月庵呢，是馒头庵？”平儿笑道：“是我头里错听了，是馒头庵，后来听见不是馒头庵，是水月庵。我刚才也就说溜了嘴，说成馒头庵了。”凤姐道：“我就知道是水月庵。那馒头庵与我什么相干！原是这水月庵是我叫芹儿管的。大约刻扣了月钱。”平儿道：“我听着不像月钱的事，还有些腌臜话呢。”

Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.

Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 12:41, 30 May 2022 (UTC)

==英语笔译刘珍 Liu Zhen 202170081588==

凤姐道：“我更不管那个。你二爷那里去了？”平儿说：“听见老爷生气，他不敢走开。我听见事情不好，我吩咐这些人不许吵嚷，不知太太们知道了么。但听见说，老爷叫赖大拿这些女孩子去了。且叫个人前头打听打听。奶奶现在病着，依我竟先别管他们的闲事。”正说着，只见贾琏进来。凤姐欲待问他，见贾琏一脸的怒气，暂且装作不知。贾琏饭没吃完，旺儿来说：“外头请爷呢，赖大回来了。”贾琏道：“芹儿来了没有？”旺儿道：“也来了。”贾琏便道：“你去告诉赖大，说：老爷上班儿去了，把这些个女孩子暂且收在园里，明日等老爷回来，送进宫去。只叫芹儿在内书房等着我。”

"Well, I care even less about that.Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Lai Da to bring all the girls back from the Temple. I'll send someone out to see what's happened.Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance.ia Lian had not finished eating his dinner when Brightie came in.‘Lai Da's back, sir.”“Is Celery with him?”"Yes, sir.”‘Tell Lai Da the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace.Tell Celery to wait for me in the inner library.”

"Well, I care even less about that. Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Big Lie to bring all the girls back from the Temple. I'll send someone out to see what's happened. Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance. Romance Merchant had not finished eating his dinner when Brightie came in.‘Big Lie's back, sir." "Is Celery with him?" "Yes, sir." "Tell Big Lie the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace. Tell Celery to wait for me in the inner library."--[[User:Long Hanliang|Long Hanliang]] ([[User talk:Long Hanliang|talk]]) 01:46, 31 May 2022 (UTC)

==英语笔译龙翰良 Long Hanliang 202170081589==

旺儿去了。贾芹走进书房，只见那些下人指指点点不知说什么，看起这个样儿来，不像宫里要人。想着问人，又问不出来。正在心里疑惑，只见贾琏走出来，贾芹便请了安，垂手侍立，说道：“不知道娘娘宫里即刻传那些孩子们做什么？叫侄儿好赶！幸喜侄儿今儿送月钱去，还没有走，便同着赖大来了。二叔想来是知道的。”贾琏道：“我知道什么？你才是明白的呢！”贾芹摸不着头脑儿，也不敢再问。贾琏道：“你干得好事！把老爷都气坏了。”贾芹道：“侄儿没有干什么。庵里月钱是月月给的，孩子们经忏是不忘记的。”

Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.

Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.--[[User:Luo Yaolin|Luo Yaolin]] ([[User talk:Luo Yaolin|talk]]) 05:13, 30 May 2022 (UTC)

==英语笔译罗姚林 Luo Yaolin 202170081590==

贾琏见他不知，又是平素常在一处顽笑的，便叹口气道：“打嘴的东西！你各自去瞧瞧罢！”便从靴掖儿里头拿出那个揭帖来，扔与他瞧。贾芹拾来一看，吓的面如土色，说道：“这是谁干的！我并没得罪人，为什么这么坑我？我一月送钱去，只走一趟，并没有这些事。若是老爷回来，打着问我，侄儿便该死了。我母亲知道，更要打死。”说着，见没人在旁边，便跪下去说道：“好叔叔，救我一救儿罢！”说着，只管磕头，满眼流泪。贾琏想道：“老爷最恼这些，要是问准了有这些事，这场气也不小。闹出去也不好听，又长那个贴帖儿的人的志气了。将来咱们的事多着呢。Having noticed that he indeed had no idea about it, and they themselves privately were on speaking terms, Romance Merchant sighed," You bastard.! Take and see it carefully!" as putting out a notice from his shoes and throwing it to Celery Merchant. At the sight of the notice, Celery Merchant said questioningly with his face ashy gray," Who made it? I never gave offence to anybody, why should I be ensnared like this? I merely went there once a month for sending money and never did such things. I would be sunk if the master asked me about it after his back, and the consequence would be even worse if my mom knew it." Seeing no other people around here, Celery Merchant knelt down to implore him,"my dear uncle, please help me, please!" followed kowtowing and tearing constantly. "Master is very vexed with such things and must be extremely angry with this if he knew it's true." Romance Merchant thought to himself, "And the family's reputation would be blemished for the spreading of it, which, on the contrary, the notice maker would be therefore more arrogant. There are many other concerns in the future."

==英语笔译马艳焕 Ma Yanhuan 202170081591==

倒不如趁着老爷上班儿，和赖大商量着，若混过去，就可以没事了。现在没有对证。”想定主意，便说：“你别瞒我，你干的鬼鬼祟祟的事，你打谅我都不知道呢。若要完事，就是老爷打着问你，你一口咬定没有才好。没脸的，起去罢！”叫人去唤赖大。不多时，赖大来了，贾琏便与他商量。赖大说：“这芹大爷本来闹的不像了。奴才今儿到庵里的时候，他们正在那里喝酒呢。帖儿上的话，是一定有的。”贾琏道：“芹儿，你听！赖大还赖你不成？”贾芹此时红涨了脸，一句也不敢言语。还是贾琏拉着赖大，央他：“护庇护庇罢，只说贾芹哥儿在家里找来的。

It would be better to take advantage of the master to go to work and discuss with Big Lie. If you muddle through, you will be all right. There is no counterevidence now. " When he made up his mind, he said, "Don't lie to me. You think I don't know about the furtive things you've done." In the worst-case scenario, if your lordship tortures you, you must insist that you don't have it. Shameless, go away! "He sent someone to call Big Lie. After a while, when Big Lie came, Romance Merchant discussed it with him. Big Lie said, "Uncle Qin didn't look like it anymore." When the lackeys came to the nunnery today, they were drinking there. There must be some words on the post. " Romance Merchant said, " Celery, listen! Can Big Lie still put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and told him, "Please protect him, only say that Celery took it at home."

It would be better to discuss with Big Rely to come up with an excuse to get ride of the trouble while Master is away for work. If you muddle through, you will be all right. Now no one can verify this." When he made up his mind, he said, "Don't you lie to me. You think I don't know about the furtive things you've done? In the worst-case scenario, even if your lordship tortures you, you must insist that you didn’t make it. You the shameless guy, just go away! "He sent someone to call Big Rely. After a while, when he came, Romance Merchant discussed it with him. Then Big Rely said, "Master Celery really did a shameful thing. When I came to the nunnery today, they were drinking there. The things depicted on the post must have happened." Romance Merchant said, " Celery, listen! Can Big Rely put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and begged him, "Please protect him, and just say that Celery found it at home."--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 02:50, 30 May 2022 (UTC)

==英语笔译聂薇 Nie Wei 202170081592==

你带了他去，只说没有见我。明日你求老爷，也不用问那些女孩子了。竟是叫了媒人来，领了去，一卖完事。果然娘娘再要的时候儿，咱们再买。”赖大想来，闹也无益，且名声不好，就应了。贾琏叫贾芹：“跟了赖大爷去罢！听着他教你，你就跟着他。”说罢，贾芹又磕了一个头，跟着赖大出去。到了没人的地方儿，又给赖大磕头。赖大说：“我的小爷，你太闹的不像了。不知得罪了谁，闹出这个乱儿。你想想，谁和你不对罢？”贾芹想了一想，忽然想起一个人来，话说赖大带了贾芹出来，一宿无话，静候贾政回来。单是那些女尼女道重进园来，都喜欢的了不得，欲要到各处逛逛，明日预备进宫。

You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one is around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this thing. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and monks went into the park, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.

You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one was around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this affair. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and female Buddhist monks went into the garden, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 14:58, 28 May 2022 (UTC)

==英语笔译孙丽君 Sun Lijun 202170081593==

不料赖大便吩咐了看院的婆子并小厮看守，惟给了些饮食，却是一步不准走开。那些女孩子摸不着头脑，只得坐着，等到天亮。园里各处的丫头虽都知道拉进女尼们来，预备宫里使唤，却也不能深知原委。到了明日早起，贾政正要下班，因堂上发下两省城工估销册子，立刻要查核，一时不能回家，便叫人回来告诉贾琏说：“赖大回来，你务必查问明白。该如何办就如何办了，不必等我。”贾琏奉命，先替芹儿喜欢，又想道：“若是办得一点影儿都没有，又恐贾政生疑，不如回明二太太，讨个主意办去，便是不合老爷的心，我也不至甚担干系。”

Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those Buddhist nuns. Only provided with some drinks and foods, they were not allowed to step out of this garden. They didn’t have the least idea of what happened, but to stay here till next morning. The girls in the garden knew that those nuns were called in here to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to end the morning court, for he needed to re-check the evaluation booklet on city workers of two provinces at once, he couldn’t go back home for a short while. Thus he just sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just go forward according to the situation.” Receiving orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”

Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those nuns who were provided with some drinks and foods, but not allowed to step out of that garden. The nuns didn’t have the least idea of what happened and had to stay there till next morning. The girls in the garden knew that those nuns were called in to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to knock off, for he needed to re-check the evaluation booklet on city engineering of two provinces at once, he couldn’t go back home for a short while. Thus, he sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just deal with it according to the situation.” Receiving the orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 12:07, 29 May 2022 (UTC)

==英语笔译仝雨梦 Tong Yumeng 202170081594==

主意定了，进内去见王夫人，陈说：“昨日老爷见了揭帖生气，把芹儿和女尼女道等都叫进府来查办。今日老爷没空问这种不成体统的事，叫我来回太太，该怎么便怎么样。我所以来请示太太，这件事如何办理？”王夫人听了咤异道：“这是怎么说！若是芹儿这么样起来，这还成咱们家的人了么？但只这个贴帖儿的也可恶！这些话可是混嚼说得的么？你到底问了芹儿有这件事没有呢？”贾琏道：“刚才也问过了。太太想，别说他干了没有，就是干了，一个人干了混帐事也肯应承么？但只我想芹儿也不敢行此事：知道那些女孩子都是娘娘一时要叫的，倘或闹出事来，怎么样呢？

With that in mind, Romance Merchant came into Lady King's room and reported to her, "Yesterday, being outraged by that letter, the master instructed that taking Celery Merchant and those Buddhist and Taoist nuns into the mansion to investigate them. Today he is too busy to bother about such a disgraceful matter, and then ordered me to report to you that dealing with it as you wish. So, I'm here to ask you how to cope with it." "Why! It's unreasonable to regard Celery Merchant as one of our family, let alone his disreputable behavior today. Moreover, the one who pasted that letter is detestable! How could they gossip about such things! Have you asked Celery Merchant this matter or not?" Lady King said with astonishment. "I asked him just now. Even if he did that, how could he admit such indecent behavior? Leave alone he might be innocent. Think about it. But I assume that he dared not to do such a thing, knowing the girls would be called by the imperial concubine someday. What will he do if something happens?" replied Romance Merchant.

==英语笔译童略雅 Tong Lueya 202170081595==

依侄儿的主见，要问也不难，若问出来，太太怎么个办法呢？”王夫人道：“如今那些女孩子在那里？”贾琏道：“都在园里锁着呢。”王夫人道：“姑娘们知道不知道？”贾琏道：“大约姑娘们也都知道是预备宫里头的话，外头并没提起别的来。”王夫人道：“狠是。这些东西一刻也是留不得的。头里我原要打发他们去来着，都是你们说留着好，如今不是弄出事来了么？你竟叫赖大那些人带去细细的问他的本家有人没有，将文书查出，花上几十两银子，雇只船，派个妥当人，送到本地，一概连文书发还了，也落得无事。若是为着一两个不好，个个都押着他们还俗，那又太造孽了；

To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort,to where they came from. When they’ve all been manumitted that will be the end of that.If we were to force them all to go back to secular life just because one or two of them have gone to the bad, that would be too heartless.

To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort, to where they came from. When they’ve all been manumitted that will be the end of that. Even if one or two of them have been up to some mischief, I don't think it would be fair to punish them indiscriminately, by making them all return to lay-life.--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 14:21, 29 May 2022 (UTC)

==英语笔译庹树梅 Tuo Shumei 202170081596==

若在这里发给官媒，虽然我们不要身价，他们弄去卖钱，那里顾人的死活呢？芹儿呢，你便狠狠的说他一顿，除了祭祀喜庆，无事叫他不用到这里来。看仔细碰在老爷气头儿上，那可就吃不了兜着走了。并说与帐房儿里，把这一项钱粮档子销了。还打发个人到水月庵说：老爷的谕：除了上坟烧纸，若有本家爷们到他那里去，不许接待。若再有一点不好风声，连老姑子一并撵出去。”贾琏一一答应了出去，将王夫人的话告诉赖大，说：“是太太主意，叫你这么办去。办完了，告诉我去回太太。你快办去罢。回来老爷来，你也按着太太的话回去。”

And if we made them over to official brokers here, even though we didn't ask for any money they'd still sell them, not caring at all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send word to Water Moon Convent that, on the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.

And if we made them over to officials here, even though we didn't ask for money they'd still sell them, not caring about all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send words to Water Moon Convent that, according to the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 10:24, 30 May 2022 (UTC)

==英语笔译王思琪 Wang Siqi 202170081597==

赖大听说，便道：“我们太太真正是个佛心，这班东西着人送回去。既是太太好心，不得不挑个好人。芹哥儿竟交给二爷开发了罢。那个贴帖儿的，奴才想法儿查出来，重重的收拾他才好。”贾琏点头说：“是了。”即刻将贾芹发落。赖大也赶着把女尼等领出，按着主意办去了。晚上贾政回家，贾琏赖大回明贾政。贾政本是省事的人，听了也便撂开手了。独有那些无赖之徒，听得贾府发出二十四个女孩子出来，那个不想？究竟那些人能彀回家不能，未知着落，亦难虚拟。且说紫鹃因黛玉渐好，园中无事，听见女尼等预备宫内使唤，不知何事，便到贾母那边打听打听。

When Lai Da heard this, he said, "Our ladyship is really a Buddha," and this class of things was sent back." Both are too kind to have to pick a good person. Brother Qin actually handed it over to Precious Jade to develop. The one who posted it, the slave thought about finding out, and it was good to clean up after him. Jia Lian nodded and said, "Yes." "Immediately send Jia Qin down." Lai Da also hurried to lead the nuns out and did as he was told. In the evening, Jia Zheng went home, and Jia Lianlai returned to Ming Jia Zheng. Jia Zheng was originally a convenient person, and when he heard it, he opened his hand. Only those rogues, I heard the Jia send out twenty-four girls out, that doesn't want to? In the end, those people can go home and can't, the unknown location, and it is difficult to be virtual. Moreover, it is said that the Purple Crane is getting better because of , and there is nothing to do in the garden, so when he heard the nuns and other nuns preparing for the palace, they did not know what to do, so they went to Lady Wang's house to inquire.

When Big Rely heard this, he said, "Our ladyship is really like a Buddha," and this class of things was sent back." Both are too kind to have to pick a good person. Brother Celery actually handed it over to Precious Jade to develop. The one who posted it, the slave thought about finding out, and it was good to clean up after him. Romance Merchant nodded and said, "Yes." "Immediately send Celery down." Big Rely also hurried to lead the nuns out and did as he was told. In the evening, Politics Merchant went home, and omance Merchant returned to tell him. He was originally a convenient person, and when he heard it, he opened his hand. Only those rogues, I heard the Merchant send out twenty-four girls out, that doesn't want to? In the end, those people can go home and can't, the unknown location, and it is difficult to be virtual. Moreover, it is said that the Purple Crane is getting better because of , and there is nothing to do in the garden, so when he heard the nuns and other nuns preparing for the palace, they did not know what to do, so they went to Lady Wang's house to inquire.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 05:17, 1 June 2022 (UTC)

==英语笔译王亚娟 Wang Yajuan 202170081598==

恰遇着鸳鸯下来闲着，坐下说闲话儿，提起女尼的事，鸳鸯咤异道：“我并没有听见，回来问问二奶奶就知道了。”正说着，只见傅试家两个女人过来请贾母的安，鸳鸯要陪了上去。那两个女人因贾母正睡晌觉，就与鸳鸯说了一声儿，回去了。紫鹃问：“这是谁家差来的？”鸳鸯道：“好讨人嫌！家里有了一个女孩儿，生得好些，便献宝的是的，常常在老太太面前夸他家姑娘长得怎么好，心地怎么好，礼貌上又能，说话儿又简绝，做活计儿手儿又巧，会写会算，尊长上头最孝敬的，就是待下人也是极和平的，来了就编这么一大套，常常说给老太太听。我听着狠烦。

Happen to meet Mandarin Duck’s leisure, they sat chatting. The mention of Buddhist nun surprises Mandarin Duck:“I didn’t hear it and we will know after second grandma come.” Whiling saying, Mandarin Duck planned to welcome two women in Testing Assist’s family coming to visit Grandma Merchant. Because Mother Merchant was sleeping at noon, the two women spoke to the Mandarin Duck and went back. Purple Cuckoo asked, "Whose family sent this?" Mandarin Duck said: "What a nuisance! They praised their beautiful daughter as treasures in the presence of Mother Merchant by boasting her good nature, appearance ,politeness and eloquence. The girl was skillful at writing and calculating, and the most dutiful of her superiors was very peaceful to servants. When she came, she would make up such a talk and often told the old lady. I'm sick of hearing it.

She happened to find Mandarin Duck free too, and sitting down to chat she asked her about the nuns. “This is news to me,” said Mandarin Duck in surprise. “I’ll find out later on from Madam Phoenix.” As they were talking, two serving-women from Test Assist’s family arrived to pay their respects to the Lady Dowager. Mandarin Duck was taking them there when they heard that the old lady was having a nap, so the women delivered their message to her and left. “Where are they from?” asked Nightingale. “They’re perfect pests!”Mandarin Duck told her. “The Assists have a daughter who is not bad-looking, so they keep coming to praise her to the old lady for her good looks, good heart and good manners. They say she’s no chatter-box but a skilled needlewoman, who can write and keep accounts too, most dutiful to her elders and kind to the servants. Each time they come they reel all this off, as if offering the old lady some rare treasure. I can’t bear listening to them!--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 02:39, 29 May 2022 (UTC)

==英语笔译肖冬晴 Xiao Dongqing 202170081599==

这几个老婆子真讨人嫌。我们老太太偏爱听那些个话。老太太也罢了，还有宝玉，素常见了老婆子，便狠厌烦的，偏见了他们家的老婆子便不厌烦，你说奇不奇？前儿还来说：他们姑娘现有多少人家儿来求亲，他们老爷总不肯应，心里只要和咱们这种人家作亲才肯。一回夸奖，一回奉承，把老太太的心都说活了。”紫鹃听了一呆，便假意道：“若老太太喜欢，为什么不就给宝玉定了呢？”鸳鸯正要说出原故，听见上头说：“老太太醒了。”鸳鸯赶着上去，紫鹃只得起身出来。回到园里，一头走，一头想道：“天下莫非只有一个宝玉？你也想他，我也想他。

But although they’re such a nuisance, our old lady loves that kind of talk. She isn’t the only one either. Even Precious Jade who can’t abide most old women doesn’t mind these from the Assist family. Odd, isn’t it? Only the other day they came to say that lots of people are asking for their young lady, but her father won’t give his consent hinting that only a family like ours would be good enough for her. All their praise and flattery are having some effect on the old lady.” Though taken aback, Nightingale asked with a show of indifference, “If she thinks it a good match for Precious Jade, then why not fix it up?” Before Mandarin Duck could explain someone inside called Out, “The old lady’s woken!” Mandarin Duck hurried in then and Nightingale got up to leave. On her way back to the Garden she ruminated, “Is there only one Precious Jade in the world that everybody should want him?

But although they’re such a nuisance, our old lady loves that kind of talk. She isn’t the only one either. Even Precious Jade who can’t abide most old women doesn’t mind these from the Assist family. Odd, isn’t it? Only the other day they came to say that lots of people are asking for their young lady, but her father won’t give his consent hinting that only a family like ours would be good enough for her. All their praise and flattery are having some effect on the old lady.” Though taken aback, Nightingale asked with a show of indifference, “If she thinks it a good match for Precious Jade, then why not fix it up?” Before Mandarin Duck could explain someone inside called Out, “The old lady’s woken!” Mandarin Duck hurried in then and Nightingale got up to leave. On her way back to the Garden she ruminated, “Is there only one Precious Jade in the world that everybody should want him?--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 16:06, 31 May 2022 (UTC)

==英语笔译肖佳莉 Xiao Jiali 202170081600==

我们家的那一位，越发痴心起来了。看他的那个神情儿，是一定在宝玉身上的了。三番五次的病，可不是为着这个是什么！这家里‘金’的‘银’的还闹不清，若添了一个什么傅姑娘，更了不得了。我看宝玉的心也在我们那一位的身上；听着鸳鸯的说话，竟是见一个爱一个的。这不是我们姑娘白操了心了吗？”紫鹃本是想着黛玉，往下一想，连自己也不得主意了，不免掉下泪来。要想叫黛玉不用瞎操心呢，又恐怕他烦恼；若是看着他这样，又可怜见儿的。左思右想，一时烦躁起来，自己啐自己道：

And our young lady's the one who dotes on him most. Whenever I see her sinking into one of her depressions, I can tell it's because of him. That's what has been making her fall ill all the time too. There's confusion enough here already, what with gold unicorns and gold lockets, without foisting another Miss Fu on us too! I think it's our young lady that Precious Jade Merchant fancies; but judging by what Fragrant Official says, he falls in love with every girl he meets. If so, our young lady's eating her heart out for nothing.” From thinking of Mascara Jade Fores she went on to wonder what she herself should do, until she felt quite distracted. Though tempted to advise Mascara Jade Forest to stop caring so much for Precious Jade Merchant, she was afraid this would upset her; yet seeing her like this made her heart bleed. The more she brooded the more anxious she grew.

You can see by the way she behaves that she’s set her heart on him: Whenever I see her sinking into one of her depressions, I can tell it's because of him. That's what has been making her fall ill all the time too. There's confusion enough here already, what with gold unicorns and gold lockets, without foisting another Miss Fu on us too! I think it's our young lady that Precious Jade fancies; but judging by what Fragrant Official says, he falls in love with every girl he meets. If so, our young lady's eating her heart out for nothing.” From thinking of Mascara Jade she went on to wonder what she herself should do, until she felt quite distracted. Though tempted to advise Mascara Jade to stop caring so much for Precious Jade, she was afraid this would upset her; yet seeing her like this made her heart bleed. The more she brooded the more anxious she grew.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 08:55, 1 June 2022 (UTC)

==英语笔译谢晓莹 Xie Xiaoying 202170081601==

“你替人耽什么忧！就是林姑娘真配了宝玉，他的那性情儿也是难伏侍的。宝玉性情虽好，又是贪多嚼不烂的。我倒劝人不必瞎操心，我自己才是瞎操心呢！从今已后，我尽我的心伏侍姑娘，其余的事全不管。”这么一想，心里倒觉清净。回到潇湘馆来，见黛玉独自一人，坐在炕上理从前做过的诗文词稿，抬头见紫鹃来，便问：“你到那里去了？”紫鹃道：“我今儿睄了睄姐妹们去。”黛玉道：“敢是找袭人姐姐去么？”紫鹃道：“我找他做什么？”黛玉一想，这话怎么顺嘴说了出来？反觉不好意思，便啐道：“你找谁与我什么相干！倒茶去罢。”

“Why worry about someone else? Even if she really marries, the way she is it won’t be easy to please her; and Precious Jade, for all he’s good-natured, is too much of a flirt. But here I am hoping she’ll stop worrying yet worrying myself for nothing! From now on I’ll look after her as best I can and not care about anything else.” This conclusion helped to calm her down by the time she reached Bamboo Lodge, where she found Mascara Jade sitting all by herself on the kang sorting out her old poems and essays. She looked up when Nightingale came in. “Where have you been?” she asked. “To call on some other girls.” “Did you see Sister Aroma?” “Why should I go to see her?” Mascara Jade wondered how she had come to blurt out such a question, and in embarrassment she answered curtly, “I don’t care where you go. Fetch me some tea.”

“Why worry about someone else? Even if she really gets married, the way she is it won’t be easy to please her; and Precious Jade, for all he’s good-natured, is too much of a flirt. But here I am hoping she’ll stop worrying yet worrying myself for nothing! From now on I’ll look after her as best I can and not care about anything else.” This conclusion helped to calm her down by the time she reached Bamboo Lodge, where she found Mascara Jade sitting all by herself on the kang sorting out her old poems and essays. She looked up when Nightingale came in. “Where have you been?” she asked. “To call on some other girls.” “Did you see Sister Aroma?” “Why should I go to see her?” Mascara Jade wondered how she had come to blurt out such a question, and in embarrassment she answered curtly, “I don’t care where you go. Fetch me some tea.”--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 09:02, 1 June 2022 (UTC)

==英语笔译熊嘉玲 Xiong Jialing 202170081602==

紫鹃也心里暗笑，出来倒茶。只听见园里的一叠声乱嚷，不知何故。一面倒茶，一面叫人去打听。回来说道：“怡红院里的海棠本来萎了几棵，也没人去浇灌他。昨日宝玉走去瞧，见枝头上好像有了蓇朵儿是的。人都不信，没有理他。忽然今日开得狠好的海棠花，众人咤异，都争着去看，连老太太、太太都哄动了，来瞧花儿呢。所以大奶奶叫人收拾园里败叶枯枝，这些人在那里传唤。”黛玉也听见了，知道老太太来，便更了衣，叫雪雁去打听：“若是老太太来了，即来告诉我。”雪雁去不多时，便跑来说：“老太太、太太好些人都来了，请姑娘就去罢。”

Laughing in her heart, Nightingale went out to prepare the tea and heard a clamour of voices in the Garden. When she poured the tea she sent someone to find out what had happened.The girl sent came back and told her, “Some crab-apple trees in Happy Red Court had withered, and nobody watered them; but yesterday when Precious Jade had a look he said he saw buds on the branches. No one believed him or paid any attention to it. Today, suddenly, they burst into bloom with lovely crab-apple flowers! People were so amazed that they rushed over there to look, It’s caused such a sensation that even the old lady and Her Ladyship are coming to see the flowers. So Madam Zhu’s given orders to have the leaves in the Garden swept up, and they were calling servants just now to do this.”Mascara Jade, overhearing that the old lady was coming, at once changed her clothes and sent Snowgoose out to keep watch.“Tell me as soon as the old lady comes,” she said.It was not long before Snowgoose came running back. “The old lady and the mistress have come with quite a party,” she replied.” You’d better go right away, miss.”

Nightingale smiled inwardly at the outcome of her experiment and went to pour the tea.When she poured the tea she sent someone to find out what had happened.The girl sent came back and told her, “Some crab-apple trees in Happy Red Court had withered, and nobody watered them; but yesterday when Precious Jade had a look he said he saw buds on the branches. No one believed him or paid any attention to it. Today, suddenly, they burst into bloom with lovely crab-apple flowers! People were so amazed that they rushed over there to look, It’s caused such a sensation that even the old lady and Her Ladyship are coming to see the flowers. So Madam Zhu’s given orders to have the leaves in the Garden swept up, and they were calling servants just now to do this.”Mascara Jade, overhearing that the old lady was coming, at once changed her clothes and sent Snowgoose out to keep watch.“Tell me as soon as the old lady comes,” she said.It was not long before Snowgoose came running back. “The old lady and the mistress have come with quite a party,” she replied.” You’d better go right away, miss.”--[[User:Yan Yuan9|Yan Yuan9]] ([[User talk:Yan Yuan9|talk]]) 15:31, 1 June 2022 (UTC)

==英语笔译颜媛 Yan Yuan 202170081603==

黛玉略自照了一照镜子，掠了一掠鬓发，便扶着紫鹃到怡红院来，已见老太太坐在宝玉常卧的榻上。黛玉便说道：“请老太太安。”退后便见了邢王二夫人，回来与李纨、探春、惜春、邢岫烟彼此问了好。只有凤姐因病未来；史湘云因他叔叔调任回京，接了家去；薛宝琴跟他姐姐家去住了；李家姐妹因见园内多事，李婶娘带了在外居住：所以黛玉今日见的只有数人。大家说笑了一回，讲究这花开得古怪。贾母道：“这花儿应在三月里开的，如今虽是十一月，因节气迟，还算十月，应着小阳春的天气，因为和暖，开花也是有的。”王夫人道：“老太太见的多，说得是，也不为奇。”

Dai-yu took a brief look in the mirror, passed a comb quickly through her hair and set off with Nightingale in the direction of Green Delights. She arrived to find Grandmother Jia installed on Bao-yu's day-couch,and after greeting her,and Lady Xing and Lady Wang went on to say hello to Li Wan, Tan-chun, Xi-chun and Xing Xiuyan.She noticed that several people were absent: Xi-feng was ill in bed, Shi Xiang-yun had gone home to see her uncle who was in the capital on transfer, while Bao-qin had stayed at home with Bao-chai, and the two Li sisters, Wen and Qi, had been taken to live elsewhere by their mother, whom recent events had convinced that Prospect Garden was a rather unsuitable environment for her daughters.They were all chatting away, each propounding a different interpretation of the strange phenomenon of the winter-flowering crab-trees. “They usually flower in the third month, I know,” Grandmother Jia was saying. “And we are in the eleventh month now. But then the movable terms in the calendar are rather late this year, so we could say this is more like the tenth month, which is after all sometimes called "Little Spring". With the exceptionally warm weather we have been having, a little blossom is only to be expected.”

==英语笔译杨心怡 Yang Xinyi 202170081604==

邢夫人道：“我听见这花已经萎了一年，怎么这回不应时候儿开了？必有个原故。”李纨笑道：“老太太与太太说得都是。据我的糊涂想头，必是宝玉有喜事来了，此花先来报信。”探春虽不言语，心内想：“此花必非好兆。大凡顺者昌，逆者亡；草木知运，不时而发，必是妖孽。”只不好说出来。独有黛玉听说是喜事，心里触动，便高兴说道：“当初田家有荆树一棵，三个弟兄因分了家，那荆树便枯了；后来感动了他弟兄们，仍旧归在一处，那荆树也就荣了。可知草木也随人的。如今二哥哥认真念书，舅舅喜欢，那棵树也就发了。”贾母王夫人听了喜欢，便说：“林姑娘比方得有理，狠有意思。”
Mrs. Xing said: "I saw that this flower has been withering for a year. Why should it be blooming at this time? There must be a reason." Li Wan smiled and said: "The old lady and the lady said the same thing. According to my confusion When I think about it, it must be a happy event coming to Baoyu, and this flower will come to report first." Although Tanchun did not speak, he thought in his heart: "This flower must not be a good omen. Generally, those who are obedient are prosperous, and those who are disobedient will perish; , it must be a monster." It's hard to say. When Yu Daiyu heard that it was a happy event, she was moved, and she said happily: "In the beginning, there was a thorn tree in the Tian family, and the thorn tree was withered because the three brothers separated; In one place, the wattle tree is also honored. It can be seen that the grass and trees also follow people. Now that the second brother is studying hard, and the uncle likes it, the tree is also grown." Madam Jia Muwang heard that she liked it, and said: "Miss Lin For example, it has to be reasonable and interesting.”

==英语笔译杨紫微 Yang Ziwei 202170081605==

正说着，贾赦、贾政、贾环、贾兰都进来看花。贾赦便说：“据我的主意，把他砍去。必是花妖作怪。”贾政道：“‘见怪不怪，其怪自败。’不用砍他，随他去就是了。”贾母听见，便说：“谁在这里混说？人家有喜事好处，什么怪不怪的！若有好事，你们享去；若是不好，我一个人当去。你们不许混说。”贾政听了，不敢言语，赸赸的同贾赦等走了出来。那贾母高兴，叫人传话到厨房里，快快预备酒席，大家赏花。叫：“宝玉、环儿、兰儿各人做一首诗志喜。林姑娘的病才好，不要他费心；若高兴，给你们改改。”对着李纨道：“你们都陪我喝酒。”李纨答应了“是”便笑对探春笑道：“都是你闹的。”

Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all came in to see the flowers. Pardon Merchant said, "In my opinion, just cut it down. It must be flower demons which make trouble." Master Merchant added: "' If you are inured to the strange, it will not be strange. ' Don't cut it down, just let it be." When Grandma Merchant heard this, she said, "Who is talking nonsense here? There is something auspicious in store for us. If there be good things, you enjoy yourselves; If not, I will go alone. You shouldn’t fool around." Mater Merchant dare not speak when heard this, and he walked out with Pardon Merchant embarrassingly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said in a high voice: “Precious Jade, Ring and Blue, each of you to write a poem to express congratulations. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you." "You'll all drink with me," she said to Silk Plum. Silk Plum replied "yes" and then smiled at Seeking-Spring and said, "It's all your fault."

Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all arrived to see the flowers. Pardon Merchant said, “In my opinion, just cut it down. It must be flower demons which make trouble.” Master Merchant added: “On the contrary, just let them alone. Evil manifestations thrive on such superstition. Just ignore them and they will disappear.” When Grandma Merchant heard this, she said, “Who is talking nonsense here? There is something auspicious in store for us. When there’s good luck, then enjoy it while you can. If not, I will take care of any bad luck. Do not say any other word of such nonsense.” This silenced Master Merchant and he walked out with Pardon Merchant awkwardly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said: “I should like Precious Jade, Ring and Blue, each to write a poem to celebrate this occasion. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you.” “You and the others come up and drink some wine with me,” she said to Silk Plum. Silk Plum replied “yes” and then, smiling, turned to Seeking-Spring and said, “This is all your fault.”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 04:40, 29 May 2022 (UTC)

==英语笔译张国浩 Zhang Guohao 202170081606==

探春道：“饶不叫我们做诗，怎么我们闹的？”李纨道：“海棠社不是你起的么？如今那棵海棠也要来入社了。”大家听着，都笑了。一时，摆上酒菜，一面喝着。彼此都要讨老太太的欢喜，大家说些兴头话。宝玉上来斟了酒，便立成了四句诗，写出来念与贾母听，道：海棠何事忽摧隤，今日繁花为底开？应是北堂增寿考，一阳旋复占先梅。贾环也写了来，念道：草木逢春当茁芽，海棠未发候偏差。人间奇事知多少，冬月开花独我家。贾兰恭楷誊正，呈与贾母。贾母命李纨念道：烟凝媚色春前萎，霜浥微红雪后开。莫道此花知识浅，欣荣预佐合欢杯。

Seeking-Spring protested, “What do you mean? We are not allowed to write poems. And what’s my fault?” “Aren’t you the founder of crab-flower club?”, replied Silk Plum. “Now the real crab-flower is going to join in this club too.” Everyone laughed after what Silk Plum had said. Food and wine now were served and they all drank. They tried their best to amuse Grandma Merchant with some humorous conversations. Precious Jade came up to pour himself some wine, then thought for a while and wrote a poem. Then he read it to his grandma. The poem said: I asked the crab-tree why it failed to blossom at the blossom-time, now you bloomed so profusely so long before the spring? The tree said: ‘At this time, it means new birth.’, Glad tidings to the Mistress of this House I bring. Then Ring Merchant also wrote out his poem and began to recite: Plants should begin to grow up in spring, our crab-tree blossomed at a wrong time. Of all the wonders in the world, it is the first time for trees to blossom in winter in our home. Then Cymbidium Merchant made a careful copy of his poem in Kai-shu calligraphy and gave it to Grandma Merchant. Grandma Merchant asked Silk Plum to read it out: Your beauty blighted in spring, but you blossom in winter now. Don not say this tree is not wise, it adds luster to our family prosperity.

“We’ve not even been allowed to write poems,” retorted Seeking-Spring. “So surely this has nothing to do with us?” “Didn’t you start the Begonia Society? Now these crab-apples’ want to join your club too.” At that everybody laughed. Presently wine and dishes were served. And as they drank they all tried to please the old lady by cheerful talk. Precious Jade poured wine for the others, then made tip and wrote out a quatrain which he read to his grandmother. It was as follows: What made the crab-apple wither away? And today why have fresh blossoms come? To foretell a long life for our Old Ancestress It is flowering anew, ahead of the plum. Ring Merchant also wrote and read out this poem: Crab-apples should burgeon in the spring, But ours were bare this year. The world is full of strange phenomena, Yet only here do winter blooms appear. Cymbidium Merchant wrote out his verse neatly and presented it to the old lady, who made Silk Plum read it out as follows: Its misty charm had faded by last spring, But after snow and frost pink blooms unfold. Do not accuse this flower of ignorance— Good fortune at this feast it has foretold.--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 01:55, 29 May 2022 (UTC)

==英语笔译张姣玲 Zhang Jiaoling 202170081607==

贾母听毕，便说：“我不大懂诗，听去倒是兰儿的好，环儿做得不好。都上来吃饭罢。”宝玉看见贾母喜欢，更是兴头，因想起：“晴雯死的那年，海棠死的；今日海棠复荣，我们院内这些人，自然都好，但是晴雯不能像花的死而复生了。”顿觉转喜为悲。忽又想起前日巧姐提凤姐要把五儿补入，或此花为他而开，也未可知。却又转悲为喜，依旧说笑。贾母还坐了半天，然后扶了珍珠回去了，王夫人等跟着过来。只见平儿笑嘻嘻的迎上来，说：“我们奶奶知道老太太在这里赏花，自己不得来，叫奴才来伏侍老太太、太太们。还有两匹红送给宝二爷包裹这花，当作贺礼。”
The old lady said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”

Grandma Merchant said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:37, 30 May 2022 (UTC)

==英语笔译张瑞 Zhang Rui 202170081608==

袭人过来接了，呈与贾母看。贾母笑道：“偏是凤丫头行出点事儿来，叫人看着又体面，又新鲜，狠有趣儿！”袭人笑着向平儿道：“回去替宝二爷给二奶奶道谢：要有喜，大家喜。”贾母听了，笑道：“嗳哟，我还忘了呢！凤丫头虽病着，还是他想得到，送得也巧。”一面说着，众人就随着去了。平儿私与袭人道：“奶奶说，这花开得奇怪，叫你铰块红绸子挂挂，便应在喜事上去了。以后也不必只管当作奇事混说。”袭人点头答应，送了平儿出去不题。且说那日宝玉本来穿着一裹圆的皮袄在家歇息，因见花开，只管出来看一回、赏一回、叹一回、爱一回的，心中无数悲喜离合，都弄到这株花上去了。

Aroma came to pick it up and presented it to Grandma Merchant to see. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come.In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Ping'er out without a question. Moreover,on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart all got to this flower.

Aroma came to pick it up and presented it to Grandma Merchant. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come. In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Patience out. Moreover, on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart were intrigued by this flower.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 08:05, 30 May 2022 (UTC)

==英语笔译赵宇翔 Zhao Yuxiang 202170081609==

忽然听说贾母要来，便去换了一件狐腋箭袖，罩一件玄狐腿外褂，出来迎接贾母。匆匆穿换，未将”通灵宝玉“挂上。及至后来贾母去了，仍旧换衣。袭人见宝玉脖子上没有挂着，便问：“那块玉呢？”宝玉道：“才刚忙乱换衣，摘下来放在炕桌上，我没有带。”袭人回看桌上，并没有玉，便向各处找寻，踪影全无，吓得袭人满身冷汗。宝玉道：“不用着急，少不得在屋里的。问他们就知道了。”袭人当作麝月等藏起吓他顽，便向麝月等笑着说道：“小蹄子们！顽呢，到底有个顽法。把这件东西藏在那里了？别真弄丢了，那可就大家活不成了。”

Suddenly Precious Jade heard that Grandma Merchant was coming. He went to change a Jianxiu(a kind of clothes with tight sleeves) made of fox's armpit hair and put on a garment made of the hair from black fox's legs, then he went out to welcome Grandma Merchant. He was in such a hurry to change his clothes that he forgot to wear his jade pendant of "Tong Ling Bao Yu". When Grandma Merchant left and Precious Jade went to change clothes, Aroma found that and asked him, "Where is that jade pendant?" Precious Jade answered, "I was hurrying to change my clothes. And I didn't wear it since I took it off and put it on the table." Aroma then found that the jade pendant was not on the table and looked around the room. The jade pendant was still missing, which scared Aroma to be in cold sweat. Precious Jade said, "Don't be anxious, it must stay somewhere in the room. You can ask the others." Aroma thought that it was Dusk Moon and other maids who hid the jade pendant to play tricks on her. She said to them, laughing, "You stupid girls! Are you playing the treasure haunting game? Where do you hide the jade pendant? If you really lose it, we all will be punished!"

==英语笔译郑冬琴 Zheng Dongqin 202170081610==

麝月等都正色道：“这是那里的话？顽是顽，笑是笑，这个事非同儿戏，你可别混说！你自己昏了心了，想想罢，想想搁在那里了？这会子又混赖人了。”袭人见他这般光景，不像是顽话，便着急道：“皇天菩萨，小祖宗！到底你摆在那里去了？”宝玉道：“我记得明明放在炕桌上的，你们到底找啊。”袭人麝月秋纹等也不敢叫人知道，大家偷偷儿的各处搜寻。闹了大半天，毫无影响，甚至翻箱倒笼，实在没处去找，便疑到方才这些人进来，不知谁捡了去了。袭人说道：“进来的，谁不知道这玉是性命是的东西呢？谁敢捡了去呢！你们好歹先别声张，快到各处问去。“What are you talking about?” they answered seriously. “Joking is all very well, but this is no joking matter. Don’t talk nonsense. You must be crazy! Better think back to where you put it instead of accusing us.”“Heavens!” cried Aroma anxiously, seeing them so much in earnest. “Where exactly did you put it, Master Precious Jade Merchant?”“I remember quite clearly putting it on that table,” he assured her. “Make a good search for it.”Not daring to let outsiders know, Aroma, Musk Deer Month, Autumn Vein and the other girls quietly searched the whole place. They hunted around for hours, even turning out cases and crates — but all in vain. When the jade was nowhere to be found, they wondered if one of their visitors that day could have taken it.But Aroma said, “All of them know how precious this jade is. Who’d dare take it? You mustn’t, for goodness’ sake, let word of this get out, but go and make inquiries at different households.

==英语笔译钟青 Zhong Qing 202170081611==

若有姐妹们捡着吓我们顽呢，你们给他磕头，要了回来；若是小丫头偷了去，问出来，也不回上头，不论把什么送给他换了出来，都使得的。这可不是小事，真要丢了这个，比丢了宝二爷的还利害呢。”麝月秋纹刚要往外走，袭人又赶出来嘱咐道：“头里在这里吃饭的倒别先问去。找不成，再惹出些风波来，更不好了。”麝月等依言，分头各处追问。人人不晓，个个惊疑。麝月等回来，俱目瞪口呆，面面相窥，宝玉也吓怔了，袭人急的只是干哭。找是没处找，回又不敢回：怡红院里的人吓得个个像木雕泥塑一般。大家正在发呆，只见各处知道的都来了。

==英语笔译周皓熙 Zhou Haoxi 202170081612==

探春叫把园门关上，先命个老婆子带着两个丫头，再往各处去寻去；一面又叫告诉众人：“若谁找出来，重重的赏银。”大家头宗要脱干系，二宗听见重赏，不顾命的混找了一遍，甚至于茅厮里都找到。谁知那块玉竟像绣花针儿一般，找了一天，总无影响。李纨急了，说：“这件事不是顽的，我要说句无礼的话了。”众人道：“什么呢？”李纨道：“事情到了这里，也顾不得了。现在园里，除了宝玉都是女人。要求各位姐姐、妹妹、姑娘都要叫跟来的丫头脱了衣服，大家搜一搜。若没有，再叫丫头们去搜那些老婆子并粗使的丫头。”

Seeing-Spring asked servants to close the yard gate. She then asked an old female servant to bring two girl servants to search around. At the same time, she told the rest, "A bonus for anyone who find it." Everyone wanted to prove their innocence and also wanted the bonus. Therefore, all were searching for the jade. Even the toilets were searched. However, it was seen nowhere after one day. Silk Plum was worried, saying, "It is no joke. I am going to be rude." Everyone was confused. She continued, "As for now, I think there is no other options. Now, except Precious Jade, everyone in the yard is female. So I beg every one of you to take off your clothes and let's search it again. If still no result, then I'll ask girl servants to search the old lady servants and manual servants."

Seeing-Spring asked servants to close the yard gate. She then asked an old female servant to bring two maids to search around. At the same time, she told the others, "A bonus for anyone who find it." Everyone wanted to prove their innocence and also wanted the bonus. Therefore, all were searching for the jade. Even the toilets were searched. However, it was seen nowhere after one day. Silk Plum was worried, saying, "It is no joke. I am going to say something rude." Everyone was confused. She continued, "As for now, I think there is no other options. Now, except Precious Jade, everyone in the yard is female. So I beg every one of you to take off your clothes and let's search it again. If still no result, then I'll ask girl servants to search the old lady servants and manual servants."--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 15:14, 31 May 2022 (UTC)

==英语笔译周哲 Zhou Zhe 202170081613==

大家说道：“这话也说的有理。现在人多手乱，鱼龙混杂，到是这么一来，你们也洗洗清。”探春独不言语。那些丫头们也都愿意洗净自己。先是平儿起。平儿说道：“打我先搜起。”于是各人自己解怀。李纨一气儿混搜。探春嗔着李纨道：“大嫂子，你也学那起不成材料的样子来了。那个人既偷了去还肯藏在身上？况且这件东西，在家里是宝，到了外头不知道的是废物，偷他做什么？我想来必是有人使促狭。”众人听说，又见环儿不在这里，昨儿是他满屋里乱跑，都疑到他身上，只是不肯说出来。
"That's an idea, "they agreed." With such a crowd of us here we're a mixed lot, and this would be a way to clear ourselves."
Only Seeking Spring made no comment.
As the maids also wanted to clear themselves of suspicion, Pinger volunteered to be the first to be searched. Then the others stripped too, and Li Wan searched them in turn.
"Sister-in-law!?"snapped Seeking Spring. "Where did you learn to behave in this scandalous way? If anyone stole it she wouldn't keep it on her, would she? Besides, this jade may be treasured here but to outsiders not in the know it's quite useless, so why should anyone steal it? I'm sure that someone is up to monkey tricks."
When they heard this and noticed Huan's absence— though earlier on he had been running all over the place— they suspected him but were unwilling to say so.

"That's an idea, "they agreed." With such a crowd of us here we're a mixed lot, and this would be a way to clear ourselves."
Only Seeking Spring made no comment.
As the maids also wanted to clear themselves of suspicion, Pinger volunteered to be the first to be searched. Then the others stripped too, and Li Wan searched them in turn.
"Sister-in-law!?"snapped Seeking Spring. "Where did you learn to behave in this scandalous way? If anyone stole it she wouldn't keep it on her, would she? Besides, this jade may be treasured here but to outsiders not in the know it's quite useless, so why should anyone steal it? I'm sure that someone is up to monkey tricks."
When they heard this and noticed Huan's absence— though earlier on he had been running all over the place— they suspected him but were unwilling to say so.--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 04:54, 31 May 2022 (UTC)

==英语笔译朱丽娟 Zhu Lijuan 202170081614==

探春又道：“使促狭的只有环儿。你们叫个人去悄悄的叫了他来，背地里哄着他，叫他拿出来，然后吓着他，叫他不要声张。这就完了。”大家点头称是。李纨便向平儿道：“这件事还是得你去才弄得明白。”平儿答应，就赶着去了。不多时，同了环儿来了。众人假意装出没事的样子，叫人沏了碗茶，搁在里间屋里。众人故意搭赸走开，原叫平儿哄他。平儿便笑着向环儿道：“你二哥哥的玉丢了，你瞧见了没有？”贾环便急得紫涨了脸，瞪着眼，说道：“人家丢了东西，你怎么又叫我来查问疑我，我是犯过案的贼么？”
"Huan's the only one who'd play such a trick," Seeking Spring continued. "Send somebody to fetch him quietly and persuade him to return it; then give him a scare to make him keep his mouth shut, and that will be that."
The others nodded approval.
Silk Plum told Patience, "You're the only one who can get the truth out of him.”
Patience agreed to try and hurried off, coming back before long with Ring Merchant. The rest pretended that nothing was amiss and told maids to serve him tea in the inner room. Then they excused themselves, leaving him to Patience.
“Your Precious Jade has lost his jade, she told him with a smile. "Have you seen it?"
Ring Merchant flushed scarlet and glared.
"When he loses something, why suspect me?" he protested. "Am I aconvicted thief?"

"Ring's the only one who'd play such a trick,"Seeking Spring continued. "Send somebody to fetch him quietly and persuade him to return it; then give him a scare to make him keep his mouth shut,and that will be that." The others nodded approval. Silk Plum told Patience,"You're the only one who can get the truth out of him."
Patience agreed to try and hurried off,coming back before long with Ring Merchant. The rest pretended that nothing was amiss and told maids to serve him tea in the inner room. Then they excused themselves,leaving him to Patience. "Your brother has lost his jade,she told him with a smile. "Have you seen it?"Ring Merchant flushed scarlet and glared. "When he loses something, why suspect me?"he protested. "Am I a convicted thief?"--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 13:30, 31 May 2022 (UTC)

==英语口译段小蝶 Duan Xiaodie 202170081615==

平儿见这样子，到不敢再问，便又陪笑道：“不是这么说。怕三爷要拿了去吓他们，所以白问问瞧见了没有，好叫他们找。”贾环道：“他的玉在他身上，看见不看见该问他，怎么问我？捧着他的人多着咧！得了什么不来问我，丢了东西就来问我！”说着，起身就走。众人不好拦他。这里宝玉倒急了，说道：“都是这劳什子闹事！我也不要他了，你们也不用闹了。环儿一去，必是嚷得满院里都知道了，这可不是闹事了么？”袭人等急得又哭道：“小祖宗，你看这玉丢了没要紧；若是上头知道了，我们这些人就要粉身碎骨了！”说着，便嚎啕大哭起来。
She explained with a smile.“I thought you might have taken it to scare them; that's why I simply asked if you'd seen it or not to help them find it." "He was the one wearing the jade so he's the one you should ask instead of me. You all make so much of him! When there's something good going,you don't ask me to share it; but when anythings lost,I'm the one you ask about it!" He got up and marched out and they could not stop him. "All this trouble's due to that silly thing! " burst out Precious Jade. "I don't want it,so you needn't make such a fuss. When Ring gets back,he's bound to tell everyone and raise a fearful rumpus." Weeping in desperation,Aroma said,"You may not care that the jade's lost,Little Ancestor,but if this comes to the mistresses'ears,it'll be the death of us!" She broke down and sobbed.

==英语口译方楚晗 Fang Chuhan 202170081616==

众人更加伤感，明知此事掩饰不来，只得要商议定了话，回来好回贾母诸人。宝玉道：“你们竟也不用商议，硬说我砸了就完了。”平儿道：“我的爷，好轻巧话儿！上头要问为什么砸的呢？他们也是个死啊！倘或要起砸破的碴儿来，那又怎么样呢？”宝玉道：“不然，便说我前日出门丢了。”众人一想，这句话倒还混得过去，但只这两天又没上学，又没往别处去。宝玉道：“怎么没有？大前儿还到南安王府里听戏去了呢。便说那日丢的。”探春道：“那也不妥。既是前儿丢的，为什么当日不来回。”

It soon became clear to them all that things could not be hushed up for much longer. They would have to agree on a story to tell Grandmother Jia and the other ladies. ‘That’s easy,’ said Bao-yu. ‘Just tell them I smashed it myself.’‘No no! That’s no good!’ said Patience. ‘Can’t you see?They’ll want to know why you smashed it, and then things will look just as black for Aroma and the others. And besides, what if they want to see the pieces?’ ‘Well then, say I lost it on a trip to town.’ There was a moment’s silence as they all pondered this suggestion. ‘We might possibly have got away with that,’ said someone at last. ‘But during the past few days you haven’t been to school, and you haven’t been out anywhere either.’‘Yes I have,’ Bao-yu corrected them. ‘A few days ago I went to the Earl of Lin-an’s to watch the plays. You can say I lost it then.’‘No, that won’t do,’ said Tan-chun. ‘If you lost it as long ago as that, they’ll want to know why it hasn’t been reported till now.’

It soon became clear to them all that things could not be hushed up for much longer. They would have to agree on a story to tell Grandmother Jia and the other ladies. ‘That’s easy,’ said Bao-yu. ‘Just tell them I smashed it myself.’‘No no! That doesn't work!’ said Patience. ‘Can’t you understand? They’ll want to know why you smashed it, and then things will look just as black for Aroma and the others. And besides, what if they want to see the pieces?’‘Well then, say I lost it on a trip to town.’ There was a moment’s silence as they all pondered this suggestion. ‘We might possibly have got away with that,’ said someone at last. ‘But during the past few days you haven’t been to school, and you haven’t been out anywhere either.’‘Yes I have,’ Bao-yu corrected them. ‘A few days ago I went to the Earl of Lin-an’s to watch the plays. You can say I lost it then.’‘No, that won’t do,’ said Tan-chun. ‘If you lost it as long ago as that, they’ll want to know why it hasn’t been reported till now.’
--[[User:Hu Wenwen|Hu Wenwen]] ([[User talk:Hu Wenwen|talk]]) 14:40, 1 June 2022 (UTC)

==英语口译胡雯雯 Hu Wenwen 202170081617==

众人正在胡思乱想要装点撒谎，只听得赵姨娘的声儿，哭着喊着走来，说：“你们丢了东西，自己不找，怎么叫人背地里拷问环儿！我把环儿带了来，索性交给你们这一起洑上水的。该杀该剐，随你们罢。”说着，将环儿一推说：“你是个贼，快快的招罢！”气得环儿也哭喊起来。李纨正要劝解，丫头来说：“太太来了。”袭人等此时无地可容。宝玉等赶忙出来迎接。赵姨娘暂且也不敢作声，跟了出来。王夫人见众人都有惊惶之色，才信方才听见的话，便道：“那块玉真丢了么？”众人都不敢作声。

They were still busy discussing the relative merits of these various fictions when suddenly they heard the voice of Aunt Zhao, cursing and wailing her way towards them.‘If you lose something, why can’t you look for it yourselves, instead of sneaking up and blaming my boy? Well, here he is! Take him! Sacrifice him if you think it will do you any good! Kill him! Hack him to pieces! Do what you like with him!’ She propelled Jia Huan into the room, c’rying:‘Thief! Hurry up and confess your crime!’This brought loud and angry protestations from Huan. Li Wan was just bracing herself to intervene and make the peace when a maid came rushing in and announced:‘Her Ladyship is here!’Aroma and the maids could see that a confrontation was now inevitable. Bao-yu and the girls went out at once to receive Lady Wang. Aunt Zhao’s wrath subsided for a moment and she followed them out. From the startled look on their faces Lady Wang could see that what she had heard must be true.‘Is it really lost?’ she cried. No one dared reply.

They were still busy discussing the relative merits of these various fictions when suddenly they heard the voice of Aunt
Zhao, cursing and wailing her way towards them. ‘If you lose something, why can’t you look for it
yourselves, instead of sneaking up and blaming my boy? Well, here he is! Take him! Sacrifice him if you think it will do you any good! Kill him! Hack him to pieces! Do what you like with him!’ She propelled Jia Huan into the room, crying: ‘Thief! Hurry up and confess your crime!’ This brought loud and angry protestations from Huan. Silk Plum was just bracing herself to intervene and make the peace when a maid came rushing in and announced: ‘Her Ladyship is here!’
Aroma and the maids could see that a confrontation was now inevitable. Precious Jade and the girls went out at once to receive Lady Wang. Aunt Zhao’s wrath subsided for a moment and she followed them out. From the startled look on their faces Lady Wang could see that what she had heard must be true. ‘Is it really lost?’ she cried. No one dared reply.--[[User:Huang Tianqi|Huang Tianqi]] ([[User talk:Huang Tianqi|talk]]) 14:20, 1 June 2022 (UTC)

==英语口译黄天琪 Huang Tianqi 202170081618==

王夫人走进屋里坐下，便叫袭人，慌得袭人连忙跪下，含泪要禀。王夫人道：“你起来，快快叫人细细找去，一忙乱倒不好了。”袭人哽咽难言。宝玉生恐袭人直告诉出来，便说道：“太太，这事不与袭人相干，是我前日到南安王府那里听戏在路上丢了。”王夫人道：“为什么那日不找？”宝玉道：“我怕他们知道，没有告诉他们。我叫焙茗等在外头各处找过的。”王夫人道：“胡说！如今脱换衣服，不是袭人他们伏侍的么？大凡哥儿出门回来，手巾荷包短了，还要问个明白，何况这块玉不见了，便不问的么？”宝玉无言可答。

Lady Wang walked in, sat down and called Aroma forward. Aroma fell trembling to her knees. In a choked voice she murmured ‘Yes.’ ‘Well, get up!’ said Lady Wang. ‘We must have a thorough search made. Come on, this helpless attitude will never do.’ Aroma was sobbing and could not say a word. Precious Jade finally spoke up, fearful that she might blurt out the truth. ‘Mother, this has nothing to do with Aroma. I lost it the other day on my way back from seeing the plays at the Earl of Lin-an’s.’ ‘Then why didn’t you look for it at the time?’ ‘I didn’t want anyone to know. I just told Tealeaf to look for it everywhere along the street.’ ‘Nonsense! You know perfectly well that Aroma or one of your other maids would have noticed. That’s their job. They are always with you when you change. Whenever you come in from a party or any kind of excursion, if one of your handkerchiefs is missing, or a little purse, they’re bound to ask you where it’s gone do you really think that they would allow something as irreplaceable as your jade to disappear, and not say a word?’ Precious Jade was stumped for an answer.

==英语口译李丹 Li Dan 202170081620==

赵姨娘听见，便得意了，忙接过口道：“外头丢了东西，也赖环儿……”话未说完，被王夫人喝道：“这里说这个，你且说那些没要紧的话！”赵姨娘便不敢言语了。还是李纨探春从实的告诉了王夫人一遍。王夫人也急得泪如雨下，索性要回明贾母，去问邢夫人那边跟来的这些人去。凤姐病中，也听见宝玉失玉，知道王夫人过来，料躲不住，便扶了丰儿来到园里。正值王夫人起身要走，凤姐娇怯怯的说：“请太太安。”宝玉等过来问了凤姐好。王夫人因说道：“你也听见了么？这可不是奇事吗？刚才眼错不见就丢了，再找不着。

==英语口译李立飞 Li Lifei 202170081621==

你去想想：打老太太那边丫头起，至你们平儿，谁的手不稳，谁的心促狭；我要回了老太太，认真的查出来才好。不然，是断了宝玉的命根子了。”凤姐回道：“咱们家人多手杂，自古说的，‘知人知面不知心’，那里保得住谁是好的？但是一吵嚷，已经都知道了，偷玉的人，若叫太太查出来，明知是死无葬身之地，他着了急，反要毁坏了灭口，那时可怎么处呢？据我的糊涂想头，只说宝玉本不爱他，撂丢了，也没有什么要紧，只要大家严密些，别叫老太太老爷知道；这么说了，暗暗的派人去各处察访，哄骗出来，那时玉也可得，罪名也好定：不知太太心里怎么样？”

==英语口译莫雨婷 Mo Yuting 202170081622==

王夫人迟了半日，才说道：“你这话虽也有理，但只是老爷跟前怎么瞒的过呢？”便叫环儿过来道：“你二哥哥的玉丢了，白问了你一句，怎么你就乱嚷？若是嚷破了，人家把那个毁坏了，我看你活得活不得！”贾环吓得哭道：“我再不敢嚷了。”赵姨娘听了，那里还敢言语。王夫人便吩咐众人道：“想来自然有没找到的地方儿。好端端的在家里的，还怕他飞到那里去不成？只是不许声张。限袭人三天内给我找出来。要是三天找不着，只怕也瞒不住，大家那就不用过安静日子了。”说着，便叫凤姐儿跟到邢夫人那边，商议踩缉不题。

After a long pause Lady Wang replied:"It’s all very well, but will we ever succeed in keeping this from Sir Zheng?" She called Jia Huan to her. "It was very silly of you to go shouting your head off about Bao-yu’s jade, just because they asked you about it. If the thief has heard and destroys the jade, you will pay for it with your life!" "I promise never to mention it again!" wailed Jia Huan in terror. This time Aunt Zhao held her tongue. "There must be some places left where you haven’t looked," Lady Wang continued, addressing the assembled maids. "It must be somewhere here. It’s hardly going to fly away, is it? But when you look, be as quiet as possible. Aroma, I give you three days to find it. If we still haven’t found it by then, we shan’t be able to keep it from Her Old Ladyship and Sir Zheng any longer. And everyone knows what that will mean!" Bidding Xi-feng accompany her, Lady Wang set off for Lady Xing’s apartment, for further consultations on how to apprehend the thief.

After a long pause Lady Wang replied:"It’s all very well, but will we ever succeed in keeping this from Sir Zheng?" She called Jia Huan to her. "It was very silly of you to go shouting your head off about Bao-yu’s jade, just because they asked you about it. If the thief has heard and destroys the jade, you will pay for it with your life!" "I promise never to mention it again!" wailed Jia Huan in terror. This time Aunt Zhao held her tongue. "There must be some places left where you haven’t looked," Lady Wang continued, addressing the assembled maids. "It must be somewhere here. It’s hardly going to fly away, is it? But when you look, be as quiet as possible. Aroma, I give you three days to find it. If we still haven’t found it by then, we shan’t be able to keep it from Her Old Ladyship and Sir Zheng any longer. And everyone knows what that will mean!" Bidding Xi-feng accompany her, Lady Wang set off for Lady Xing’s apartment, for further consultations on how to apprehend the thief.--[[User:Peng Huixuan|Peng Huixuan]] ([[User talk:Peng Huixuan|talk]]) 08:43, 1 June 2022 (UTC)

==英语口译彭慧璇 Peng Huixuan 202170081623==

这里李纨等纷纷议论，便传唤看园子的一干人来，叫把园门锁上，快传林之孝家的来，悄悄儿的告诉了他，叫他：“吩咐前后门上，三天之内，不论男女下人，从里头可以走动，要出时，一概去不许放出。只说里头丢了东西，待这件东西有了着落，然后放人出来。”林之孝家的答应了“是”，因说：“前儿奴才家里也丢了一件不要紧的东西，林之孝必要明白，上街去找了一个测字的。那人叫做什么刘铁嘴，测了一个字，说的狠明白，回来依旧一找，便找着了。”袭人听见，便央及林家的道：“好林奶奶！出去快求林大爷替我们问问去。”那林之孝家的答应着出去了。

Li Wan and the others continued to debate what to do. They sent for the various domestics in charge of the Garden and gave orders for the gates to be securely locked. Steward Lin’s wife was also summoned and given confidential instructions. ‘Tell the servants on both gates that absolutely no one is to be allowed out of the Garden for the next three days. We can allow freedom of movement within the Garden, but no one must leave. Say that something has been lost and that no one can go out until it’s found.’ ‘Yes, Mrs Zhu,’ said Lin’s wife. ‘Excuse me, ma’am,’ she went on, ‘but we lost something at home the other day - nothing of any value of course, but my husband was determined to find it, and he went and consulted one of those word-diviners that set themselves up at street corners. Iron Mouth Liu I think this one’s name was. His reading was very clear. My husband followed his instructions, and found the missing item straight away.’ When Aroma heard this she begged her to help them. ‘Oh, Mrs Lin! Please go and ask your husband to consult this man for us!’ ‘Indeed I will. Straight away. Lin’s wife bustled off. Xing Xiu-yan now had a suggestion to make.

Li Wan and the others continued to debate what to do. They sent for the various domestics in charge of the Garden and gave orders for the gates to be securely locked. Steward Lin’s wife was also summoned and given confidential instructions. ‘Tell the servants on both gates that absolutely no one is to be allowed out of the Garden for the next three days. We can allow freedom of movement within the Garden, but no one must leave. Say that something has been lost and that no one can go out until it’s found.’ ‘Yes, Mrs Zhu,’ said Lin’s wife. ‘Excuse me, ma’am,’ she went on, ‘but we lost something at home the other day - nothing of any value of course, but my husband was determined to find it, and he went and consulted one of those word-diviners that set themselves up at street corners. Iron Mouth Liu I think this one’s name was. His reading was very clear. My husband followed his instructions, and found the missing item straight away.’ When Aroma heard this she begged her to help them. ‘Oh, Mrs Lin! Please go and ask your husband to consult this man for us!’ ‘Indeed I will. Straight away. Lin’s wife bustled off. Xing Xiu-yan now had a suggestion to make.--[[User:Shi Youjie|Shi Youjie]] ([[User talk:Shi Youjie|talk]]) 08:45, 1 June 2022 (UTC)

==英语口译时友洁 Shi Youjie 202170081624==

邢岫烟道：“若说那外头测字打卦的，是不中用的。我在南边闻妙玉能扶乩，何不烦他问一问？况且我听见说，这块玉原有仙机，想来问得出来。”众人都咤异道：“咱们常见的，从没有听他说起。”麝月便忙问岫烟道：“想来别人求他是不肯的，好姑娘，我给姑娘磕个头，求姑娘就去，若问出来了，我一辈子总不忘你的恩！”说着，赶忙就要磕下头去，岫烟连忙拦住。黛玉等也都怂恿着岫烟速往栊翠庵去。一面林之孝家的进来说道：“姑娘们大喜！林之孝测了字回来，说这玉是丢不了的，将来横竖有人送还来的。”众人听了，也都半信半疑。惟有袭人麝月喜欢的了不得。
‘If you ask me, those word-diviners and fortune-tellers you find on street corners are all charlatans. But when I knew Adamantina, in the South, before she came to live here, I heard of her gift for the planchette. Why don’t we ask her to hold a séance for us? Didn’t .Bao-yu’s jade have a mysterious origin
anyway? It would surely lend itself to that sort of approach.’ The others seemed greatly surprised to hear this, and reflected that in all the time they had known her, Adamantma had never once mentioned such a gift. Musk earnestly beseeched Xiu-yan: ‘Oh, Miss! I don’t think she would agree to do it for
anyone but you! Please, please, will you ask her for us? I’ll kotow to you - if she finds the answer, I’ll be indebted to you for a lifetime!’She was about to perform a kotow, but Xiu-yan raised her from the ground. Dai-yu and the others added their entreaties to Musk’s, and Xiu-yan left with all speed for Green Bower Hermitage. No sooner had she gone, than Steward Lin’s wife returned from her mission. ‘Ladies!’ she announced with great jubilation. ‘I bring good news! My husband has been to see the man~ and he says the jade is sure to turn up. Someone will definitely bring it back.’ She had yet to convince her audience however - except for Aroma and Musk, who were ready to grasp at the slightest hope.

"If you ask me, those word-diviners and fortune-tellers you find on street corners are all charlatans. But when I knew Adamantina, in the South, before she came to live here, I heard of her gift for the planchette. Why don’t we ask her to hold a séance for us? Didn’t. Bao Yu’s jade has a mysterious origin
anyway? It would surely lend itself to that sort of approach." The others seemed greatly surprised to hear this, and reflected that in all the time they had known her, Adamantma had never once mentioned such a gift. Musk earnestly beseeched Xiu Yan: "Oh, Miss! I don’t think she would agree to do it for
anyone but you! Please, please, will you ask her for us? I’ll kotow to you - if she finds the answer, I’ll be indebted to you for a lifetime!" She was about to perform a kotow, but Xiu Yan raised her from the ground. Dai-yu and the others added their entreaties to Musk’s, and Xiu-yan left with all speed for Green Bower Hermitage. No sooner had she gone, than Steward Lin’s wife returned from her mission. "Ladies!" she announced with great jubilation. "I bring good news! My husband has been to see the man and he says the jade is sure to turn up. Someone will definitely bring it back." She had yet to convince her audience, however - except for Aroma and Musk, who were ready to grasp at the slightest hope.--[[User:Wu Jiahui|Wu Jiahui]] ([[User talk:Wu Jiahui|talk]]) 08:51, 1 June 2022 (UTC)

==英语口译伍佳惠 Wu Jiahui 202170081625==

探春便问：“测的是什么字？”林之孝家的道：“他的话多，奴才也学不上来，记得是拈了个赏人东西的‘赏’字。那刘铁嘴也不问，便说：‘丢了东西不是？’“李纨道：“这就算好。”林之孝家的道：“他还说：‘“赏”字上头一个“小”字，底下一个“口”字，这件东西，狠可嘴里放得，必是个珠子宝石。’”众人听了，夸赞道：“真是神仙！往下怎么说？”林之孝家的道：“他说：‘底下“贝”字拆开，不成一个“见”字，可不是“不见”了？’因上头拆了‘当’字，叫快到当铺里找去。‘“赏”字加一“人”字，可不是“偿”字？只要找着当铺就有人，有了人便赎了来，可不是偿还了吗。’”

“What character did he analyze?” Seeking-Spring Merchant asked. “He said a lot, but it is too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was Shang meaning ‘gift.’ Then, without asking any question, Iron Mouth Liu said, “You’ve lost something, I take it.” “A good guess!” Silk Plum exclaimed. Filial Piety Forest's Wife continued, “He said the upper part of the character is the xiao for ‘small’ with the Kou for ‘mouth’ below. Therefore, the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of Jian meaning ‘see’, so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn’, we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to Shang, it gives Chang meaning to ‘redeem’. So once we hit on the right pawn shop, we’ll find whoever pawned it and then we can redeem it.”

“What character did he analyze?” Seeking-Spring Merchant asked. “He said a whole lot, too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was shang meaning ‘gift.’ Then, without asking any questions, that Iron Mouth Liu said, ‘You’ve lost something, I take it. “A good guess!” exclaimed Silk Plum. Filial Piety Forest's Wife continued, “Then he said the upper part of the character is the xiao for ‘small’ with the kou for ‘mouth’ below; so the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of jian meaning ‘see,’ so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn,’ we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to shang, it gives chang meaning to ‘redeem.’ So once we hit on the right pawn¬shop, we’ll find whoever pawned it and then we can redeem it.”--[[User:Xia Jing|Xia Jing]] ([[User talk:Xia Jing|talk]]) 10:12, 28 May 2022 (UTC)

==英语口译夏晶 Xia Jing 202170081626==

众人道：“既这么着，就先往左近找起。横竖几个当铺都找遍了，少不得就有了。咱们有了东西，再问人就容易了。”李纨道：“只要东西，那怕不问人都使得。林嫂子，烦你就把测字的话快去告诉二奶奶，回了太太，先叫太太放心。就叫二奶奶快派人查去。”林家的答应了便走。众人略安了一点儿神，呆呆的等岫烟回来。正呆等，只见跟宝玉的焙茗在门外招手儿，叫小丫头子快出来。那小丫头赶忙的出去了。焙茗便说道：“你快进去告诉我们二爷和里头太太、奶奶、姑娘们，天大喜事。”那小丫头子道：“你快说罢，怎么这么累赘？”

“In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”

Revision: “In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”--[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 03:18, 30 May 2022 (UTC)

==英语口译向师琦 Xiang Shiqi 202170081627==

焙茗笑着拍手道：“我告诉姑娘，姑娘进去回了，咱们两个人都得赏钱呢！你打量什么，宝二爷的那块玉呀，我得了准信来了。” 话说焙茗在门口和小丫头子说宝玉的玉有了，那小丫头急忙回来告诉宝玉。众人听了，都推着宝玉出去问他。众人在廊下听着。宝玉也觉放心，便走到门口，问道：“你那里得了？快拿来。”焙茗道：“拿是拿不来的，还得托人做保去呢。”宝玉道：“你快说是怎么得的，我好叫人取去。”焙茗道：“我在外头，知道林爷爷去测字，我就跟了去。我听见说在当铺里找，我没等他说完，便跑到几个当铺里去。我比给他们瞧，有一家便说‘有’。
Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page, and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked:“Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”“Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.

Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked: “Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.--[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 15:46, 30 May 2022 (UTC)

==英语口译向望 Xiang Wang 202170081628==

我说：‘给我罢。’那铺子里要票子。我说：‘当多少钱？’他说：‘三百钱的也有，五百钱的也有。前儿有一个人拿这么一块玉，当了三百钱去；今儿又有人也拿了一块玉，当了五百钱去。’”宝玉不等说完，便道：“你快拿三百五百钱去取了来，我们挑着看是不是。”里头袭人便啐道：“二爷不用理他！我小时候儿听见我哥哥常说，有些人卖那些小玉儿，没钱用，便去当。想来是家家当铺里有的。”众人正在听得咤异，被袭人一说，想了一想，倒大家笑起来，说：“快叫二爷进来罢，不用理那糊涂东西了。他说的那些玉，想来不是正经东西。”宝玉正笑着，只见岫烟来了。

When I asked for it, though, they wanted the pawn-ticket. ‘How much was it hocked for?’ I asked. They said, ‘We give from three hundred to five hundred cash. The other day someone brought in a jade like that and pawned it for three hundred. Today another man came with a piece and pawned it for five hundred.”’Baoyu cut him short with the order, “Go at once, taking money to redeem both; then we’ll see whether one is the right piece or not.”“Don’t listen to him, Master Bao!” scoffed Xiren from inside. “When I was small my brother often told me that hawkers of small pieces of jade pawn them when they need cash. Every single pawnshop must have some.”The others had been surprised by Beiming’s report. Now, thinking over Xiren’s comment, they laughed.“Tell Master Bao to come in,” they cried. “Pay no attention to that simpleton. The jade he’s talking about can’t be the right one.”Baoyu was laughing too when Xiuyan came back.

==英语口译徐舞 Xu Wu 202170081629==

原来岫烟走到栊翠庵，见了妙玉，不及闲话，便求妙玉扶乩。妙玉冷笑几声，说道：“我与姑娘来往，为的是姑娘不是势利场中的人。今日怎么听了那里的谣言，过来缠我？况且我并不晓得什么叫‘扶乩’。”说着，将要不理。岫烟懊悔此来：知他脾气是这么着的，“一时我已说出，不好白回去。”又不好与他质证他会扶乩的话，只得陪着笑将袭人等性命关系的话说了一遍。见妙玉略有活动，便起身拜了几拜。妙玉叹道：“何必为人作嫁？但是我进京以来，素无人知，今日你来破例，恐将来缠绕不休。”

==英语口译张静芝 Zhang Jingzhi 202170081630==

岫烟道：“我也一时不忍。知你必是慈悲的。便是将来他人求你，愿不愿在你，谁敢相强？”妙玉笑了一笑，叫道婆焚香，在箱子里找出沙盘乩架，书了符，命岫烟行礼祝告毕，起来同妙玉扶着乩。不多时，只见那仙乩疾书道：噫！来无迹，去无踪，青埂峰下倚古松。欲追寻，山万重，入我门来一笑逢。书毕，停了乩。岫烟便问：“请是何仙？”妙玉道：“请的是拐仙。”岫烟录了出来，请教妙玉解识。妙玉道：“这个可不能，连我也不懂。你快拿去，他们的聪明人多着哩。”岫烟只得回来。进入院中，各人都问：“怎么样了？”

==日语笔译曹梦然 Cao Mengran 202170081632==

岫烟不及细说，便将所录乩语递与李纨，众姊妹及宝玉争看，都解的是：“一时要找是找不着的，然而丢是丢不了的，不知几时不找便出来了。但是青埂峰不知在那里？”李纨道：“这是仙机隐语。咱们家里那里跑出青埂峰来？必是谁怕查出，撂在有松树的山子石底下，也未可定。独是‘入我门来’这句，到底是入谁的门呢？”黛玉道：“不知请的是谁？”岫烟道：“拐仙。”探春道：“若是仙家的门，便难入了。”袭人心里着忙，便捕风捉影的混找，没一块石底下不找到，只是没有。回到院中，宝玉也不问有无，只管傻笑。

Xiuyan went back, and as soon as she entered the courtyard the others all wanted to know how she had fared. Without giving them the details, she handed Silk Plum the oracle she had transcribed. The girls and Precious Jade crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking. “But where is this Blue Ridge Peak?” they asked. “That must be some divine riddle,” said Silk Plum. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?” Mascara Jade remarked, “I wonder whom she invoked.” “Saint Li the Cripple,” Xiuyan told her. “If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed seeking-spring. Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Precious Jade smiled foolishly instead of asking whether she had found it

Xiuyan went back, and as soon as she entered the courtyard the oth¬ers all wanted to know how she had fared. Without giving them the de¬tails, she handed Li Wan the oracle she had transcribed. The girls and Baoyu crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking.
“But where is this Blue Ridge Peak?” they asked.
“That must be some divine riddle,” said Li Wan. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?”
Daiyu remarked, “I wonder whom she invoked.”
“Saint Li the Cripple,” Xiuyan told her.
“If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed Tanchun.
Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Baoyu smiled foolishly instead of asking whether she had found it.--[[User:Hu Mengqi|Hu Mengqi]] ([[User talk:Hu Mengqi|talk]]) 12:37, 29 May 2022 (UTC)

==日语笔译胡梦琪 Hu Mengqi 202170081633==

麝月着急道：“小祖宗！你到底是那里丢的？说明了，我们就是受罪，也在明处啊。”宝玉笑道：“我说外头丢的，你们又不依。你如今问我，我知道么？”李纨探春道：“今儿从早起闹起，已到三更来的天了。你瞧林妹妹已经掌不住，各自去了。我们也该歇歇儿了，明儿再闹罢。”说着，大家散去。宝玉即便睡下。可怜袭人等哭一回，想一回，一夜无眠，暂且不题。且说黛玉先自回去，想起“金”“石”的旧话来，反自喜欢；心里说道：“和尚道士的话真个信不得。果真‘金’‘玉’有缘，宝玉如何能把这玉丢了呢？或者因我之事，拆散他们的‘金玉’，也未可知。”

“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin’s already left — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night, unable to sleep.
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.

“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin was already leave — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night and unable to sleep.
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 14:38, 29 May 2022 (UTC)

==日语笔译张白鹭 Zhang Bailu 202170081634==

想了半天，更觉安心，把这一天的劳乏，竟不理会，重新倒看起书来。紫鹃倒觉身倦，连催黛玉睡下。黛玉虽躺下，又想到海棠花上，说“这块玉原是胎里带来的，非比寻常之物，来去自有关系。若是这花主好事呢，不该失了这玉呀。看来此花开的不祥，莫非他有不吉之事？”不觉又伤起心来。又转想到喜事上头，此花又似应开，此玉又似应失；如此一悲一喜，直想到五更方睡着。次日，王夫人等早派人到当铺里去查问，凤姐暗中设法找寻。一连闹了几天，总无下落。还喜贾母贾政未知。袭人等每日提心吊胆。宝玉也好几天不上学，只是怔怔的，不言不语，没心没绪的。

Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.

Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.--[[User:Liu Anli|Liu Anli]] ([[User talk:Liu Anli|talk]]) 14:35, 29 May 2022 (UTC)

==朝鲜语笔译刘安莉 Liu Anli 202170081635==

王夫人只知他因失玉而起，也不大着意。那日正在纳闷，忽见贾琏进来请安，嘻嘻的笑道：“今日听得军机贾雨村打发人来告诉二老爷，说：‘舅太爷升了内阁大学士，奉旨来京，已定明年正月二十日宣麻，有三百里的文书去了。’想舅太爷昼夜趱行，半个多月就要到了。侄儿特来回太太知道。”王夫人听说，便欢喜非常。正想娘家人少，薛姨妈家又衰败了；兄弟又在外任，照应不着。今日忽听兄弟拜相回京，王家荣耀，将来宝玉都有倚靠。便把失玉的心又略放开些了，天天专望兄弟来京。忽一天，贾政进来，满脸泪痕，喘吁吁的说道：

His mother did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam.
Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now as Grand Secretary would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival.
Then one day Master Merchant burst in, tears streaming down his cheeks.

Lady King did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam. Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now and it would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival. Then one day Master Merchant burst in, tears streaming down his cheeks.--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 03:18, 30 May 2022 (UTC)

<nowiki></nowiki>==朝鲜语笔译王思佳 Wang Sijia 202170081636==

“你快去禀知老太太，即刻进宫！不用多人的，是你伏侍进去。因娘娘忽得暴病，现在太监在外立等。他说：‘太医院已经奏明痰厥，不能医治。’”王夫人听说，便大哭起来。贾政道：“这不是哭的时候，快快去请老太太。说得宽缓些，不要吓坏了老人家。”贾政说着，出来吩咐家人伺候。王夫人收了泪，去请贾母，只说元妃有病，进去请安。贾母念佛道：“怎么又病了？前番吓的我了不得，后来又打听错了。这回情愿再错了也罢。”王夫人一面回答，一面催鸳鸯等开箱取衣饰穿戴起来。王夫人赶着回到自己房中也穿戴好了，过来伺候。一时出厅，上轿进宫不题。

"Go to the old lady and enter the palace at once!" It doesn't take many people, it's you who ambush in. Because Princess Merchant suddenly fell ill violently, the eunuch is now waiting outside. He said: 'The hospital has made it clear that it cannot be cured.' When Lady King heard this, she burst into tears. Master Merchant said, "This is not the time to cry, go and ask the old lady quickly." Speak more gently, don't frighten the old man. Master Merchant said, and came out to order his family to serve. Lady King collected her tears and went to ask Grandma Merchant, only to say that Princess Merchant was ill and went in to ask for peace. Grandma Merchant chanted the Buddha, "Why are you sick again?" I was terrified of it before, and then I was wrong. This time I'm willing to be wrong. Lady King replied while urging mandarin ducks to open the box and take clothes and put them on. Lady King hurried back to her room and dressed herself, and came to serve. When I went out of the hall for a while, I went to the palace and entered the palace without a title.

"Go to the old lady and enter the palace at once!" It doesn't take many people, it's you who ambush in. Because Princess Merchant suddenly fell ill violently, the eunuch is now waiting outside. He said: 'The Taiyuan hospital has made it clear that it cannot be cured.' When Lady King heard this, she burst into tears. Master Merchant said, "This is not the time to cry, go and ask the old lady quickly." Speak more gently, don't frighten the old man. Master Merchant said, and came out to order his family to serve. Lady King collected her tears and went to ask Grandma Merchant, only to say that Princess Merchant was ill and went in to ask for peace. Grandma Merchant chanted the Buddha, "Why are you sick again?" I was terrified of it before, and then I was wrong. This time I'm willing to be wrong. Lady King replied while urging mandarin ducks to open the box and take clothes and put them on. Lady King hurried back to her room and dressed herself, and came to serve. When I went out of the hall for a while, I went to the palace and entered the palace without a title--[[User:Xu Gai|Xu Gai]] ([[User talk:Xu Gai|talk]]) 12:22, 31 May 2022 (UTC)

==朝鲜语笔译徐盖 Xu Gai 202170081638==

且说元春自选了凤藻宫后，圣眷隆重，身体发福，未免举动费力。每日起居劳乏，时发痰疾。因前日侍宴回宫，偶沾寒气，勾起旧病。不料此回甚属利害，竟至痰气壅塞，四肢厥冷。一面奏明，即召太医调治。岂知汤药不进，连用通关之剂，并不见效。内官忧虑，奏请预办后事，所以传旨命贾氏椒房进见。贾母王夫人遵旨进宫，见元妃痰塞口涎，不能言语。见了贾母，只有悲泣之状，却少眼泪。贾母进前请安，奏些宽慰的话。少时贾政等职名递进，宫嫔传奏，元妃目不能顾，渐渐脸色改变。内宫太监即要奏闻，恐派各妃看视，椒房姻戚未便久羁，请在外宫伺候。

Let's say that since the election of the fengzao palace, the holy family members have been ceremonious and have gained weight. It's hard to move. Daily life fatigue, sometimes phlegm disease. I came back to the palace from the banquet the day before yesterday, and I got cold and started an old illness. Unexpectedly, this time it was very dangerous. It was so bad that the phlegm was blocked and the limbs were cold. On the other hand, the doctor will be called for treatment. I didn't know that the soup and medicine were not available. Even the customs clearance agent was not effective. The internal officer was worried, so he ordered Jia's pepper room to see him. Grandma merchant entered the palace according to his order. When he saw that congubine yuan was salivating and unable to speak. When I met grandma merchant, I was only sad but had few tears. Grandma merchant goes in to say hello and say a few words of comfort. When he was young, the title of master merchant was gradually advanced, and the palace concubines played, but the eyes of concubine yuan could not care, and his face gradually changed. The eunuch in the inner palace is about to hear about it. He is afraid that he will send his concubines to watch him. The marriage of pepper house has been detained for a long time. Please serve him in the outer palace.

==朝鲜语笔译徐文慧 Xu Wenhui 202170081639==

贾母王夫人怎忍便离，无奈国家制度，只得下来，又不敢啼哭，惟有心内悲感。朝门内官员有信。不多时，只见太监出来，立传钦天监。贾母便知不好，尚未敢动。稍刻，小太监传谕出来，说：“贾娘娘薨逝。”是年甲寅年十二月十八日立春；元妃薨日，是十二月十九日，已交卯年寅月，存年四十三岁。贾母含悲起身，只得出宫上轿回家。贾政等亦已得信，一路悲戚。到家中，邢夫人、李纨、凤姐、宝玉等出厅，分东西迎着贾母，请了安，并贾政王夫人请安，大家哭泣不题。次日早起，凡有品级的，按贵妃丧礼进内请安哭临。

Grandma Merchant and Lady King could not bear to leave, but had no choice but to come down from the state system. She did not dare to cry, but she felt sad inside. The official inside the door has a letter. Before long, the eunuch came out to preach The Imperial Board of Astronomy. Grandma Merchant knew it was not good and had not dared to move. A moment later, the little eunuch sent an oracle, saying: "Empress died." It is December 18, the beginning of spring; Concubine Yuan died and died on December 19. He was forty-three years old. Grandma Merchant sad up, only the palace on the sedan home. Master Merchant and so on have also got the letter, all the way sad. When they got home, Lady City, Silk Plum, Splendid Phoenix King, Precious Jade Merchant went out to greet Grandma Merchant with their belongings and pay their respects to Master Merchant and Lady King. Early the next morning, all who have grade, according to the funeral ceremony of the imperial concubine into the room to ask for peace and cry.

==比较文学与跨文化研究 Mahzad Heydarian 202021080004==

贾政又是工部，虽按照仪注办理，未免堂上又要周旋他些，同事又要请教他，所以两头更忙，非比从前太后与周妃的丧事了。但元妃并无所出，惟谥曰贤淑贵妃。此是王家制度，不必多赘。只讲贾府中男女，天天进宫，忙的了不得。幸喜凤姐儿近日身子好些，还得出来照应家事；又要预备王子腾进京，接风贺喜。凤姐胞兄王仁，知道叔叔入了内阁，仍带家眷来京。凤姐心里喜欢，便有些心病，有这些娘家的人，也便撂开，所以身子倒觉比前好了些。王夫人看见凤姐照旧办事，又把担子卸了一半；又眼见兄弟来京，诸事放心，倒觉安静些。

Master Merchant is also in the Ministry of Works. Although it was handled by the ceremonies, it was necessary to deal with him in the court, and his colleagues had to ask him for advice, so the two sides were busier, not compared with the funeral of the Queen Mother and Concubine Zhou in the past. But Concubine Yuan did not come out, but she was given the posthumous title of Concubine Xianshu. This is the royal family system, so there is no need to repeat it. It only talks about men and women in Merchant's house, who go to the palace every day and are very busy. Fortunately, Sister Phoenix is in better health recently, and she has to come out to take care of the housework. She also has to prepare Soar King to come to Beijing to welcome the wind and congratulate her. Sister Phoenix's elder brother Wang Ren brought his family to Beijing when he knew that his uncle had joined the cabinet. Sister Phoenix liked it in her heart, and she felt a little sick. She also gave up with these family members, so her body felt better than before. Lady King saw that Sister Phoenix was doing things as usual, and half of the burden was unloaded; and when she saw her brother come to Beijing, everything was relieved, and she felt quieter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:26, 30 May 2022 (UTC)

==外国语言文学 Akira 202121080009==

独有宝玉原是无职之人，又不念书，代儒学里知他家里有事，也不来管他；贾政正忙，自然没有空儿查他：想来宝玉趁此机会竟可与姊妹们天天畅乐。不料他自失了玉后，终日懒怠走动，说话也糊涂了。并贾母等出门回来，有人叫他去请安，便去；没人叫他，他也不动。袭人等怀着鬼胎，又不敢去招惹他，恐他生气。每天茶饭，端到面前便吃，不来也不要。袭人看这光景，不像是有气，竟像是有病的。袭人偷着空儿到潇湘馆告诉紫鹃，说是：“二爷这么着，求姑娘给他开导开导。”

Unique Precious Jade was a jobless person and didn't study. Confucianism knew that he had something to do at home, so he didn't care about him; Master Merchant was busy and naturally didn't have time to check him: I wanted to come to Precious Jade to take this opportunity to meet him. Sisters are happy every day. Unexpectedly, after he lost his jade, he walked around lazy all day, and his speech was confused. And when Grandma Merchant came back from going out, someone called him to greet him, so he went; no one called him, and he didn't move. Aroma and others were pregnant, but they didn't dare to provoke him, for fear that he would get angry. Everyday tea and rice, bring it to the front and eat it, don't come if you don't come. Aroma looked at this scene, and it didn't look like she was angry, but she looked like she was sick. Aroma stole the air to Bamboo Lodge and told Nightingale, saying, "Second Master is like this, I beg the girl to enlighten him."

==英语语言文学 Mariam Tourse 2020GBJ002301==

紫鹃虽即告诉黛玉，只因黛玉想着亲事上头，一定是自己了，如今见了他，反觉不好意思，“若是他来呢，原是小时在一处的，也难不理他；若说我去找他，断断使不得。”所以黛玉不肯过来。袭人又背地里去告诉探春。那知探春心里明明知道海棠开得怪异，“宝玉”失的更奇，接连着元妃姐姐薨逝，谅家道不祥，日日愁闷，那有心肠去劝宝玉？况兄妹们男女有别，只好过来一两次，宝玉又终是懒懒的，所以也不大常来。宝钗也知失玉。因薛姨妈那日应了宝玉的亲事，回去便告诉了宝钗。薛姨妈还说：“虽是你姨妈说了，我还没有应准，说等你哥哥回来再定。你愿意不愿意？”

20220526 culture

2022-06-02T02:05:00Z

Liang Siting: /* 英语笔译李梓婕 Li Zijie 202170081580 */

Quicklinks:[[Chinese Language and Culture 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Joint_translation_terms]]

[[20220526_culture|culture of session 14 for session 15 May.26]]

'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is

27 Globalization: The Westernization Movement 54% 黄天琪 Huang Tianqi

31 Globalization: The Eastward Spread of Western Learning 53% 莫雨婷Mo Yuting

'''Assignment 2''': '''Click here''' to answer the questions of the topics below

27 Globalization: The Westernization Movement

31 Globalization: The Eastward Spread of Western Learning

Due before 4:30 pm Jun.2

'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.

Due before 6:00 pm Jun.1

IN PREPARATION

=Please write your homework directly down here=
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line.

While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.

When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".

Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.

==英语笔译卞王倩 Bian Wangqian 202170081563==

因又笑说道：“几年间，门子也会钻了，由知府推升转了御史，不过几年，升了吏部侍郎，署兵部尚书。为着一件事降了三级。如今又要升了。”冯紫英道：“人世的荣枯，仕途的得失，终属难定。”贾政道：“像雨村算便宜的了。还有我们差不多的人家，就是甄家，从前一样功勋，一样的世袭，一样的起居，我们也是时常往来。不多几年，他们进京来，差人到我这里请安，狠还热闹。一回儿抄了原籍的家财，至今杳无音信。不知他近况若何，心下也着实惦记，看了这样，你想做官的怕不怕？”贾赦道：“咱们家是最没有事的。”

Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The rise and fall of one’s fate and the gain and loss of one’s official career are unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years ago, when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious with his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant didn’t care.

Thank you for your correction work this semester.(*￣︶￣)
（Reply: My enjoyment,sweetie~ (づ￣︶￣)づ）

Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The ups and downs of one’s fate and the gain and loss of one’s official career are both unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once as illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years later when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious about his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant replied disapprovingly.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:05, 30 May 2022 (UTC)

==英语笔译曹姣 Cao Jiao 202170081564==

冯紫英道：“果然尊府是不怕的：一则里头有贵妃照应；二则故旧好，亲戚多；三则你家自老太太起，至于少爷们，没有一个刁钻刻薄的。”贾政道：“虽无刁钻刻薄，却没有德行才情。白白的衣租食税，那里当得起？”贾赦道：“咱们不用说这些话，大家吃酒罢。”大家又喝了几杯，摆上饭来。吃毕喝茶。冯家的小厮走来，轻轻的向紫英说了一句。冯紫英便要告辞了。贾赦贾政道：“你说什么？”小厮道：“外面下雪，早已下了梆子了。”贾政叫人看时，已是雪深一寸多了。贾政道：“那两件东西，你收拾好了么？”

“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.

“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 11:19, 30 May 2022 (UTC)

==英语笔译陈路瑶 Chen Luyao 202170081565==

冯紫英道：“收好了。若尊府要用，价钱还自然让些。”贾政道：“我留神就是了。”冯紫英道：“我再听信罢。天气冷，请罢，别送了。”贾赦贾政便命贾琏送了出去。却说冯紫英去后，贾政叫门上的人来吩咐道：“今儿临安伯那里来请吃酒，知道是什么事？”门上的人道：“奴才曾问过，并没有什么喜庆事，不过南安王府里到了一班小戏子，都说是个名班，伯爷高兴，唱两天戏，请相好的老爷们瞧瞧，热闹热闹。大约不用送礼的。”说着，贾赦过来问道：“明儿二老爷去不去？”贾政道：“承他亲热，怎么好不去的？”

“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.

“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.--[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 13:14, 28 May 2022 (UTC)

==英语笔译崔晓凡 Cui Xiaofan 202170081566==

说着，门上进来回道：“衙门里书办来请老爷明日上衙门。有堂派的事，必得早些去。”贾政道：“知道了。”说着，只见两个管屯里地租子的家人走来，请了安，磕了头，旁边站着。贾政道：“你们是郝家庄的？”两个答应了一声。贾政也不往下问，竟与贾赦各自说了一回话儿散了。家人等秉着手灯，送过贾赦去。这里贾琏便叫那管租的人道：“说你的。”那人说道：“十月里的租子，奴才已经赶上来了。原是明儿可到。谁知京外拿车，把车上的东西，不由分说，都掀在地下。奴才告诉他，说是府里收租子的车，不是买卖车，他更不管这些。

Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.

Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 12:43, 30 May 2022 (UTC)

==英语笔译邓阳林 Deng Yanglin 202170081567==

奴才叫车夫只管拉着走，几个衙役就把车夫混打了一顿，硬扯了两辆车去了。奴才所以先来回报。求爷打发个人到衙门里去要了来才好。再者，也整治整治这些无法无天的差役才好。爷还不知道呢，更可怜的是那买卖车，客商的东西全不顾，掀下来，赶着就走。那些赶车的但说句话，打的头破血出的。”贾琏听了，骂道：“这个还了得！”立刻写了一个帖儿，叫家人：“拿去向拿车的衙门里要车去，并车上东西。若少了一件，是不依的！快叫周瑞。”周瑞不在家。又叫旺儿。旺儿晌午出去了，还没有回来。贾琏道：“这些忘八羔子，一个都不在家！他们终年家吃粮不管事。”

The slave told the coachman to pull it away, but some government soldiers beat up the coachman and drove off with two carts. The minion returns the favor first. Please send someone to the Yamen for it. Moreover, it is good to punish these lawless servants. Ye still don't know, more pitiful is that the business car, the merchant's things all disregard, lift down, hurried away. Those who drive the wagons say nothing and bleed from the head." Romance Merchant, hearing this, cursed: "This is remarkable!" Immediately she wrote a post, telling her family: "Go to the government office where the cart is taken and ask for the cart and its contents. If one is missing, it will not depend on! Call Zhou Rui quickly." Zhou Rui is not at home. Also known as Wanger. Prosperous went out at noon and did not return. Romance Merchant said, "None of these forgetful kids are at home! They don't care what they eat all year round."

The slave told the coachman to pull it away, but some government soldiers beat up the coachman and drove off with two carts. The minion returns the favor first. Please send someone to the Yamen for it. Moreover, it is good to punish these lawless servants. Ye still don't know, more pitiful is that the business car, the merchant's things all disregard, lift down, hurried away. Those who drive the wagons say nothing and bleed from the head." Romance Merchant, hearing this, cursed: "This is remarkable!" Immediately she wrote a post, telling her family: "Go to the government office where the cart is taken and ask for the cart and its contents. If one is missing, it will not depend on! Call Auspicious Surrounding quickly." Auspicious Surrounding is not at home. Also known as Vigor. Prosperous went out at noon and did not return. Romance Merchant said, "None of these forgetful kids are at home! They don't care what they eat all year round."

==英语笔译高智慧 Gao Zhihui 202170081568==

因吩咐小厮们：“快给我找去。”说着，也回到自己屋里，睡下不提。且说临安伯第二天又打发人来请。贾政告诉贾赦道：“我是衙门里有事。琏儿要在家等候拿车的事情，也不能去。倒是大老爷带宝玉应酬一天也罢了了。”贾赦点头道：“也使得。”贾政遣人去叫宝玉，说“今儿跟大爷到临安伯那里听戏去。”宝玉喜欢的了不得，便换上衣服，带了焙茗、扫红、锄药三个小子，出来见了贾赦，请了安，上了车，来到临安伯府里。门上人回进去，一会子出来说：“老爷请。”

Shouting to his pages to find them both at once, Romance Merchant retired to his apartment for the night. Next morning brought a reminder from the Earl of Linan. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent word to Precious Jade that he was to accompany his uncle to the Earl of Lin-an’s theatre party. Precious Jade was thrilled. He changed, and choosing three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him, came out to pay his morning respects to Jia She. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in. Pardon Merchant led Precious Jade into the main courtyard, which was packed with a noisy throng. They paid their respects to the Earl and exchanged civilities with the other guests before sitting down and joining in the flow of light-hearted conversation. Before long the manager of the troupe came forward with two playbills, an ordinary one and a fancy one in the form of an ivory tablet, and saluting his patrons by dropping one knee to the ground in Manchu-style, announced: ‘Will the gentlemen please select their favourite plays?’

Shouting to his pages to find them at once, Romance Merchant retired to his apartment for the night. Next morning came a reminder from the Earl Temporary Settlement. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent words to Precious Jade that he was to accompany his uncle to the Earl Temporary Settlement’s theatre party. Precious Jade was thrilled with joy. He got himself dressed, chose three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him,and came out to pay his morning respects to Pardon Merchant. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in.
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 13:55, 28 May 2022 (UTC)

==英语笔译何丽娜 He Lina 202170081569==

于是贾赦带着宝玉走入院内，只见宾客喧阗。贾赦宝玉见了临安伯，又与众宾客都见过了礼，大家坐着，说笑了一回。只见一个掌班的拿着一本戏单，一个牙笏，向上打了一个千儿，说道：“求各位老爷赏戏。”先从尊位点起，挨至贾赦，也点了一出。那人回头见了宝玉，便不向别处去，竟抢步上来，打个千儿道：“求二爷赏两出。”宝玉一见那人，面如傅粉，唇若涂朱；鲜润如出水芙渠，飘扬似临风玉树：原来不是别人，就是蒋玉菡。前日听得他带了小戏儿进京，也没有到自己那里；此时见了，又不好站起来，只得笑道：“你多早晚来的？”

Then Pardon Merchant took Precious Jade into the courtyard which was fraught with the hustle and bustle. After the two paid their respects to Count Temporary Settlement and greeted the other guests, they sat down to talk . Then the one in charge of the troupe with a playlist and a ivory tablet stepped up and fell down on one kneel, saying, "Beg your lords to choose one and enjoy the play." In the order of seniority,they choose the operas. When it came to Pardon Merchant's turn, he also chose one. At that moment, turning around and catching sight of Precious Jade, that person unexpectedly come over to him and fell on one of his kneel, "Beg master to choose one." When Precious Jade saw the man whose face seemed powdered and his lips looked scarlet, it occurred to him that he was Jade Lotus Chiang. The day before yesterday, Precious Jade heard that he had brought a group of young actors with him to Peking, but he did not come to visit him. On such an occasion, Precious Jade could not just stand up to greet him, so he had to smile instead and asked, "When did you come?"

Then Pardon Merchant took Precious Jade into the courtyard which was fraught with the hustle and bustle. After the two paid their respects to Count Temporary Settlement and greeted other guests, they sat down to talk . Then the one in charge of the troupe with a playlist and a ivory tablet stepped up and fell down on one kneel, saying, "Beg your lords to choose one and enjoy the play." In the order of seniority,they choose the operas. When it came to Pardon Merchant's turn, he also chose one. At that moment, turning around and catching sight of Precious Jade, that person unexpectedly come over to him and fell on one of his kneel, "Beg master to choose one." When Precious Jade saw the man whose face seemed powdered and his lips looked scarlet, it occurred to him that he was Jade Lotus Chiang. The day before yesterday, Precious Jade heard that he had brought a group of young actors with him to Peking, but he did not come to visit him. On such an occasion, Precious Jade could not just stand up to greet him, so he had to smile instead and asked, "When did you come?"--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 05:12, 31 May 2022 (UTC)

==英语笔译胡良明 Hu Liangming 202170081570==

蒋玉菡把手在自己身子上一指，笑道：“怎么二爷不知道么？”宝玉因众人在坐，也难说话，只得胡乱点了一出。蒋玉菡去了，便有几个议论道：“此人是谁？”有的说：“他向来是唱小旦的，如今不肯唱小旦，年纪也大了，就在府里掌班。头里也改过小生。他也攒了好几个钱，家里已经有两三个铺子，只是不肯放下本业，原旧领班。”有的说：“想必成了家了。”有的说：“亲还没有定。他倒掌定一个主意，说是人生配偶，关系一生一世的事，不是混闹得的，不论尊卑贵贱，总要配的上他的才能。所以到如今还并没娶亲。”

Jade Lotus Buds put his hand on his body and smiled, "Why don't you know my second master?" Precious Jade couldn't speak because everyone was sitting, so he had to choose randomly. When Jade Lotus Buds went, there were several discussions: "Who is this person?" Some said: "He has always sung Xiaodan, but now he refuses to sing Xiaodan, and he is too old, so he is in charge of the house. He has also changed to Xiaosheng. He has saved a lot of money, and his family already has two or three shops, but he refused to let go of his business, and still worked as the former foreman." Some said,"He must get married." Some said: "The marriage has not yet been decided. He has made up an idea, saying that it is a life spouse, a matter of life, not a mess, no matter how high or low, you must always be worthy of his talents. So there is no such thing as yet."

Jade Lotus Buds put his hand on his body and smiled, "Don't you know my second master?" Precious Jade couldn't speak because everyone was sitting, so he had to choose randomly. When Jade Lotus Buds left, some people discussed: "Who is him?" Some said: "He has always sung Xiaodan, but now he refuses to do so, and he is too old, so he is in charge of the house. He has also performed Xiaosheng. He has saved a lot of money, and already has two or three shops, but he is unwilling to let go of his business, and still worked as the former foreman." Some said, "He must get married." Some replied: "The marriage has not yet been decided. He has made up an idea that the spouse is a matter of life, not a mess, no matter how high or low, you must always be worthy of his talents. So there is no such thing as yet."--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 13:26, 31 May 2022 (UTC)

==英语笔译黄琼 Huang Qiong 202170081571==

宝玉暗忖度道：“不知日后谁家的女孩儿嫁他？要嫁着这样的人材儿，也算是不辜负了。”那时开了戏，也有昆腔，也有高腔，也有弋腔，梆子腔：做得热闹。到了晌午，便摆开桌子吃酒。又看了一回，贾赦便欲起身。临安伯过来留道：“天色尚早。听见说蒋玉菡还有一出《占花魁》，他们顶好的首戏。”宝玉听了，巴不得贾赦不走；于是贾赦又坐了一会。果然蒋玉菡扮着秦小官，伏侍花魁醉后神情，把这一种怜香惜玉的意思，做得极情尽致。以后对饮对唱，缠绵缱绻。宝玉这时不看花魁，只把两支眼睛独射在秦小官身上。

Precious Jade wondered who the lucky girl would be to marry such an intelligent man. Then the performance started with Kun opera, Yi Opera, Gao Opera and Ban Zi operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave.“It’s early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.”Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the woman, but staring at the male role.

Precious Jade wondered who the lucky girl would be to marry such a man of his ability. Then the performance started with Kun opera, High-pitched Tunes, Yi-qiang and Pangtse operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave. “It’s still early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.” Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the heroine, but staring at the male role.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 14:58, 29 May 2022 (UTC)

==英语笔译邝雨琪 Kuang Yuqi 202170081572==

更加蒋玉菡声音响亮，口齿清楚，按腔落板，宝玉的神魂都唱了进去了。直等这出戏进场后，更知蒋玉菡极是情种，非寻常戏子可比。因想着：“《乐记》上说的是：‘情动于中，故形于声；声成文，谓之音。’所以知声，知音，知乐，有许多讲究。声音之原，不可不察。诗词一道，但能传情，不能入骨，自后想要讲究讲究音律。”宝玉想出了神，忽见贾赦起身，主人不及相留。宝玉没法，只得跟了回来。到了家中，贾赦自回那边去了。宝玉来见贾政。贾政才下衙门，正向贾琏问起拿车之事。贾琏道：“今儿叫人拿帖儿去，知县不在家。

Precious Jade was quite enraptured by his singing, for Jade Lotus had a resonant voice, clear enunciation and good sense of rhythm. By the end of the performance, he was firmly convinced that Jade Lotus was a romantic, completely unique artist, and not to be compared with the common actors. He thought, "The Book of Music rightly says, 'Stirred feelings find expression in sound, and when the sound follows a pattern we call it music.' So sounds, notes and music take some understanding, and a study has to be made of their origin. Poetry can convey emotions, but it can't thrill us to the marrow. In future I really must make a study of music." His reverie was interrupted by Pardon Merchant rising to leave. As their host could not prevail on him to stay, Precious Jade had no choice but to go back with him. On their return Pardon Merchant went straight to his own home. And Precious Jade, paying his duty call on his father, found him just back from the ministry questioning Romance Merchant about the seizure of their carts. Romance Merchant said, "I sent servants there today with my card, but the local mandarin was out.

==英语笔译黎溢佳 Li Yijia 202170081573==

他的门上说了：‘这是本官不知道的，并无牌票出去拿车，都是那些混帐东西在外头撒野挤讹头。既是老爷府里的，我便立刻叫人去追办，包管明儿连车连东西一并送来。如有半点差迟，再行禀过本官，重重处治。此刻本官不在家，求这里老爷看破些，可以不用本官知道更好。”贾政道：“既无官票，到底是何等样人在那里作怪？”贾琏道：“老爷不知，外头都是这样。想来明儿必定送来的。”贾琏说完下来。宝玉上去见了。贾政问了几句，便叫他往老太太那里去。贾琏因为昨夜叫空了家人，出来传唤，那起人多已伺候齐全。

==英语笔译李思敏 Li Simin 202170081574==

贾琏骂了一顿，叫大管家赖升：“将各行档的花名册子拿来，你去查点查点，写一张谕帖，叫那些人知道。若有并未告假，私自出去，传唤不到，贻误公事的，立刻给我打了撵出去！”赖升连忙答应了几个“是”，出来吩咐了一回，家人各自留意。过不几时，忽见有一个人，头上载着毡帽，身上穿着一身青布衣裳，脚下穿着一双撒鞋，走到门上，向众人作了个揖。众人拿眼上上下下打谅了他一番，便问他：“是那里来的？”那人道：“我自南边甄府中来的。并有家老爷手书一封，求这里的爷们呈上尊老爷。”众人听见他是甄府来的，才站起来让他坐下，道：“你乏了，且坐坐。我们给你回就是了。”

Romance Merchant scolded and asked Advancement, the major housekeeper, "bring me the roster of various lines of business, and you go and check them out, and write an oracle post to let those people know. If anyone goes out without asking for leave and cannot be summoned, he will be beaten and kicked out immediately! "Advancement hurriedly agreed with a few "yes" and came out to give orders, letting servants pay attention to it. After a while, a man came into sight with a felt hat on his head, dressed in blue cloth and a pair of slippers under his feet, he went to the door of the room and made a bow to the crowd. The crowd look at him up and down to and asked, "where did you come from?" The man said, "I'm from the Zhen House in the south. And there is a letter from the master of the Zhen family, Please give the letter to your master. " When they heard that he was from the Zhen House, they stood up and asked him to sit down and said, "you must be tired, sit down, please. We'll give it to our master. "--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 13:36, 28 May 2022 (UTC)

Romance Merchant scolded and asked Advancement, the major housekeeper, "bring me the roster of various lines of business, and you go and check them out, and write an oracle post to let those people know. If anyone goes out without asking for leave and cannot be summoned, he will be beaten and kicked out immediately! "Advancement hurriedly agreed with a few "yes" and came out to give orders, letting servants pay attention to it. After a while, a man came into sight with a felt hat on his head, dressed in blue cloth and a pair of slippers under his feet, he went to the door of the room and made a bow to the crowd. The crowd look at him up and down to and asked, "where did you come from?" The man said, "I'm from the Zhen House in the south. And there is a letter from the master of the Zhen family, Please give the letter to your master. " When they heard that he was from the Zhen House, they stood up and asked him to sit down and said, "you must be tired, sit down, please. We'll give it to our master. "--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 14:24, 1 June 2022 (UTC)

==英语笔译李思源 Li Siyuan 202170081575==

门上一面进来回明贾政，呈上来书。贾政拆书看时，上写着：世交夙好，气谊素敦，遥仰襜帷，不胜依切。弟因菲材获谴，自分万死难偿，幸邀宽宥，待罪边隅。迄今门户雕零，家人星散。所有奴子包勇，向曾使用，虽无奇技，人尚悫实。倘使得备奔走，糊口有资，屋乌之爱，感佩无涯矣！专此奉达，余容再叙。不宣。贾政看完，笑道：“这里正因人多，甄家倒荐人来。又不好却的。”吩咐门上：“叫他见我，且留他住下，因材使用便了。”门上出去，带进人来，见贾政，便磕了三个头，起来道：“家老爷请老爷安。”自己又打个千儿，说：“包勇请老爷安。”

A subordinate walked into the house to report to Master Merchant and presented the letter. He immediately opened the letter and read, "Every generation in our family is very close and has a deep friendship. When I see the eaves of your house from a distance, I feel very kind in my heart. My brother was convicted for breaking the law. When he was sentenced, I thought he would be given a heavy sentence. Fortunately, the law treated him leniently and only sent him to the frontier. Now my family is gradually declining, and there are few members of the family. There are many slaves in my family who have served for many years. Although they do not have any skills, they are Be honest and honest. If you can give them some relief, so that they can survive, I will feel at ease. I express my heartfelt thanks for this. The above is all I have to say, and I will talk about it later. Master Merchant smiled after reading it, "There are already so many people in my family, and now there are so many. The problem is that I have a hard time saying no. "He instructed his servants: "Call the one with the letter to see me, and let him stay." As for his subordinates, I will consider them according to their abilities. The subordinate went out and led him in. The latter kowtowed three times, got up and said, "My master has given you a greeting." "Then he knelt down again and said, "I give you my best wishes." "--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 14:23, 1 June 2022 (UTC)

A doorman walked into the house to report to Master Merchant and presented the letter. He immediately opened the letter and read, "Every generation in our family is very close and has a deep friendship. When I see the eaves of your house from a distance, I feel very kind in my heart. My brother was convicted for breaking the law. When he was sentenced, I thought he would be given a heavy sentence. Fortunately, the law treated him leniently and only sent him to the frontier. Now my family is gradually declining, and there are few members of the family. There are many slaves in my family who have served for many years. Although they do not have any skills, they are Be honest and honest. If you can give them some relief, so that they can survive, I will feel at ease. I express my heartfelt thanks for this. The above is all I have to say, and I will talk about it later." Master Merchant smiled after reading it, "There are already so many people in my family, and now the Truth family also recommend some servants to us. The problem is that I cannot decline his good intention. "He instructed his servants: "Call the one to see me, and let him stay. I will consider them according to their abilities." The doorman went out and led him in. The latter kowtowed three times, got up and said, "My master has given you a greeting." "Then he knelt down again and said, "I give you my best wishes, Sir."--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 14:32, 1 June 2022 (UTC)

==英语笔译李婷 Li Ting 202170081576==

贾政回问了甄老爷的好，便把他上下一瞧，但见包勇身长五尺有零，肩背宽肥，浓眉爆眼，磕额长髯，气色粗黑，垂着手站着。便问道：“你是向来在甄家的，还是住过几年的？”包勇道：“小的向在甄家的。”贾政道：“你如今为什么要出来呢？”包勇道：“小的原不肯出来，只是家爷再四叫小的出来，说是别处你不肯去，这里老爷家里只当原在自己家里一样的，所以小的来的。”贾政道：“你们老爷不该有这事情，弄到这样的田地。”包勇道：“小的本不敢说：我们老爷只是太好了，一味的真心待人，反倒招出事来。”贾政道：“真心是最好的了。”

Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. Bag Valiant said, "I didn’t want to, but my master insisted. He said, ‘You wouldn’t agree to going anywhere else, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."

Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. "I didn’t want to, " Bag Valiant said,"but my master insisted again and he told me that other place you didn't want to go, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 03:40, 29 May 2022 (UTC)Li Ying

==英语笔译李颖 Li Ying 202170081578==

包勇道：“因为太真了，人人都不喜欢，讨人厌烦是有的。”贾政笑了一笑道：“既这样，皇天自然不负他的。”包勇还要说时，贾政又问道：“我听见说你们家的哥儿不是也叫宝玉么？”包勇道：“是。”贾政道：“他还肯向上巴结么？”包勇道：“老爷若问我们哥儿，倒是一段奇事。哥儿的脾气也和我家老爷一个样子，也是一味的诚实，从小儿只管和那些姐妹们在一处顽。老爷太太也狠打过几次，他只是不改。那一年太太进京的时候儿，哥儿大病了一场，已经死了半日，把老爷几乎急死，装裹都预备了。

Bag Valiant said:"Because he was too honest,nobody liked him and he offended some people.Master Merchant laughed:" Well, in that case, the God will give him due deserts."Bag Valiant were plant to reply, Master Merchant continued to say that:"I heard that your younger master's name is Precious Jade, is that true?"Bag Valiant said:" That is right, sir."Master Merchant said:" Is he still willing to flatter on the top?"Bag Valiant said:Your majesty asked me about my younger master, there were something strange about him. His temper is the same as our master's. Both of them were too honest, when he was a kid, he only played with those sisters. My masters also beat him severely,but there's no change in my younger master. That year our mistress came to the capital, younger master fell very ill.He lost his consciousness for so long that his father was frantic and had all the funeral preparations made."

Valiant Bag said:"He is too honest, so nobody likes him and he has offended some people." Master Merchant laughed:" Well, in that case, the God will give him due deserves." When Valiant Bag were plant to reply, Master Merchant continued to say. "I heard that your younger master's name is Precious Jade. Is that true?" he added. Valiant Bag said: "That's right, sir." Master Merchant said:" Is he still willing to flatter the top?" Bag Valiant replied: "If you ask me about my younger master, there is something strange about him. His temper is the same as our master's. Both of them are too honest. When he was a kid, he only played with those sisters. My master and mistress also beat him severely, but there's no change of my younger master. That year when our mistress headed for the capital, my younger master was severely ill. He lost his consciousness for so long that his father was almost worried to dead and had all the funeral preparations made."--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 04:07, 31 May 2022 (UTC)

==英语笔译李媛 Li Yuan 202170081579==

幸喜后来好了，嘴里说道：走到一座牌楼那里，见了一个姑娘，领着他到了一座庙里，见了好些柜子，里头见了好些册子；又到屋里，见了无数女子，说是多变了鬼怪似的，也有变做骷髅儿的；他吓急了，便哭喊起来。老爷知他醒过来了，连忙调治，渐渐的好了。老爷仍叫他在姐妹们一处顽去，他竟改了脾气了：好着时候的玩意儿一概都不要了，惟有念书为事。就有什么人来引诱他，他也全不动心。如今渐渐的能彀帮着老爷料理些家务了。”贾政默然想了一回，道：“你去歇歇去罢。等这里用着你时，自然派你一个行次儿。”包勇答应着，退下来，跟着这里人出去歇息不提。

“Fortunately, he recovered in the end. He talked that he saw a girl at a memorial arch, who led him to a temple, where there were a great number of cabinets with many volumes of books inside. Walking inside, he saw many girls, who became ghosts and skeletons. He was so scared that he yelled and cried. When the Master knew he had woken, he set some doctors to give him a treatment. After that, he became well gradually. The Master then still allowed him to play with his sisters, but his character changed a lot. He threw away all the gadgets that he liked before and focused on books. Also, he would not be tempted to do other things by anyone. Now, he was able to help the Master with some family affairs.” Master Merchant pondered for a while after hearing what he said. “You can leave now. You will have your task when we need you,” Master Merchant said. Courage Bag showed his gratitude and left the room with other servants. His part ended.

==英语笔译李梓婕 Li Zijie 202170081580==

一日贾政早起，刚要上衙门，看见门上那些人在那里交头接耳，好像要使贾政知道的是的，又不好明回，只管咕咕唧唧的说话。贾政叫上来问道：“你们有什么事这么鬼鬼祟祟的？”门上的人回道：“奴才们不敢说。”贾政道：“有什么事不敢说的？”门上的人道：“奴才今儿起来，开门出去，见门上贴着一张白纸，上写着许多不成事体的字。”贾政道：“那里有这样的事！写的是什么？”门上的人道：“是水月庵里的腌臜话。”贾政道：“拿给我瞧。”门上的人道：“奴才本要揭下来，谁知他贴得结实，揭不下来，只得一面抄，一面洗。
One morning,Master Merchant rose early and was setting off to his yamen when he noticed the servants at the gate whispering and muttering among themselves as if they had some news for him which they dared not report outright. He called them over.“What is this hole-and-corner business’?” he demanded.“We hardly dare tell you, sir,” one of them answered.“Why not? Out with it!”“This morning when we got up and opened the gate, we found a sheet of paper pasted on it, covered with scurrilous writing.”“The idea!” exclaimed Master Merchant. “What was it?”“Dirty talk about Water Moon Convent, sir.”“Bring me the paper,” he ordered.“We tried to take it down, but it was glued on too firmly; so we copied it out, then soaked the paper to get it off.

One morning,Master Merchant rose early and was setting off to his yamen when he noticed the servants at the gate whispering and muttering among themselves as if they had some news for him which they dared not report outright. He called them over.“What is this hole-and-corner business’?” he demanded.“We hardly dare tell you, sir,” one of them answered.“Why not? Out with it!”“This morning when we got up and opened the gate, we found a sheet of paper pasted on it, covered with scurrilous writing.”“The idea!” exclaimed Master Merchant. “What was it?”“Dirty talk about Water Moon Convent, sir.”“Bring me the paper,” he ordered.“We tried to take it down, but it was glued on too firmly; so we copied it out, then soaked the paper to get it off.--[[User:Liang Siting|Liang Siting]] ([[User talk:Liang Siting|talk]]) 02:04, 2 June 2022 (UTC)

==英语笔译梁思婷 Liang Siting 202170081581==

刚才李德揭了一张给奴才瞧，就是那门上贴的话。奴才们不敢隐瞒。”说着，呈上那帖儿。贾政接来看时，上面写着：“西贝草斤”年纪轻，水月庵里管尼僧。一个男人多少女，窝娼聚赌是陶情。不肖子弟来办事，荣国府内出新闻。贾政看了，气得头昏目晕，赶着叫门上的人不许声张，悄悄叫人往宁荣两府靠近的夹道子墙壁上再去找寻。随即叫人去唤贾琏出来。贾琏即忙赶至。贾政忙问道：“水月庵中寄居的那些女尼女道，向来你也查考查考过没有？”贾琏道：“没有，一向都是芹儿在那里照管。”贾政道：“你知道芹儿照管得来，照管不来？”

Just now Li de got one for me. On it were with the same words on the gate. I dared not to hide anything from you." Saying, he handed over the post. Master Merchant took it and saw it writing, "Xibeicaojin is young, managing nuns and monks in the Water Moon Nunnery. A man with so many women, the place made prostitute and gambling a cultivation. The unfilial came and the Merchant family made a bust." Master Merchant almost passed out by the post. He hurriedly asked the gatekeeper to conceal it and ordered servants to search for the rest of the posts on the wall of the mansion. He then asked someone to bring Romance Merchant. Romance rushed over and Master asked, "Have you investigate on the nuns in the Water Moon Nunnery?" Roamcne replied, "No. Celery is in charge." Master asked, "How do you know that Celery is capable?"

==英语笔译廖诗韵 Liao Shiyun 202170081582==

贾琏道：“老爷既这么说，想来芹儿必有不妥当的地方儿。”贾政叹道：“你瞧瞧这个帖儿写的是什么。”贾琏一看道：“有这样事么。”正说着，只见贾蓉走来，拿着一封书子，写着“二老爷密启”。打开看时，也是无头榜一张，与门上所贴的话相同。贾政道：“快叫赖大带了三四辆车子到水月庵里去，把那些女尼女道士一齐拉回来。不许泄漏，只说里头传唤。”赖大领命去了。且说水月庵中小女尼女道士等，初到庵中，沙弥与道士原系老尼收管，日间教他些经忏。以后元妃不用，也便习学得懒怠了。那些女孩子们年纪渐渐的大了，都也有个知觉了。
Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.

Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:02, 30 May 2022 (UTC)

==英语笔译刘唱 Liu Chang 202170081583==

更兼贾芹也是风流人物，打量芳官等出家，只是小孩子性儿，便去招惹他们。那知芳官竟是真心，不能上手，便把这心肠移到女尼女道士身上。因那小沙弥中有个名叫沁香的，和女道士中有个叫做鹤仙的，长得都甚妖娆，贾芹便和这两个人勾搭上了，闲时便学些丝弦，唱个曲儿。那时正当十月中旬，贾芹给庵中那些人领了月例银子，便想起法儿来，告诉众人道：“我为你们领月钱，不能进城，又只得在这里歇着。怪冷的，怎么样？我今儿带些果子酒，大家吃着乐一夜，好不好？”那些女孩子都高兴，便摆起桌子，连本庵的女尼也叫了来，惟有芳官不来。

Moreover, Celery Merchant was a also a play boy, he saw the nuns including Fagrant Official and flirted with them for the sake of his curiosity.However, Fragrant Official was serious about love affairs so that he could’t get anything from her and just targeted at other nuns and women Taoist priest, There were a little monk named Aroma and a woman Taoist priest named Crane Fairy. They both had a pretty appearance so that Celery Merchant made friends with them. He spent his spare time learning instruments and singing opera. It was the middle of Octorber, and Celery Merchant got the salary fort the people in the convent. Then a thought occurred in his mind. He told the people that:”I got the salary for you so that I can’t get into the town and I have to stay at such a cold place. I brought some fruit wine and we can have a feast tonight, how about it?” The girls were happy about it and set the tables. They even invited the nuns in the convent, however, Fragrant Official refused it.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:01, 30 May 2022 (UTC)

==英语笔译刘乐乐 Liu Lele 202170081584==

贾芹喝了几杯，便说道要行令。沁香等道：“我们都不会，到不如搳拳罢。谁输了喝一杯，岂不爽快？”本庵的女尼道：“这天刚过晌午，混嚷混喝的不像，且先喝几盅，爱散的先散去。谁爱陪芹大爷的，回来晚上尽子喝去，我也不管。”正说着，只见道婆急忙进来说：“快散了罢，府里赖大爷来了。”众女尼忙乱收拾，便叫贾芹躲开。贾芹因多喝了几杯，便道：“我是送月钱来的，怕什么！”话犹未完，已见赖大进来。见这般样子，心里大怒。为的是贾政吩咐不许声张，只得含糊装笑道：“芹大爷也在这里呢么？”贾芹连忙站起来道：“赖大爷，你来作什么？”

After a few drinks, Celery Merchant proposed to play a drinking game. Pleasure Fragrance and the others said that they didn’t know the game so it would be better if they play finger-guess which is easy and fun: losers drink.“it’s inappropriate to drink and game since it’s only past midday. We can drink a little and return. For those who want to game with Mr. Merchant, just come here at night and I would say nothing about it.”A nun objected. As they spoke, a nun rushed in and said, “Stop it right now! Mr.Rely is here.”All the nuns started to clean it up and advised Celery Merchant to hide. “No need to panic. I’m here to deliver you the month allowance.”Celery Merchant bragged since he got loaded. He didn’t finish his words when Big rely came in, who was infuriated at the scene, but had to follow Master Merchant’s instruction to keep it down and so he smiled, “Didn’t expect to see you here, Mr.Celery Merchant. Celery Merchant stood up immediately, “Mr.Rely, what brings you here?”--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 12:35, 29 May 2022 (UTC)

==英语笔译刘双英 Liu Shuangying 202170081585==

赖大说：“大爷在这里更好。快快叫沙弥道士收拾，上车进城，宫里传呢。”贾芹等不知原故，还要细问。赖大说：“天已不早了，快快的，好赶进城。”众女孩子只得一齐上车。赖大骑着大走骡，押着赶进城，不提。却说贾政知道这事，气得衙门也不能上了，独坐在内书房叹气。贾琏也不敢走开。忽见门上的进来禀道：“衙门里今夜该班是张老爷。因张老爷病了，有知会来请老爷补一班。”贾政正等赖大回来要办贾芹，此时又要该班，心里纳闷，也不言语。贾琏走上去说道：“赖大是饭后出去的，水月庵离城二十来里，就赶进城，也得二更天。今日又是老爷的帮班，请老爷只管去。

Big Rely replied:“I’m glad you’re here, sir. Tell these novices to get ready at once to drive to town. They’re wanted in the palace.”This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.

“Pleased to find you here, sir,” said Lai Da, ”We must get the young ladies ready as quickly as possible, and take them back to town. They're wanted at the Palace.” This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 11:20, 30 May 2022 (UTC)

==英语笔译刘婷 Liu Ting 202170081586==

赖大来了，叫他押着，也别声张，等明儿老爷回来再发落。倘或芹儿来了，也不用说明，看他明儿见了老爷怎么样说。”贾政听来有理，只得上班去了。贾琏抽空才要回到自己房中，一面走着，心里抱怨凤姐出的主意，欲要埋怨，因他病着，只得隐忍，慢慢的走着。且说那些下人，一人传十，传到里头，先是平儿知道，即忙告诉凤姐。凤姐因那一夜不好，恹恹的总没精神，正是惦记铁槛寺的事情。听说“外头贴了匿名揭帖”的一句话，吓了一跳，忙问：“贴的是什么？”平儿随口答应，不留神，就错说了，道：“没要紧，是馒头庵里的事情。”

When Lai Da gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Qin comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Jia Zheng left with some reluctance for the Board. As soon as he had gone Jia Lian set off back to his own apartment, brooding as he went on what he was going to say to Xi-feng. He held her to blame for having given Qin this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Xi-feng had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”

When Big Rely gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Celery comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Master Merchant left with some reluctance for the Board. As soon as he had gone Romance Merchant set off back to his own apartment, brooding as he went on what he was going to say to Sister Phoenix. He held her to blame for having given Celery this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Sister Phoenix had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 14:50, 30 May 2022 (UTC)

==英语笔译刘瑶 Liu Yao 202170081587==

凤姐本是心虚，听见“馒头庵的事情”，这一唬直唬怔了，一句话没说出来，急火上攻，眼前发晕，咳嗽了一阵，哇的一声，吐出一口血来。平儿慌了，说道：“水月庵里，不过是女沙弥女道士的事，奶奶着什么急？”凤姐听是水月庵，才定了定神，说道：“呸，糊涂东西！到底是水月庵呢，是馒头庵？”平儿笑道：“是我头里错听了，是馒头庵，后来听见不是馒头庵，是水月庵。我刚才也就说溜了嘴，说成馒头庵了。”凤姐道：“我就知道是水月庵。那馒头庵与我什么相干！原是这水月庵是我叫芹儿管的。大约刻扣了月钱。”平儿道：“我听着不像月钱的事，还有些腌臜话呢。”

Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.

Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 12:41, 30 May 2022 (UTC)

==英语笔译刘珍 Liu Zhen 202170081588==

凤姐道：“我更不管那个。你二爷那里去了？”平儿说：“听见老爷生气，他不敢走开。我听见事情不好，我吩咐这些人不许吵嚷，不知太太们知道了么。但听见说，老爷叫赖大拿这些女孩子去了。且叫个人前头打听打听。奶奶现在病着，依我竟先别管他们的闲事。”正说着，只见贾琏进来。凤姐欲待问他，见贾琏一脸的怒气，暂且装作不知。贾琏饭没吃完，旺儿来说：“外头请爷呢，赖大回来了。”贾琏道：“芹儿来了没有？”旺儿道：“也来了。”贾琏便道：“你去告诉赖大，说：老爷上班儿去了，把这些个女孩子暂且收在园里，明日等老爷回来，送进宫去。只叫芹儿在内书房等着我。”

"Well, I care even less about that.Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Lai Da to bring all the girls back from the Temple. I'll send someone out to see what's happened.Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance.ia Lian had not finished eating his dinner when Brightie came in.‘Lai Da's back, sir.”“Is Celery with him?”"Yes, sir.”‘Tell Lai Da the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace.Tell Celery to wait for me in the inner library.”

"Well, I care even less about that. Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Big Lie to bring all the girls back from the Temple. I'll send someone out to see what's happened. Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance. Romance Merchant had not finished eating his dinner when Brightie came in.‘Big Lie's back, sir." "Is Celery with him?" "Yes, sir." "Tell Big Lie the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace. Tell Celery to wait for me in the inner library."--[[User:Long Hanliang|Long Hanliang]] ([[User talk:Long Hanliang|talk]]) 01:46, 31 May 2022 (UTC)

==英语笔译龙翰良 Long Hanliang 202170081589==

旺儿去了。贾芹走进书房，只见那些下人指指点点不知说什么，看起这个样儿来，不像宫里要人。想着问人，又问不出来。正在心里疑惑，只见贾琏走出来，贾芹便请了安，垂手侍立，说道：“不知道娘娘宫里即刻传那些孩子们做什么？叫侄儿好赶！幸喜侄儿今儿送月钱去，还没有走，便同着赖大来了。二叔想来是知道的。”贾琏道：“我知道什么？你才是明白的呢！”贾芹摸不着头脑儿，也不敢再问。贾琏道：“你干得好事！把老爷都气坏了。”贾芹道：“侄儿没有干什么。庵里月钱是月月给的，孩子们经忏是不忘记的。”

Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.

Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.--[[User:Luo Yaolin|Luo Yaolin]] ([[User talk:Luo Yaolin|talk]]) 05:13, 30 May 2022 (UTC)

==英语笔译罗姚林 Luo Yaolin 202170081590==

贾琏见他不知，又是平素常在一处顽笑的，便叹口气道：“打嘴的东西！你各自去瞧瞧罢！”便从靴掖儿里头拿出那个揭帖来，扔与他瞧。贾芹拾来一看，吓的面如土色，说道：“这是谁干的！我并没得罪人，为什么这么坑我？我一月送钱去，只走一趟，并没有这些事。若是老爷回来，打着问我，侄儿便该死了。我母亲知道，更要打死。”说着，见没人在旁边，便跪下去说道：“好叔叔，救我一救儿罢！”说着，只管磕头，满眼流泪。贾琏想道：“老爷最恼这些，要是问准了有这些事，这场气也不小。闹出去也不好听，又长那个贴帖儿的人的志气了。将来咱们的事多着呢。Having noticed that he indeed had no idea about it, and they themselves privately were on speaking terms, Romance Merchant sighed," You bastard.! Take and see it carefully!" as putting out a notice from his shoes and throwing it to Celery Merchant. At the sight of the notice, Celery Merchant said questioningly with his face ashy gray," Who made it? I never gave offence to anybody, why should I be ensnared like this? I merely went there once a month for sending money and never did such things. I would be sunk if the master asked me about it after his back, and the consequence would be even worse if my mom knew it." Seeing no other people around here, Celery Merchant knelt down to implore him,"my dear uncle, please help me, please!" followed kowtowing and tearing constantly. "Master is very vexed with such things and must be extremely angry with this if he knew it's true." Romance Merchant thought to himself, "And the family's reputation would be blemished for the spreading of it, which, on the contrary, the notice maker would be therefore more arrogant. There are many other concerns in the future."

==英语笔译马艳焕 Ma Yanhuan 202170081591==

倒不如趁着老爷上班儿，和赖大商量着，若混过去，就可以没事了。现在没有对证。”想定主意，便说：“你别瞒我，你干的鬼鬼祟祟的事，你打谅我都不知道呢。若要完事，就是老爷打着问你，你一口咬定没有才好。没脸的，起去罢！”叫人去唤赖大。不多时，赖大来了，贾琏便与他商量。赖大说：“这芹大爷本来闹的不像了。奴才今儿到庵里的时候，他们正在那里喝酒呢。帖儿上的话，是一定有的。”贾琏道：“芹儿，你听！赖大还赖你不成？”贾芹此时红涨了脸，一句也不敢言语。还是贾琏拉着赖大，央他：“护庇护庇罢，只说贾芹哥儿在家里找来的。

It would be better to take advantage of the master to go to work and discuss with Big Lie. If you muddle through, you will be all right. There is no counterevidence now. " When he made up his mind, he said, "Don't lie to me. You think I don't know about the furtive things you've done." In the worst-case scenario, if your lordship tortures you, you must insist that you don't have it. Shameless, go away! "He sent someone to call Big Lie. After a while, when Big Lie came, Romance Merchant discussed it with him. Big Lie said, "Uncle Qin didn't look like it anymore." When the lackeys came to the nunnery today, they were drinking there. There must be some words on the post. " Romance Merchant said, " Celery, listen! Can Big Lie still put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and told him, "Please protect him, only say that Celery took it at home."

It would be better to discuss with Big Rely to come up with an excuse to get ride of the trouble while Master is away for work. If you muddle through, you will be all right. Now no one can verify this." When he made up his mind, he said, "Don't you lie to me. You think I don't know about the furtive things you've done? In the worst-case scenario, even if your lordship tortures you, you must insist that you didn’t make it. You the shameless guy, just go away! "He sent someone to call Big Rely. After a while, when he came, Romance Merchant discussed it with him. Then Big Rely said, "Master Celery really did a shameful thing. When I came to the nunnery today, they were drinking there. The things depicted on the post must have happened." Romance Merchant said, " Celery, listen! Can Big Rely put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and begged him, "Please protect him, and just say that Celery found it at home."--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 02:50, 30 May 2022 (UTC)

==英语笔译聂薇 Nie Wei 202170081592==

你带了他去，只说没有见我。明日你求老爷，也不用问那些女孩子了。竟是叫了媒人来，领了去，一卖完事。果然娘娘再要的时候儿，咱们再买。”赖大想来，闹也无益，且名声不好，就应了。贾琏叫贾芹：“跟了赖大爷去罢！听着他教你，你就跟着他。”说罢，贾芹又磕了一个头，跟着赖大出去。到了没人的地方儿，又给赖大磕头。赖大说：“我的小爷，你太闹的不像了。不知得罪了谁，闹出这个乱儿。你想想，谁和你不对罢？”贾芹想了一想，忽然想起一个人来，话说赖大带了贾芹出来，一宿无话，静候贾政回来。单是那些女尼女道重进园来，都喜欢的了不得，欲要到各处逛逛，明日预备进宫。

You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one is around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this thing. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and monks went into the park, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.

You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one was around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this affair. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and female Buddhist monks went into the garden, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 14:58, 28 May 2022 (UTC)

==英语笔译孙丽君 Sun Lijun 202170081593==

不料赖大便吩咐了看院的婆子并小厮看守，惟给了些饮食，却是一步不准走开。那些女孩子摸不着头脑，只得坐着，等到天亮。园里各处的丫头虽都知道拉进女尼们来，预备宫里使唤，却也不能深知原委。到了明日早起，贾政正要下班，因堂上发下两省城工估销册子，立刻要查核，一时不能回家，便叫人回来告诉贾琏说：“赖大回来，你务必查问明白。该如何办就如何办了，不必等我。”贾琏奉命，先替芹儿喜欢，又想道：“若是办得一点影儿都没有，又恐贾政生疑，不如回明二太太，讨个主意办去，便是不合老爷的心，我也不至甚担干系。”

Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those Buddhist nuns. Only provided with some drinks and foods, they were not allowed to step out of this garden. They didn’t have the least idea of what happened, but to stay here till next morning. The girls in the garden knew that those nuns were called in here to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to end the morning court, for he needed to re-check the evaluation booklet on city workers of two provinces at once, he couldn’t go back home for a short while. Thus he just sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just go forward according to the situation.” Receiving orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”

Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those nuns who were provided with some drinks and foods, but not allowed to step out of that garden. The nuns didn’t have the least idea of what happened and had to stay there till next morning. The girls in the garden knew that those nuns were called in to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to knock off, for he needed to re-check the evaluation booklet on city engineering of two provinces at once, he couldn’t go back home for a short while. Thus, he sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just deal with it according to the situation.” Receiving the orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 12:07, 29 May 2022 (UTC)

==英语笔译仝雨梦 Tong Yumeng 202170081594==

主意定了，进内去见王夫人，陈说：“昨日老爷见了揭帖生气，把芹儿和女尼女道等都叫进府来查办。今日老爷没空问这种不成体统的事，叫我来回太太，该怎么便怎么样。我所以来请示太太，这件事如何办理？”王夫人听了咤异道：“这是怎么说！若是芹儿这么样起来，这还成咱们家的人了么？但只这个贴帖儿的也可恶！这些话可是混嚼说得的么？你到底问了芹儿有这件事没有呢？”贾琏道：“刚才也问过了。太太想，别说他干了没有，就是干了，一个人干了混帐事也肯应承么？但只我想芹儿也不敢行此事：知道那些女孩子都是娘娘一时要叫的，倘或闹出事来，怎么样呢？

With that in mind, Romance Merchant came into Lady King's room and reported to her, "Yesterday, being outraged by that letter, the master instructed that taking Celery Merchant and those Buddhist and Taoist nuns into the mansion to investigate them. Today he is too busy to bother about such a disgraceful matter, and then ordered me to report to you that dealing with it as you wish. So, I'm here to ask you how to cope with it." "Why! It's unreasonable to regard Celery Merchant as one of our family, let alone his disreputable behavior today. Moreover, the one who pasted that letter is detestable! How could they gossip about such things! Have you asked Celery Merchant this matter or not?" Lady King said with astonishment. "I asked him just now. Even if he did that, how could he admit such indecent behavior? Leave alone he might be innocent. Think about it. But I assume that he dared not to do such a thing, knowing the girls would be called by the imperial concubine someday. What will he do if something happens?" replied Romance Merchant.

==英语笔译童略雅 Tong Lueya 202170081595==

依侄儿的主见，要问也不难，若问出来，太太怎么个办法呢？”王夫人道：“如今那些女孩子在那里？”贾琏道：“都在园里锁着呢。”王夫人道：“姑娘们知道不知道？”贾琏道：“大约姑娘们也都知道是预备宫里头的话，外头并没提起别的来。”王夫人道：“狠是。这些东西一刻也是留不得的。头里我原要打发他们去来着，都是你们说留着好，如今不是弄出事来了么？你竟叫赖大那些人带去细细的问他的本家有人没有，将文书查出，花上几十两银子，雇只船，派个妥当人，送到本地，一概连文书发还了，也落得无事。若是为着一两个不好，个个都押着他们还俗，那又太造孽了；

To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort,to where they came from. When they’ve all been manumitted that will be the end of that.If we were to force them all to go back to secular life just because one or two of them have gone to the bad, that would be too heartless.

To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort, to where they came from. When they’ve all been manumitted that will be the end of that. Even if one or two of them have been up to some mischief, I don't think it would be fair to punish them indiscriminately, by making them all return to lay-life.--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 14:21, 29 May 2022 (UTC)

==英语笔译庹树梅 Tuo Shumei 202170081596==

若在这里发给官媒，虽然我们不要身价，他们弄去卖钱，那里顾人的死活呢？芹儿呢，你便狠狠的说他一顿，除了祭祀喜庆，无事叫他不用到这里来。看仔细碰在老爷气头儿上，那可就吃不了兜着走了。并说与帐房儿里，把这一项钱粮档子销了。还打发个人到水月庵说：老爷的谕：除了上坟烧纸，若有本家爷们到他那里去，不许接待。若再有一点不好风声，连老姑子一并撵出去。”贾琏一一答应了出去，将王夫人的话告诉赖大，说：“是太太主意，叫你这么办去。办完了，告诉我去回太太。你快办去罢。回来老爷来，你也按着太太的话回去。”

And if we made them over to official brokers here, even though we didn't ask for any money they'd still sell them, not caring at all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send word to Water Moon Convent that, on the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.

And if we made them over to officials here, even though we didn't ask for money they'd still sell them, not caring about all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send words to Water Moon Convent that, according to the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 10:24, 30 May 2022 (UTC)

==英语笔译王思琪 Wang Siqi 202170081597==

赖大听说，便道：“我们太太真正是个佛心，这班东西着人送回去。既是太太好心，不得不挑个好人。芹哥儿竟交给二爷开发了罢。那个贴帖儿的，奴才想法儿查出来，重重的收拾他才好。”贾琏点头说：“是了。”即刻将贾芹发落。赖大也赶着把女尼等领出，按着主意办去了。晚上贾政回家，贾琏赖大回明贾政。贾政本是省事的人，听了也便撂开手了。独有那些无赖之徒，听得贾府发出二十四个女孩子出来，那个不想？究竟那些人能彀回家不能，未知着落，亦难虚拟。且说紫鹃因黛玉渐好，园中无事，听见女尼等预备宫内使唤，不知何事，便到贾母那边打听打听。

When Lai Da heard this, he said, "Our ladyship is really a Buddha," and this class of things was sent back." Both are too kind to have to pick a good person. Brother Qin actually handed it over to Precious Jade to develop. The one who posted it, the slave thought about finding out, and it was good to clean up after him. Jia Lian nodded and said, "Yes." "Immediately send Jia Qin down." Lai Da also hurried to lead the nuns out and did as he was told. In the evening, Jia Zheng went home, and Jia Lianlai returned to Ming Jia Zheng. Jia Zheng was originally a convenient person, and when he heard it, he opened his hand. Only those rogues, I heard the Jia send out twenty-four girls out, that doesn't want to? In the end, those people can go home and can't, the unknown location, and it is difficult to be virtual. Moreover, it is said that the Purple Crane is getting better because of , and there is nothing to do in the garden, so when he heard the nuns and other nuns preparing for the palace, they did not know what to do, so they went to Lady Wang's house to inquire.

When Big Rely heard this, he said, "Our ladyship is really like a Buddha," and this class of things was sent back." Both are too kind to have to pick a good person. Brother Celery actually handed it over to Precious Jade to develop. The one who posted it, the slave thought about finding out, and it was good to clean up after him. Romance Merchant nodded and said, "Yes." "Immediately send Celery down." Big Rely also hurried to lead the nuns out and did as he was told. In the evening, Politics Merchant went home, and omance Merchant returned to tell him. He was originally a convenient person, and when he heard it, he opened his hand. Only those rogues, I heard the Merchant send out twenty-four girls out, that doesn't want to? In the end, those people can go home and can't, the unknown location, and it is difficult to be virtual. Moreover, it is said that the Purple Crane is getting better because of , and there is nothing to do in the garden, so when he heard the nuns and other nuns preparing for the palace, they did not know what to do, so they went to Lady Wang's house to inquire.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 05:17, 1 June 2022 (UTC)

==英语笔译王亚娟 Wang Yajuan 202170081598==

恰遇着鸳鸯下来闲着，坐下说闲话儿，提起女尼的事，鸳鸯咤异道：“我并没有听见，回来问问二奶奶就知道了。”正说着，只见傅试家两个女人过来请贾母的安，鸳鸯要陪了上去。那两个女人因贾母正睡晌觉，就与鸳鸯说了一声儿，回去了。紫鹃问：“这是谁家差来的？”鸳鸯道：“好讨人嫌！家里有了一个女孩儿，生得好些，便献宝的是的，常常在老太太面前夸他家姑娘长得怎么好，心地怎么好，礼貌上又能，说话儿又简绝，做活计儿手儿又巧，会写会算，尊长上头最孝敬的，就是待下人也是极和平的，来了就编这么一大套，常常说给老太太听。我听着狠烦。

Happen to meet Mandarin Duck’s leisure, they sat chatting. The mention of Buddhist nun surprises Mandarin Duck:“I didn’t hear it and we will know after second grandma come.” Whiling saying, Mandarin Duck planned to welcome two women in Testing Assist’s family coming to visit Grandma Merchant. Because Mother Merchant was sleeping at noon, the two women spoke to the Mandarin Duck and went back. Purple Cuckoo asked, "Whose family sent this?" Mandarin Duck said: "What a nuisance! They praised their beautiful daughter as treasures in the presence of Mother Merchant by boasting her good nature, appearance ,politeness and eloquence. The girl was skillful at writing and calculating, and the most dutiful of her superiors was very peaceful to servants. When she came, she would make up such a talk and often told the old lady. I'm sick of hearing it.

She happened to find Mandarin Duck free too, and sitting down to chat she asked her about the nuns. “This is news to me,” said Mandarin Duck in surprise. “I’ll find out later on from Madam Phoenix.” As they were talking, two serving-women from Test Assist’s family arrived to pay their respects to the Lady Dowager. Mandarin Duck was taking them there when they heard that the old lady was having a nap, so the women delivered their message to her and left. “Where are they from?” asked Nightingale. “They’re perfect pests!”Mandarin Duck told her. “The Assists have a daughter who is not bad-looking, so they keep coming to praise her to the old lady for her good looks, good heart and good manners. They say she’s no chatter-box but a skilled needlewoman, who can write and keep accounts too, most dutiful to her elders and kind to the servants. Each time they come they reel all this off, as if offering the old lady some rare treasure. I can’t bear listening to them!--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 02:39, 29 May 2022 (UTC)

==英语笔译肖冬晴 Xiao Dongqing 202170081599==

这几个老婆子真讨人嫌。我们老太太偏爱听那些个话。老太太也罢了，还有宝玉，素常见了老婆子，便狠厌烦的，偏见了他们家的老婆子便不厌烦，你说奇不奇？前儿还来说：他们姑娘现有多少人家儿来求亲，他们老爷总不肯应，心里只要和咱们这种人家作亲才肯。一回夸奖，一回奉承，把老太太的心都说活了。”紫鹃听了一呆，便假意道：“若老太太喜欢，为什么不就给宝玉定了呢？”鸳鸯正要说出原故，听见上头说：“老太太醒了。”鸳鸯赶着上去，紫鹃只得起身出来。回到园里，一头走，一头想道：“天下莫非只有一个宝玉？你也想他，我也想他。

But although they’re such a nuisance, our old lady loves that kind of talk. She isn’t the only one either. Even Precious Jade who can’t abide most old women doesn’t mind these from the Assist family. Odd, isn’t it? Only the other day they came to say that lots of people are asking for their young lady, but her father won’t give his consent hinting that only a family like ours would be good enough for her. All their praise and flattery are having some effect on the old lady.” Though taken aback, Nightingale asked with a show of indifference, “If she thinks it a good match for Precious Jade, then why not fix it up?” Before Mandarin Duck could explain someone inside called Out, “The old lady’s woken!” Mandarin Duck hurried in then and Nightingale got up to leave. On her way back to the Garden she ruminated, “Is there only one Precious Jade in the world that everybody should want him?

But although they’re such a nuisance, our old lady loves that kind of talk. She isn’t the only one either. Even Precious Jade who can’t abide most old women doesn’t mind these from the Assist family. Odd, isn’t it? Only the other day they came to say that lots of people are asking for their young lady, but her father won’t give his consent hinting that only a family like ours would be good enough for her. All their praise and flattery are having some effect on the old lady.” Though taken aback, Nightingale asked with a show of indifference, “If she thinks it a good match for Precious Jade, then why not fix it up?” Before Mandarin Duck could explain someone inside called Out, “The old lady’s woken!” Mandarin Duck hurried in then and Nightingale got up to leave. On her way back to the Garden she ruminated, “Is there only one Precious Jade in the world that everybody should want him?--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 16:06, 31 May 2022 (UTC)

==英语笔译肖佳莉 Xiao Jiali 202170081600==

我们家的那一位，越发痴心起来了。看他的那个神情儿，是一定在宝玉身上的了。三番五次的病，可不是为着这个是什么！这家里‘金’的‘银’的还闹不清，若添了一个什么傅姑娘，更了不得了。我看宝玉的心也在我们那一位的身上；听着鸳鸯的说话，竟是见一个爱一个的。这不是我们姑娘白操了心了吗？”紫鹃本是想着黛玉，往下一想，连自己也不得主意了，不免掉下泪来。要想叫黛玉不用瞎操心呢，又恐怕他烦恼；若是看着他这样，又可怜见儿的。左思右想，一时烦躁起来，自己啐自己道：

And our young lady's the one who dotes on him most. Whenever I see her sinking into one of her depressions, I can tell it's because of him. That's what has been making her fall ill all the time too. There's confusion enough here already, what with gold unicorns and gold lockets, without foisting another Miss Fu on us too! I think it's our young lady that Precious Jade Merchant fancies; but judging by what Fragrant Official says, he falls in love with every girl he meets. If so, our young lady's eating her heart out for nothing.” From thinking of Mascara Jade Fores she went on to wonder what she herself should do, until she felt quite distracted. Though tempted to advise Mascara Jade Forest to stop caring so much for Precious Jade Merchant, she was afraid this would upset her; yet seeing her like this made her heart bleed. The more she brooded the more anxious she grew.

You can see by the way she behaves that she’s set her heart on him: Whenever I see her sinking into one of her depressions, I can tell it's because of him. That's what has been making her fall ill all the time too. There's confusion enough here already, what with gold unicorns and gold lockets, without foisting another Miss Fu on us too! I think it's our young lady that Precious Jade fancies; but judging by what Fragrant Official says, he falls in love with every girl he meets. If so, our young lady's eating her heart out for nothing.” From thinking of Mascara Jade she went on to wonder what she herself should do, until she felt quite distracted. Though tempted to advise Mascara Jade to stop caring so much for Precious Jade, she was afraid this would upset her; yet seeing her like this made her heart bleed. The more she brooded the more anxious she grew.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 08:55, 1 June 2022 (UTC)

==英语笔译谢晓莹 Xie Xiaoying 202170081601==

“你替人耽什么忧！就是林姑娘真配了宝玉，他的那性情儿也是难伏侍的。宝玉性情虽好，又是贪多嚼不烂的。我倒劝人不必瞎操心，我自己才是瞎操心呢！从今已后，我尽我的心伏侍姑娘，其余的事全不管。”这么一想，心里倒觉清净。回到潇湘馆来，见黛玉独自一人，坐在炕上理从前做过的诗文词稿，抬头见紫鹃来，便问：“你到那里去了？”紫鹃道：“我今儿睄了睄姐妹们去。”黛玉道：“敢是找袭人姐姐去么？”紫鹃道：“我找他做什么？”黛玉一想，这话怎么顺嘴说了出来？反觉不好意思，便啐道：“你找谁与我什么相干！倒茶去罢。”

“Why worry about someone else? Even if she really marries, the way she is it won’t be easy to please her; and Precious Jade, for all he’s good-natured, is too much of a flirt. But here I am hoping she’ll stop worrying yet worrying myself for nothing! From now on I’ll look after her as best I can and not care about anything else.” This conclusion helped to calm her down by the time she reached Bamboo Lodge, where she found Mascara Jade sitting all by herself on the kang sorting out her old poems and essays. She looked up when Nightingale came in. “Where have you been?” she asked. “To call on some other girls.” “Did you see Sister Aroma?” “Why should I go to see her?” Mascara Jade wondered how she had come to blurt out such a question, and in embarrassment she answered curtly, “I don’t care where you go. Fetch me some tea.”

“Why worry about someone else? Even if she really gets married, the way she is it won’t be easy to please her; and Precious Jade, for all he’s good-natured, is too much of a flirt. But here I am hoping she’ll stop worrying yet worrying myself for nothing! From now on I’ll look after her as best I can and not care about anything else.” This conclusion helped to calm her down by the time she reached Bamboo Lodge, where she found Mascara Jade sitting all by herself on the kang sorting out her old poems and essays. She looked up when Nightingale came in. “Where have you been?” she asked. “To call on some other girls.” “Did you see Sister Aroma?” “Why should I go to see her?” Mascara Jade wondered how she had come to blurt out such a question, and in embarrassment she answered curtly, “I don’t care where you go. Fetch me some tea.”--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 09:02, 1 June 2022 (UTC)

==英语笔译熊嘉玲 Xiong Jialing 202170081602==

紫鹃也心里暗笑，出来倒茶。只听见园里的一叠声乱嚷，不知何故。一面倒茶，一面叫人去打听。回来说道：“怡红院里的海棠本来萎了几棵，也没人去浇灌他。昨日宝玉走去瞧，见枝头上好像有了蓇朵儿是的。人都不信，没有理他。忽然今日开得狠好的海棠花，众人咤异，都争着去看，连老太太、太太都哄动了，来瞧花儿呢。所以大奶奶叫人收拾园里败叶枯枝，这些人在那里传唤。”黛玉也听见了，知道老太太来，便更了衣，叫雪雁去打听：“若是老太太来了，即来告诉我。”雪雁去不多时，便跑来说：“老太太、太太好些人都来了，请姑娘就去罢。”

Laughing in her heart, Nightingale went out to prepare the tea and heard a clamour of voices in the Garden. When she poured the tea she sent someone to find out what had happened.The girl sent came back and told her, “Some crab-apple trees in Happy Red Court had withered, and nobody watered them; but yesterday when Precious Jade had a look he said he saw buds on the branches. No one believed him or paid any attention to it. Today, suddenly, they burst into bloom with lovely crab-apple flowers! People were so amazed that they rushed over there to look, It’s caused such a sensation that even the old lady and Her Ladyship are coming to see the flowers. So Madam Zhu’s given orders to have the leaves in the Garden swept up, and they were calling servants just now to do this.”Mascara Jade, overhearing that the old lady was coming, at once changed her clothes and sent Snowgoose out to keep watch.“Tell me as soon as the old lady comes,” she said.It was not long before Snowgoose came running back. “The old lady and the mistress have come with quite a party,” she replied.” You’d better go right away, miss.”

Nightingale smiled inwardly at the outcome of her experiment and went to pour the tea.When she poured the tea she sent someone to find out what had happened.The girl sent came back and told her, “Some crab-apple trees in Happy Red Court had withered, and nobody watered them; but yesterday when Precious Jade had a look he said he saw buds on the branches. No one believed him or paid any attention to it. Today, suddenly, they burst into bloom with lovely crab-apple flowers! People were so amazed that they rushed over there to look, It’s caused such a sensation that even the old lady and Her Ladyship are coming to see the flowers. So Madam Zhu’s given orders to have the leaves in the Garden swept up, and they were calling servants just now to do this.”Mascara Jade, overhearing that the old lady was coming, at once changed her clothes and sent Snowgoose out to keep watch.“Tell me as soon as the old lady comes,” she said.It was not long before Snowgoose came running back. “The old lady and the mistress have come with quite a party,” she replied.” You’d better go right away, miss.”--[[User:Yan Yuan9|Yan Yuan9]] ([[User talk:Yan Yuan9|talk]]) 15:31, 1 June 2022 (UTC)

==英语笔译颜媛 Yan Yuan 202170081603==

黛玉略自照了一照镜子，掠了一掠鬓发，便扶着紫鹃到怡红院来，已见老太太坐在宝玉常卧的榻上。黛玉便说道：“请老太太安。”退后便见了邢王二夫人，回来与李纨、探春、惜春、邢岫烟彼此问了好。只有凤姐因病未来；史湘云因他叔叔调任回京，接了家去；薛宝琴跟他姐姐家去住了；李家姐妹因见园内多事，李婶娘带了在外居住：所以黛玉今日见的只有数人。大家说笑了一回，讲究这花开得古怪。贾母道：“这花儿应在三月里开的，如今虽是十一月，因节气迟，还算十月，应着小阳春的天气，因为和暖，开花也是有的。”王夫人道：“老太太见的多，说得是，也不为奇。”

Dai-yu took a brief look in the mirror, passed a comb quickly through her hair and set off with Nightingale in the direction of Green Delights. She arrived to find Grandmother Jia installed on Bao-yu's day-couch,and after greeting her,and Lady Xing and Lady Wang went on to say hello to Li Wan, Tan-chun, Xi-chun and Xing Xiuyan.She noticed that several people were absent: Xi-feng was ill in bed, Shi Xiang-yun had gone home to see her uncle who was in the capital on transfer, while Bao-qin had stayed at home with Bao-chai, and the two Li sisters, Wen and Qi, had been taken to live elsewhere by their mother, whom recent events had convinced that Prospect Garden was a rather unsuitable environment for her daughters.They were all chatting away, each propounding a different interpretation of the strange phenomenon of the winter-flowering crab-trees. “They usually flower in the third month, I know,” Grandmother Jia was saying. “And we are in the eleventh month now. But then the movable terms in the calendar are rather late this year, so we could say this is more like the tenth month, which is after all sometimes called "Little Spring". With the exceptionally warm weather we have been having, a little blossom is only to be expected.”

==英语笔译杨心怡 Yang Xinyi 202170081604==

邢夫人道：“我听见这花已经萎了一年，怎么这回不应时候儿开了？必有个原故。”李纨笑道：“老太太与太太说得都是。据我的糊涂想头，必是宝玉有喜事来了，此花先来报信。”探春虽不言语，心内想：“此花必非好兆。大凡顺者昌，逆者亡；草木知运，不时而发，必是妖孽。”只不好说出来。独有黛玉听说是喜事，心里触动，便高兴说道：“当初田家有荆树一棵，三个弟兄因分了家，那荆树便枯了；后来感动了他弟兄们，仍旧归在一处，那荆树也就荣了。可知草木也随人的。如今二哥哥认真念书，舅舅喜欢，那棵树也就发了。”贾母王夫人听了喜欢，便说：“林姑娘比方得有理，狠有意思。”
Mrs. Xing said: "I saw that this flower has been withering for a year. Why should it be blooming at this time? There must be a reason." Li Wan smiled and said: "The old lady and the lady said the same thing. According to my confusion When I think about it, it must be a happy event coming to Baoyu, and this flower will come to report first." Although Tanchun did not speak, he thought in his heart: "This flower must not be a good omen. Generally, those who are obedient are prosperous, and those who are disobedient will perish; , it must be a monster." It's hard to say. When Yu Daiyu heard that it was a happy event, she was moved, and she said happily: "In the beginning, there was a thorn tree in the Tian family, and the thorn tree was withered because the three brothers separated; In one place, the wattle tree is also honored. It can be seen that the grass and trees also follow people. Now that the second brother is studying hard, and the uncle likes it, the tree is also grown." Madam Jia Muwang heard that she liked it, and said: "Miss Lin For example, it has to be reasonable and interesting.”

==英语笔译杨紫微 Yang Ziwei 202170081605==

正说着，贾赦、贾政、贾环、贾兰都进来看花。贾赦便说：“据我的主意，把他砍去。必是花妖作怪。”贾政道：“‘见怪不怪，其怪自败。’不用砍他，随他去就是了。”贾母听见，便说：“谁在这里混说？人家有喜事好处，什么怪不怪的！若有好事，你们享去；若是不好，我一个人当去。你们不许混说。”贾政听了，不敢言语，赸赸的同贾赦等走了出来。那贾母高兴，叫人传话到厨房里，快快预备酒席，大家赏花。叫：“宝玉、环儿、兰儿各人做一首诗志喜。林姑娘的病才好，不要他费心；若高兴，给你们改改。”对着李纨道：“你们都陪我喝酒。”李纨答应了“是”便笑对探春笑道：“都是你闹的。”

Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all came in to see the flowers. Pardon Merchant said, "In my opinion, just cut it down. It must be flower demons which make trouble." Master Merchant added: "' If you are inured to the strange, it will not be strange. ' Don't cut it down, just let it be." When Grandma Merchant heard this, she said, "Who is talking nonsense here? There is something auspicious in store for us. If there be good things, you enjoy yourselves; If not, I will go alone. You shouldn’t fool around." Mater Merchant dare not speak when heard this, and he walked out with Pardon Merchant embarrassingly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said in a high voice: “Precious Jade, Ring and Blue, each of you to write a poem to express congratulations. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you." "You'll all drink with me," she said to Silk Plum. Silk Plum replied "yes" and then smiled at Seeking-Spring and said, "It's all your fault."

Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all arrived to see the flowers. Pardon Merchant said, “In my opinion, just cut it down. It must be flower demons which make trouble.” Master Merchant added: “On the contrary, just let them alone. Evil manifestations thrive on such superstition. Just ignore them and they will disappear.” When Grandma Merchant heard this, she said, “Who is talking nonsense here? There is something auspicious in store for us. When there’s good luck, then enjoy it while you can. If not, I will take care of any bad luck. Do not say any other word of such nonsense.” This silenced Master Merchant and he walked out with Pardon Merchant awkwardly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said: “I should like Precious Jade, Ring and Blue, each to write a poem to celebrate this occasion. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you.” “You and the others come up and drink some wine with me,” she said to Silk Plum. Silk Plum replied “yes” and then, smiling, turned to Seeking-Spring and said, “This is all your fault.”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 04:40, 29 May 2022 (UTC)

==英语笔译张国浩 Zhang Guohao 202170081606==

探春道：“饶不叫我们做诗，怎么我们闹的？”李纨道：“海棠社不是你起的么？如今那棵海棠也要来入社了。”大家听着，都笑了。一时，摆上酒菜，一面喝着。彼此都要讨老太太的欢喜，大家说些兴头话。宝玉上来斟了酒，便立成了四句诗，写出来念与贾母听，道：海棠何事忽摧隤，今日繁花为底开？应是北堂增寿考，一阳旋复占先梅。贾环也写了来，念道：草木逢春当茁芽，海棠未发候偏差。人间奇事知多少，冬月开花独我家。贾兰恭楷誊正，呈与贾母。贾母命李纨念道：烟凝媚色春前萎，霜浥微红雪后开。莫道此花知识浅，欣荣预佐合欢杯。

Seeking-Spring protested, “What do you mean? We are not allowed to write poems. And what’s my fault?” “Aren’t you the founder of crab-flower club?”, replied Silk Plum. “Now the real crab-flower is going to join in this club too.” Everyone laughed after what Silk Plum had said. Food and wine now were served and they all drank. They tried their best to amuse Grandma Merchant with some humorous conversations. Precious Jade came up to pour himself some wine, then thought for a while and wrote a poem. Then he read it to his grandma. The poem said: I asked the crab-tree why it failed to blossom at the blossom-time, now you bloomed so profusely so long before the spring? The tree said: ‘At this time, it means new birth.’, Glad tidings to the Mistress of this House I bring. Then Ring Merchant also wrote out his poem and began to recite: Plants should begin to grow up in spring, our crab-tree blossomed at a wrong time. Of all the wonders in the world, it is the first time for trees to blossom in winter in our home. Then Cymbidium Merchant made a careful copy of his poem in Kai-shu calligraphy and gave it to Grandma Merchant. Grandma Merchant asked Silk Plum to read it out: Your beauty blighted in spring, but you blossom in winter now. Don not say this tree is not wise, it adds luster to our family prosperity.

“We’ve not even been allowed to write poems,” retorted Seeking-Spring. “So surely this has nothing to do with us?” “Didn’t you start the Begonia Society? Now these crab-apples’ want to join your club too.” At that everybody laughed. Presently wine and dishes were served. And as they drank they all tried to please the old lady by cheerful talk. Precious Jade poured wine for the others, then made tip and wrote out a quatrain which he read to his grandmother. It was as follows: What made the crab-apple wither away? And today why have fresh blossoms come? To foretell a long life for our Old Ancestress It is flowering anew, ahead of the plum. Ring Merchant also wrote and read out this poem: Crab-apples should burgeon in the spring, But ours were bare this year. The world is full of strange phenomena, Yet only here do winter blooms appear. Cymbidium Merchant wrote out his verse neatly and presented it to the old lady, who made Silk Plum read it out as follows: Its misty charm had faded by last spring, But after snow and frost pink blooms unfold. Do not accuse this flower of ignorance— Good fortune at this feast it has foretold.--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 01:55, 29 May 2022 (UTC)

==英语笔译张姣玲 Zhang Jiaoling 202170081607==

贾母听毕，便说：“我不大懂诗，听去倒是兰儿的好，环儿做得不好。都上来吃饭罢。”宝玉看见贾母喜欢，更是兴头，因想起：“晴雯死的那年，海棠死的；今日海棠复荣，我们院内这些人，自然都好，但是晴雯不能像花的死而复生了。”顿觉转喜为悲。忽又想起前日巧姐提凤姐要把五儿补入，或此花为他而开，也未可知。却又转悲为喜，依旧说笑。贾母还坐了半天，然后扶了珍珠回去了，王夫人等跟着过来。只见平儿笑嘻嘻的迎上来，说：“我们奶奶知道老太太在这里赏花，自己不得来，叫奴才来伏侍老太太、太太们。还有两匹红送给宝二爷包裹这花，当作贺礼。”
The old lady said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”

Grandma Merchant said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:37, 30 May 2022 (UTC)

==英语笔译张瑞 Zhang Rui 202170081608==

袭人过来接了，呈与贾母看。贾母笑道：“偏是凤丫头行出点事儿来，叫人看着又体面，又新鲜，狠有趣儿！”袭人笑着向平儿道：“回去替宝二爷给二奶奶道谢：要有喜，大家喜。”贾母听了，笑道：“嗳哟，我还忘了呢！凤丫头虽病着，还是他想得到，送得也巧。”一面说着，众人就随着去了。平儿私与袭人道：“奶奶说，这花开得奇怪，叫你铰块红绸子挂挂，便应在喜事上去了。以后也不必只管当作奇事混说。”袭人点头答应，送了平儿出去不题。且说那日宝玉本来穿着一裹圆的皮袄在家歇息，因见花开，只管出来看一回、赏一回、叹一回、爱一回的，心中无数悲喜离合，都弄到这株花上去了。

Aroma came to pick it up and presented it to Grandma Merchant to see. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come.In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Ping'er out without a question. Moreover,on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart all got to this flower.

Aroma came to pick it up and presented it to Grandma Merchant. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come. In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Patience out. Moreover, on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart were intrigued by this flower.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 08:05, 30 May 2022 (UTC)

==英语笔译赵宇翔 Zhao Yuxiang 202170081609==

忽然听说贾母要来，便去换了一件狐腋箭袖，罩一件玄狐腿外褂，出来迎接贾母。匆匆穿换，未将”通灵宝玉“挂上。及至后来贾母去了，仍旧换衣。袭人见宝玉脖子上没有挂着，便问：“那块玉呢？”宝玉道：“才刚忙乱换衣，摘下来放在炕桌上，我没有带。”袭人回看桌上，并没有玉，便向各处找寻，踪影全无，吓得袭人满身冷汗。宝玉道：“不用着急，少不得在屋里的。问他们就知道了。”袭人当作麝月等藏起吓他顽，便向麝月等笑着说道：“小蹄子们！顽呢，到底有个顽法。把这件东西藏在那里了？别真弄丢了，那可就大家活不成了。”

Suddenly Precious Jade heard that Grandma Merchant was coming. He went to change a Jianxiu(a kind of clothes with tight sleeves) made of fox's armpit hair and put on a garment made of the hair from black fox's legs, then he went out to welcome Grandma Merchant. He was in such a hurry to change his clothes that he forgot to wear his jade pendant of "Tong Ling Bao Yu". When Grandma Merchant left and Precious Jade went to change clothes, Aroma found that and asked him, "Where is that jade pendant?" Precious Jade answered, "I was hurrying to change my clothes. And I didn't wear it since I took it off and put it on the table." Aroma then found that the jade pendant was not on the table and looked around the room. The jade pendant was still missing, which scared Aroma to be in cold sweat. Precious Jade said, "Don't be anxious, it must stay somewhere in the room. You can ask the others." Aroma thought that it was Dusk Moon and other maids who hid the jade pendant to play tricks on her. She said to them, laughing, "You stupid girls! Are you playing the treasure haunting game? Where do you hide the jade pendant? If you really lose it, we all will be punished!"

==英语笔译郑冬琴 Zheng Dongqin 202170081610==

麝月等都正色道：“这是那里的话？顽是顽，笑是笑，这个事非同儿戏，你可别混说！你自己昏了心了，想想罢，想想搁在那里了？这会子又混赖人了。”袭人见他这般光景，不像是顽话，便着急道：“皇天菩萨，小祖宗！到底你摆在那里去了？”宝玉道：“我记得明明放在炕桌上的，你们到底找啊。”袭人麝月秋纹等也不敢叫人知道，大家偷偷儿的各处搜寻。闹了大半天，毫无影响，甚至翻箱倒笼，实在没处去找，便疑到方才这些人进来，不知谁捡了去了。袭人说道：“进来的，谁不知道这玉是性命是的东西呢？谁敢捡了去呢！你们好歹先别声张，快到各处问去。“What are you talking about?” they answered seriously. “Joking is all very well, but this is no joking matter. Don’t talk nonsense. You must be crazy! Better think back to where you put it instead of accusing us.”“Heavens!” cried Aroma anxiously, seeing them so much in earnest. “Where exactly did you put it, Master Precious Jade Merchant?”“I remember quite clearly putting it on that table,” he assured her. “Make a good search for it.”Not daring to let outsiders know, Aroma, Musk Deer Month, Autumn Vein and the other girls quietly searched the whole place. They hunted around for hours, even turning out cases and crates — but all in vain. When the jade was nowhere to be found, they wondered if one of their visitors that day could have taken it.But Aroma said, “All of them know how precious this jade is. Who’d dare take it? You mustn’t, for goodness’ sake, let word of this get out, but go and make inquiries at different households.

==英语笔译钟青 Zhong Qing 202170081611==

若有姐妹们捡着吓我们顽呢，你们给他磕头，要了回来；若是小丫头偷了去，问出来，也不回上头，不论把什么送给他换了出来，都使得的。这可不是小事，真要丢了这个，比丢了宝二爷的还利害呢。”麝月秋纹刚要往外走，袭人又赶出来嘱咐道：“头里在这里吃饭的倒别先问去。找不成，再惹出些风波来，更不好了。”麝月等依言，分头各处追问。人人不晓，个个惊疑。麝月等回来，俱目瞪口呆，面面相窥，宝玉也吓怔了，袭人急的只是干哭。找是没处找，回又不敢回：怡红院里的人吓得个个像木雕泥塑一般。大家正在发呆，只见各处知道的都来了。

==英语笔译周皓熙 Zhou Haoxi 202170081612==

探春叫把园门关上，先命个老婆子带着两个丫头，再往各处去寻去；一面又叫告诉众人：“若谁找出来，重重的赏银。”大家头宗要脱干系，二宗听见重赏，不顾命的混找了一遍，甚至于茅厮里都找到。谁知那块玉竟像绣花针儿一般，找了一天，总无影响。李纨急了，说：“这件事不是顽的，我要说句无礼的话了。”众人道：“什么呢？”李纨道：“事情到了这里，也顾不得了。现在园里，除了宝玉都是女人。要求各位姐姐、妹妹、姑娘都要叫跟来的丫头脱了衣服，大家搜一搜。若没有，再叫丫头们去搜那些老婆子并粗使的丫头。”

Seeing-Spring asked servants to close the yard gate. She then asked an old female servant to bring two girl servants to search around. At the same time, she told the rest, "A bonus for anyone who find it." Everyone wanted to prove their innocence and also wanted the bonus. Therefore, all were searching for the jade. Even the toilets were searched. However, it was seen nowhere after one day. Silk Plum was worried, saying, "It is no joke. I am going to be rude." Everyone was confused. She continued, "As for now, I think there is no other options. Now, except Precious Jade, everyone in the yard is female. So I beg every one of you to take off your clothes and let's search it again. If still no result, then I'll ask girl servants to search the old lady servants and manual servants."

Seeing-Spring asked servants to close the yard gate. She then asked an old female servant to bring two maids to search around. At the same time, she told the others, "A bonus for anyone who find it." Everyone wanted to prove their innocence and also wanted the bonus. Therefore, all were searching for the jade. Even the toilets were searched. However, it was seen nowhere after one day. Silk Plum was worried, saying, "It is no joke. I am going to say something rude." Everyone was confused. She continued, "As for now, I think there is no other options. Now, except Precious Jade, everyone in the yard is female. So I beg every one of you to take off your clothes and let's search it again. If still no result, then I'll ask girl servants to search the old lady servants and manual servants."--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 15:14, 31 May 2022 (UTC)

==英语笔译周哲 Zhou Zhe 202170081613==

大家说道：“这话也说的有理。现在人多手乱，鱼龙混杂，到是这么一来，你们也洗洗清。”探春独不言语。那些丫头们也都愿意洗净自己。先是平儿起。平儿说道：“打我先搜起。”于是各人自己解怀。李纨一气儿混搜。探春嗔着李纨道：“大嫂子，你也学那起不成材料的样子来了。那个人既偷了去还肯藏在身上？况且这件东西，在家里是宝，到了外头不知道的是废物，偷他做什么？我想来必是有人使促狭。”众人听说，又见环儿不在这里，昨儿是他满屋里乱跑，都疑到他身上，只是不肯说出来。
"That's an idea, "they agreed." With such a crowd of us here we're a mixed lot, and this would be a way to clear ourselves."
Only Seeking Spring made no comment.
As the maids also wanted to clear themselves of suspicion, Pinger volunteered to be the first to be searched. Then the others stripped too, and Li Wan searched them in turn.
"Sister-in-law!?"snapped Seeking Spring. "Where did you learn to behave in this scandalous way? If anyone stole it she wouldn't keep it on her, would she? Besides, this jade may be treasured here but to outsiders not in the know it's quite useless, so why should anyone steal it? I'm sure that someone is up to monkey tricks."
When they heard this and noticed Huan's absence— though earlier on he had been running all over the place— they suspected him but were unwilling to say so.

"That's an idea, "they agreed." With such a crowd of us here we're a mixed lot, and this would be a way to clear ourselves."
Only Seeking Spring made no comment.
As the maids also wanted to clear themselves of suspicion, Pinger volunteered to be the first to be searched. Then the others stripped too, and Li Wan searched them in turn.
"Sister-in-law!?"snapped Seeking Spring. "Where did you learn to behave in this scandalous way? If anyone stole it she wouldn't keep it on her, would she? Besides, this jade may be treasured here but to outsiders not in the know it's quite useless, so why should anyone steal it? I'm sure that someone is up to monkey tricks."
When they heard this and noticed Huan's absence— though earlier on he had been running all over the place— they suspected him but were unwilling to say so.--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 04:54, 31 May 2022 (UTC)

==英语笔译朱丽娟 Zhu Lijuan 202170081614==

探春又道：“使促狭的只有环儿。你们叫个人去悄悄的叫了他来，背地里哄着他，叫他拿出来，然后吓着他，叫他不要声张。这就完了。”大家点头称是。李纨便向平儿道：“这件事还是得你去才弄得明白。”平儿答应，就赶着去了。不多时，同了环儿来了。众人假意装出没事的样子，叫人沏了碗茶，搁在里间屋里。众人故意搭赸走开，原叫平儿哄他。平儿便笑着向环儿道：“你二哥哥的玉丢了，你瞧见了没有？”贾环便急得紫涨了脸，瞪着眼，说道：“人家丢了东西，你怎么又叫我来查问疑我，我是犯过案的贼么？”
"Huan's the only one who'd play such a trick," Seeking Spring continued. "Send somebody to fetch him quietly and persuade him to return it; then give him a scare to make him keep his mouth shut, and that will be that."
The others nodded approval.
Silk Plum told Patience, "You're the only one who can get the truth out of him.”
Patience agreed to try and hurried off, coming back before long with Ring Merchant. The rest pretended that nothing was amiss and told maids to serve him tea in the inner room. Then they excused themselves, leaving him to Patience.
“Your Precious Jade has lost his jade, she told him with a smile. "Have you seen it?"
Ring Merchant flushed scarlet and glared.
"When he loses something, why suspect me?" he protested. "Am I aconvicted thief?"

"Ring's the only one who'd play such a trick,"Seeking Spring continued. "Send somebody to fetch him quietly and persuade him to return it; then give him a scare to make him keep his mouth shut,and that will be that." The others nodded approval. Silk Plum told Patience,"You're the only one who can get the truth out of him."
Patience agreed to try and hurried off,coming back before long with Ring Merchant. The rest pretended that nothing was amiss and told maids to serve him tea in the inner room. Then they excused themselves,leaving him to Patience. "Your brother has lost his jade,she told him with a smile. "Have you seen it?"Ring Merchant flushed scarlet and glared. "When he loses something, why suspect me?"he protested. "Am I a convicted thief?"--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 13:30, 31 May 2022 (UTC)

==英语口译段小蝶 Duan Xiaodie 202170081615==

平儿见这样子，到不敢再问，便又陪笑道：“不是这么说。怕三爷要拿了去吓他们，所以白问问瞧见了没有，好叫他们找。”贾环道：“他的玉在他身上，看见不看见该问他，怎么问我？捧着他的人多着咧！得了什么不来问我，丢了东西就来问我！”说着，起身就走。众人不好拦他。这里宝玉倒急了，说道：“都是这劳什子闹事！我也不要他了，你们也不用闹了。环儿一去，必是嚷得满院里都知道了，这可不是闹事了么？”袭人等急得又哭道：“小祖宗，你看这玉丢了没要紧；若是上头知道了，我们这些人就要粉身碎骨了！”说着，便嚎啕大哭起来。
She explained with a smile.“I thought you might have taken it to scare them; that's why I simply asked if you'd seen it or not to help them find it." "He was the one wearing the jade so he's the one you should ask instead of me. You all make so much of him! When there's something good going,you don't ask me to share it; but when anythings lost,I'm the one you ask about it!" He got up and marched out and they could not stop him. "All this trouble's due to that silly thing! " burst out Precious Jade. "I don't want it,so you needn't make such a fuss. When Ring gets back,he's bound to tell everyone and raise a fearful rumpus." Weeping in desperation,Aroma said,"You may not care that the jade's lost,Little Ancestor,but if this comes to the mistresses'ears,it'll be the death of us!" She broke down and sobbed.

==英语口译方楚晗 Fang Chuhan 202170081616==

众人更加伤感，明知此事掩饰不来，只得要商议定了话，回来好回贾母诸人。宝玉道：“你们竟也不用商议，硬说我砸了就完了。”平儿道：“我的爷，好轻巧话儿！上头要问为什么砸的呢？他们也是个死啊！倘或要起砸破的碴儿来，那又怎么样呢？”宝玉道：“不然，便说我前日出门丢了。”众人一想，这句话倒还混得过去，但只这两天又没上学，又没往别处去。宝玉道：“怎么没有？大前儿还到南安王府里听戏去了呢。便说那日丢的。”探春道：“那也不妥。既是前儿丢的，为什么当日不来回。”

It soon became clear to them all that things could not be hushed up for much longer. They would have to agree on a story to tell Grandmother Jia and the other ladies. ‘That’s easy,’ said Bao-yu. ‘Just tell them I smashed it myself.’‘No no! That’s no good!’ said Patience. ‘Can’t you see?They’ll want to know why you smashed it, and then things will look just as black for Aroma and the others. And besides, what if they want to see the pieces?’ ‘Well then, say I lost it on a trip to town.’ There was a moment’s silence as they all pondered this suggestion. ‘We might possibly have got away with that,’ said someone at last. ‘But during the past few days you haven’t been to school, and you haven’t been out anywhere either.’‘Yes I have,’ Bao-yu corrected them. ‘A few days ago I went to the Earl of Lin-an’s to watch the plays. You can say I lost it then.’‘No, that won’t do,’ said Tan-chun. ‘If you lost it as long ago as that, they’ll want to know why it hasn’t been reported till now.’

It soon became clear to them all that things could not be hushed up for much longer. They would have to agree on a story to tell Grandmother Jia and the other ladies. ‘That’s easy,’ said Bao-yu. ‘Just tell them I smashed it myself.’‘No no! That doesn't work!’ said Patience. ‘Can’t you understand? They’ll want to know why you smashed it, and then things will look just as black for Aroma and the others. And besides, what if they want to see the pieces?’‘Well then, say I lost it on a trip to town.’ There was a moment’s silence as they all pondered this suggestion. ‘We might possibly have got away with that,’ said someone at last. ‘But during the past few days you haven’t been to school, and you haven’t been out anywhere either.’‘Yes I have,’ Bao-yu corrected them. ‘A few days ago I went to the Earl of Lin-an’s to watch the plays. You can say I lost it then.’‘No, that won’t do,’ said Tan-chun. ‘If you lost it as long ago as that, they’ll want to know why it hasn’t been reported till now.’
--[[User:Hu Wenwen|Hu Wenwen]] ([[User talk:Hu Wenwen|talk]]) 14:40, 1 June 2022 (UTC)

==英语口译胡雯雯 Hu Wenwen 202170081617==

众人正在胡思乱想要装点撒谎，只听得赵姨娘的声儿，哭着喊着走来，说：“你们丢了东西，自己不找，怎么叫人背地里拷问环儿！我把环儿带了来，索性交给你们这一起洑上水的。该杀该剐，随你们罢。”说着，将环儿一推说：“你是个贼，快快的招罢！”气得环儿也哭喊起来。李纨正要劝解，丫头来说：“太太来了。”袭人等此时无地可容。宝玉等赶忙出来迎接。赵姨娘暂且也不敢作声，跟了出来。王夫人见众人都有惊惶之色，才信方才听见的话，便道：“那块玉真丢了么？”众人都不敢作声。

They were still busy discussing the relative merits of these various fictions when suddenly they heard the voice of Aunt Zhao, cursing and wailing her way towards them.‘If you lose something, why can’t you look for it yourselves, instead of sneaking up and blaming my boy? Well, here he is! Take him! Sacrifice him if you think it will do you any good! Kill him! Hack him to pieces! Do what you like with him!’ She propelled Jia Huan into the room, c’rying:‘Thief! Hurry up and confess your crime!’This brought loud and angry protestations from Huan. Li Wan was just bracing herself to intervene and make the peace when a maid came rushing in and announced:‘Her Ladyship is here!’Aroma and the maids could see that a confrontation was now inevitable. Bao-yu and the girls went out at once to receive Lady Wang. Aunt Zhao’s wrath subsided for a moment and she followed them out. From the startled look on their faces Lady Wang could see that what she had heard must be true.‘Is it really lost?’ she cried. No one dared reply.

They were still busy discussing the relative merits of these various fictions when suddenly they heard the voice of Aunt
Zhao, cursing and wailing her way towards them. ‘If you lose something, why can’t you look for it
yourselves, instead of sneaking up and blaming my boy? Well, here he is! Take him! Sacrifice him if you think it will do you any good! Kill him! Hack him to pieces! Do what you like with him!’ She propelled Jia Huan into the room, crying: ‘Thief! Hurry up and confess your crime!’ This brought loud and angry protestations from Huan. Silk Plum was just bracing herself to intervene and make the peace when a maid came rushing in and announced: ‘Her Ladyship is here!’
Aroma and the maids could see that a confrontation was now inevitable. Precious Jade and the girls went out at once to receive Lady Wang. Aunt Zhao’s wrath subsided for a moment and she followed them out. From the startled look on their faces Lady Wang could see that what she had heard must be true. ‘Is it really lost?’ she cried. No one dared reply.--[[User:Huang Tianqi|Huang Tianqi]] ([[User talk:Huang Tianqi|talk]]) 14:20, 1 June 2022 (UTC)

==英语口译黄天琪 Huang Tianqi 202170081618==

王夫人走进屋里坐下，便叫袭人，慌得袭人连忙跪下，含泪要禀。王夫人道：“你起来，快快叫人细细找去，一忙乱倒不好了。”袭人哽咽难言。宝玉生恐袭人直告诉出来，便说道：“太太，这事不与袭人相干，是我前日到南安王府那里听戏在路上丢了。”王夫人道：“为什么那日不找？”宝玉道：“我怕他们知道，没有告诉他们。我叫焙茗等在外头各处找过的。”王夫人道：“胡说！如今脱换衣服，不是袭人他们伏侍的么？大凡哥儿出门回来，手巾荷包短了，还要问个明白，何况这块玉不见了，便不问的么？”宝玉无言可答。

Lady Wang walked in, sat down and called Aroma forward. Aroma fell trembling to her knees. In a choked voice she murmured ‘Yes.’ ‘Well, get up!’ said Lady Wang. ‘We must have a thorough search made. Come on, this helpless attitude will never do.’ Aroma was sobbing and could not say a word. Precious Jade finally spoke up, fearful that she might blurt out the truth. ‘Mother, this has nothing to do with Aroma. I lost it the other day on my way back from seeing the plays at the Earl of Lin-an’s.’ ‘Then why didn’t you look for it at the time?’ ‘I didn’t want anyone to know. I just told Tealeaf to look for it everywhere along the street.’ ‘Nonsense! You know perfectly well that Aroma or one of your other maids would have noticed. That’s their job. They are always with you when you change. Whenever you come in from a party or any kind of excursion, if one of your handkerchiefs is missing, or a little purse, they’re bound to ask you where it’s gone do you really think that they would allow something as irreplaceable as your jade to disappear, and not say a word?’ Precious Jade was stumped for an answer.

==英语口译李丹 Li Dan 202170081620==

赵姨娘听见，便得意了，忙接过口道：“外头丢了东西，也赖环儿……”话未说完，被王夫人喝道：“这里说这个，你且说那些没要紧的话！”赵姨娘便不敢言语了。还是李纨探春从实的告诉了王夫人一遍。王夫人也急得泪如雨下，索性要回明贾母，去问邢夫人那边跟来的这些人去。凤姐病中，也听见宝玉失玉，知道王夫人过来，料躲不住，便扶了丰儿来到园里。正值王夫人起身要走，凤姐娇怯怯的说：“请太太安。”宝玉等过来问了凤姐好。王夫人因说道：“你也听见了么？这可不是奇事吗？刚才眼错不见就丢了，再找不着。

==英语口译李立飞 Li Lifei 202170081621==

你去想想：打老太太那边丫头起，至你们平儿，谁的手不稳，谁的心促狭；我要回了老太太，认真的查出来才好。不然，是断了宝玉的命根子了。”凤姐回道：“咱们家人多手杂，自古说的，‘知人知面不知心’，那里保得住谁是好的？但是一吵嚷，已经都知道了，偷玉的人，若叫太太查出来，明知是死无葬身之地，他着了急，反要毁坏了灭口，那时可怎么处呢？据我的糊涂想头，只说宝玉本不爱他，撂丢了，也没有什么要紧，只要大家严密些，别叫老太太老爷知道；这么说了，暗暗的派人去各处察访，哄骗出来，那时玉也可得，罪名也好定：不知太太心里怎么样？”

==英语口译莫雨婷 Mo Yuting 202170081622==

王夫人迟了半日，才说道：“你这话虽也有理，但只是老爷跟前怎么瞒的过呢？”便叫环儿过来道：“你二哥哥的玉丢了，白问了你一句，怎么你就乱嚷？若是嚷破了，人家把那个毁坏了，我看你活得活不得！”贾环吓得哭道：“我再不敢嚷了。”赵姨娘听了，那里还敢言语。王夫人便吩咐众人道：“想来自然有没找到的地方儿。好端端的在家里的，还怕他飞到那里去不成？只是不许声张。限袭人三天内给我找出来。要是三天找不着，只怕也瞒不住，大家那就不用过安静日子了。”说着，便叫凤姐儿跟到邢夫人那边，商议踩缉不题。

After a long pause Lady Wang replied:"It’s all very well, but will we ever succeed in keeping this from Sir Zheng?" She called Jia Huan to her. "It was very silly of you to go shouting your head off about Bao-yu’s jade, just because they asked you about it. If the thief has heard and destroys the jade, you will pay for it with your life!" "I promise never to mention it again!" wailed Jia Huan in terror. This time Aunt Zhao held her tongue. "There must be some places left where you haven’t looked," Lady Wang continued, addressing the assembled maids. "It must be somewhere here. It’s hardly going to fly away, is it? But when you look, be as quiet as possible. Aroma, I give you three days to find it. If we still haven’t found it by then, we shan’t be able to keep it from Her Old Ladyship and Sir Zheng any longer. And everyone knows what that will mean!" Bidding Xi-feng accompany her, Lady Wang set off for Lady Xing’s apartment, for further consultations on how to apprehend the thief.

After a long pause Lady Wang replied:"It’s all very well, but will we ever succeed in keeping this from Sir Zheng?" She called Jia Huan to her. "It was very silly of you to go shouting your head off about Bao-yu’s jade, just because they asked you about it. If the thief has heard and destroys the jade, you will pay for it with your life!" "I promise never to mention it again!" wailed Jia Huan in terror. This time Aunt Zhao held her tongue. "There must be some places left where you haven’t looked," Lady Wang continued, addressing the assembled maids. "It must be somewhere here. It’s hardly going to fly away, is it? But when you look, be as quiet as possible. Aroma, I give you three days to find it. If we still haven’t found it by then, we shan’t be able to keep it from Her Old Ladyship and Sir Zheng any longer. And everyone knows what that will mean!" Bidding Xi-feng accompany her, Lady Wang set off for Lady Xing’s apartment, for further consultations on how to apprehend the thief.--[[User:Peng Huixuan|Peng Huixuan]] ([[User talk:Peng Huixuan|talk]]) 08:43, 1 June 2022 (UTC)

==英语口译彭慧璇 Peng Huixuan 202170081623==

这里李纨等纷纷议论，便传唤看园子的一干人来，叫把园门锁上，快传林之孝家的来，悄悄儿的告诉了他，叫他：“吩咐前后门上，三天之内，不论男女下人，从里头可以走动，要出时，一概去不许放出。只说里头丢了东西，待这件东西有了着落，然后放人出来。”林之孝家的答应了“是”，因说：“前儿奴才家里也丢了一件不要紧的东西，林之孝必要明白，上街去找了一个测字的。那人叫做什么刘铁嘴，测了一个字，说的狠明白，回来依旧一找，便找着了。”袭人听见，便央及林家的道：“好林奶奶！出去快求林大爷替我们问问去。”那林之孝家的答应着出去了。

Li Wan and the others continued to debate what to do. They sent for the various domestics in charge of the Garden and gave orders for the gates to be securely locked. Steward Lin’s wife was also summoned and given confidential instructions. ‘Tell the servants on both gates that absolutely no one is to be allowed out of the Garden for the next three days. We can allow freedom of movement within the Garden, but no one must leave. Say that something has been lost and that no one can go out until it’s found.’ ‘Yes, Mrs Zhu,’ said Lin’s wife. ‘Excuse me, ma’am,’ she went on, ‘but we lost something at home the other day - nothing of any value of course, but my husband was determined to find it, and he went and consulted one of those word-diviners that set themselves up at street corners. Iron Mouth Liu I think this one’s name was. His reading was very clear. My husband followed his instructions, and found the missing item straight away.’ When Aroma heard this she begged her to help them. ‘Oh, Mrs Lin! Please go and ask your husband to consult this man for us!’ ‘Indeed I will. Straight away. Lin’s wife bustled off. Xing Xiu-yan now had a suggestion to make.

Li Wan and the others continued to debate what to do. They sent for the various domestics in charge of the Garden and gave orders for the gates to be securely locked. Steward Lin’s wife was also summoned and given confidential instructions. ‘Tell the servants on both gates that absolutely no one is to be allowed out of the Garden for the next three days. We can allow freedom of movement within the Garden, but no one must leave. Say that something has been lost and that no one can go out until it’s found.’ ‘Yes, Mrs Zhu,’ said Lin’s wife. ‘Excuse me, ma’am,’ she went on, ‘but we lost something at home the other day - nothing of any value of course, but my husband was determined to find it, and he went and consulted one of those word-diviners that set themselves up at street corners. Iron Mouth Liu I think this one’s name was. His reading was very clear. My husband followed his instructions, and found the missing item straight away.’ When Aroma heard this she begged her to help them. ‘Oh, Mrs Lin! Please go and ask your husband to consult this man for us!’ ‘Indeed I will. Straight away. Lin’s wife bustled off. Xing Xiu-yan now had a suggestion to make.--[[User:Shi Youjie|Shi Youjie]] ([[User talk:Shi Youjie|talk]]) 08:45, 1 June 2022 (UTC)

==英语口译时友洁 Shi Youjie 202170081624==

邢岫烟道：“若说那外头测字打卦的，是不中用的。我在南边闻妙玉能扶乩，何不烦他问一问？况且我听见说，这块玉原有仙机，想来问得出来。”众人都咤异道：“咱们常见的，从没有听他说起。”麝月便忙问岫烟道：“想来别人求他是不肯的，好姑娘，我给姑娘磕个头，求姑娘就去，若问出来了，我一辈子总不忘你的恩！”说着，赶忙就要磕下头去，岫烟连忙拦住。黛玉等也都怂恿着岫烟速往栊翠庵去。一面林之孝家的进来说道：“姑娘们大喜！林之孝测了字回来，说这玉是丢不了的，将来横竖有人送还来的。”众人听了，也都半信半疑。惟有袭人麝月喜欢的了不得。
‘If you ask me, those word-diviners and fortune-tellers you find on street corners are all charlatans. But when I knew Adamantina, in the South, before she came to live here, I heard of her gift for the planchette. Why don’t we ask her to hold a séance for us? Didn’t .Bao-yu’s jade have a mysterious origin
anyway? It would surely lend itself to that sort of approach.’ The others seemed greatly surprised to hear this, and reflected that in all the time they had known her, Adamantma had never once mentioned such a gift. Musk earnestly beseeched Xiu-yan: ‘Oh, Miss! I don’t think she would agree to do it for
anyone but you! Please, please, will you ask her for us? I’ll kotow to you - if she finds the answer, I’ll be indebted to you for a lifetime!’She was about to perform a kotow, but Xiu-yan raised her from the ground. Dai-yu and the others added their entreaties to Musk’s, and Xiu-yan left with all speed for Green Bower Hermitage. No sooner had she gone, than Steward Lin’s wife returned from her mission. ‘Ladies!’ she announced with great jubilation. ‘I bring good news! My husband has been to see the man~ and he says the jade is sure to turn up. Someone will definitely bring it back.’ She had yet to convince her audience however - except for Aroma and Musk, who were ready to grasp at the slightest hope.

"If you ask me, those word-diviners and fortune-tellers you find on street corners are all charlatans. But when I knew Adamantina, in the South, before she came to live here, I heard of her gift for the planchette. Why don’t we ask her to hold a séance for us? Didn’t. Bao Yu’s jade has a mysterious origin
anyway? It would surely lend itself to that sort of approach." The others seemed greatly surprised to hear this, and reflected that in all the time they had known her, Adamantma had never once mentioned such a gift. Musk earnestly beseeched Xiu Yan: "Oh, Miss! I don’t think she would agree to do it for
anyone but you! Please, please, will you ask her for us? I’ll kotow to you - if she finds the answer, I’ll be indebted to you for a lifetime!" She was about to perform a kotow, but Xiu Yan raised her from the ground. Dai-yu and the others added their entreaties to Musk’s, and Xiu-yan left with all speed for Green Bower Hermitage. No sooner had she gone, than Steward Lin’s wife returned from her mission. "Ladies!" she announced with great jubilation. "I bring good news! My husband has been to see the man and he says the jade is sure to turn up. Someone will definitely bring it back." She had yet to convince her audience, however - except for Aroma and Musk, who were ready to grasp at the slightest hope.--[[User:Wu Jiahui|Wu Jiahui]] ([[User talk:Wu Jiahui|talk]]) 08:51, 1 June 2022 (UTC)

==英语口译伍佳惠 Wu Jiahui 202170081625==

探春便问：“测的是什么字？”林之孝家的道：“他的话多，奴才也学不上来，记得是拈了个赏人东西的‘赏’字。那刘铁嘴也不问，便说：‘丢了东西不是？’“李纨道：“这就算好。”林之孝家的道：“他还说：‘“赏”字上头一个“小”字，底下一个“口”字，这件东西，狠可嘴里放得，必是个珠子宝石。’”众人听了，夸赞道：“真是神仙！往下怎么说？”林之孝家的道：“他说：‘底下“贝”字拆开，不成一个“见”字，可不是“不见”了？’因上头拆了‘当’字，叫快到当铺里找去。‘“赏”字加一“人”字，可不是“偿”字？只要找着当铺就有人，有了人便赎了来，可不是偿还了吗。’”

“What character did he analyze?” Seeking-Spring Merchant asked. “He said a lot, but it is too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was Shang meaning ‘gift.’ Then, without asking any question, Iron Mouth Liu said, “You’ve lost something, I take it.” “A good guess!” Silk Plum exclaimed. Filial Piety Forest's Wife continued, “He said the upper part of the character is the xiao for ‘small’ with the Kou for ‘mouth’ below. Therefore, the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of Jian meaning ‘see’, so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn’, we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to Shang, it gives Chang meaning to ‘redeem’. So once we hit on the right pawn shop, we’ll find whoever pawned it and then we can redeem it.”

“What character did he analyze?” Seeking-Spring Merchant asked. “He said a whole lot, too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was shang meaning ‘gift.’ Then, without asking any questions, that Iron Mouth Liu said, ‘You’ve lost something, I take it. “A good guess!” exclaimed Silk Plum. Filial Piety Forest's Wife continued, “Then he said the upper part of the character is the xiao for ‘small’ with the kou for ‘mouth’ below; so the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of jian meaning ‘see,’ so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn,’ we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to shang, it gives chang meaning to ‘redeem.’ So once we hit on the right pawn¬shop, we’ll find whoever pawned it and then we can redeem it.”--[[User:Xia Jing|Xia Jing]] ([[User talk:Xia Jing|talk]]) 10:12, 28 May 2022 (UTC)

==英语口译夏晶 Xia Jing 202170081626==

众人道：“既这么着，就先往左近找起。横竖几个当铺都找遍了，少不得就有了。咱们有了东西，再问人就容易了。”李纨道：“只要东西，那怕不问人都使得。林嫂子，烦你就把测字的话快去告诉二奶奶，回了太太，先叫太太放心。就叫二奶奶快派人查去。”林家的答应了便走。众人略安了一点儿神，呆呆的等岫烟回来。正呆等，只见跟宝玉的焙茗在门外招手儿，叫小丫头子快出来。那小丫头赶忙的出去了。焙茗便说道：“你快进去告诉我们二爷和里头太太、奶奶、姑娘们，天大喜事。”那小丫头子道：“你快说罢，怎么这么累赘？”

“In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”

Revision: “In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”--[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 03:18, 30 May 2022 (UTC)

==英语口译向师琦 Xiang Shiqi 202170081627==

焙茗笑着拍手道：“我告诉姑娘，姑娘进去回了，咱们两个人都得赏钱呢！你打量什么，宝二爷的那块玉呀，我得了准信来了。” 话说焙茗在门口和小丫头子说宝玉的玉有了，那小丫头急忙回来告诉宝玉。众人听了，都推着宝玉出去问他。众人在廊下听着。宝玉也觉放心，便走到门口，问道：“你那里得了？快拿来。”焙茗道：“拿是拿不来的，还得托人做保去呢。”宝玉道：“你快说是怎么得的，我好叫人取去。”焙茗道：“我在外头，知道林爷爷去测字，我就跟了去。我听见说在当铺里找，我没等他说完，便跑到几个当铺里去。我比给他们瞧，有一家便说‘有’。
Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page, and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked:“Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”“Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.

Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked: “Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.--[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 15:46, 30 May 2022 (UTC)

==英语口译向望 Xiang Wang 202170081628==

我说：‘给我罢。’那铺子里要票子。我说：‘当多少钱？’他说：‘三百钱的也有，五百钱的也有。前儿有一个人拿这么一块玉，当了三百钱去；今儿又有人也拿了一块玉，当了五百钱去。’”宝玉不等说完，便道：“你快拿三百五百钱去取了来，我们挑着看是不是。”里头袭人便啐道：“二爷不用理他！我小时候儿听见我哥哥常说，有些人卖那些小玉儿，没钱用，便去当。想来是家家当铺里有的。”众人正在听得咤异，被袭人一说，想了一想，倒大家笑起来，说：“快叫二爷进来罢，不用理那糊涂东西了。他说的那些玉，想来不是正经东西。”宝玉正笑着，只见岫烟来了。

When I asked for it, though, they wanted the pawn-ticket. ‘How much was it hocked for?’ I asked. They said, ‘We give from three hundred to five hundred cash. The other day someone brought in a jade like that and pawned it for three hundred. Today another man came with a piece and pawned it for five hundred.”’Baoyu cut him short with the order, “Go at once, taking money to redeem both; then we’ll see whether one is the right piece or not.”“Don’t listen to him, Master Bao!” scoffed Xiren from inside. “When I was small my brother often told me that hawkers of small pieces of jade pawn them when they need cash. Every single pawnshop must have some.”The others had been surprised by Beiming’s report. Now, thinking over Xiren’s comment, they laughed.“Tell Master Bao to come in,” they cried. “Pay no attention to that simpleton. The jade he’s talking about can’t be the right one.”Baoyu was laughing too when Xiuyan came back.

==英语口译徐舞 Xu Wu 202170081629==

原来岫烟走到栊翠庵，见了妙玉，不及闲话，便求妙玉扶乩。妙玉冷笑几声，说道：“我与姑娘来往，为的是姑娘不是势利场中的人。今日怎么听了那里的谣言，过来缠我？况且我并不晓得什么叫‘扶乩’。”说着，将要不理。岫烟懊悔此来：知他脾气是这么着的，“一时我已说出，不好白回去。”又不好与他质证他会扶乩的话，只得陪着笑将袭人等性命关系的话说了一遍。见妙玉略有活动，便起身拜了几拜。妙玉叹道：“何必为人作嫁？但是我进京以来，素无人知，今日你来破例，恐将来缠绕不休。”

==英语口译张静芝 Zhang Jingzhi 202170081630==

岫烟道：“我也一时不忍。知你必是慈悲的。便是将来他人求你，愿不愿在你，谁敢相强？”妙玉笑了一笑，叫道婆焚香，在箱子里找出沙盘乩架，书了符，命岫烟行礼祝告毕，起来同妙玉扶着乩。不多时，只见那仙乩疾书道：噫！来无迹，去无踪，青埂峰下倚古松。欲追寻，山万重，入我门来一笑逢。书毕，停了乩。岫烟便问：“请是何仙？”妙玉道：“请的是拐仙。”岫烟录了出来，请教妙玉解识。妙玉道：“这个可不能，连我也不懂。你快拿去，他们的聪明人多着哩。”岫烟只得回来。进入院中，各人都问：“怎么样了？”

==日语笔译曹梦然 Cao Mengran 202170081632==

岫烟不及细说，便将所录乩语递与李纨，众姊妹及宝玉争看，都解的是：“一时要找是找不着的，然而丢是丢不了的，不知几时不找便出来了。但是青埂峰不知在那里？”李纨道：“这是仙机隐语。咱们家里那里跑出青埂峰来？必是谁怕查出，撂在有松树的山子石底下，也未可定。独是‘入我门来’这句，到底是入谁的门呢？”黛玉道：“不知请的是谁？”岫烟道：“拐仙。”探春道：“若是仙家的门，便难入了。”袭人心里着忙，便捕风捉影的混找，没一块石底下不找到，只是没有。回到院中，宝玉也不问有无，只管傻笑。

Xiuyan went back, and as soon as she entered the courtyard the others all wanted to know how she had fared. Without giving them the details, she handed Silk Plum the oracle she had transcribed. The girls and Precious Jade crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking. “But where is this Blue Ridge Peak?” they asked. “That must be some divine riddle,” said Silk Plum. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?” Mascara Jade remarked, “I wonder whom she invoked.” “Saint Li the Cripple,” Xiuyan told her. “If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed seeking-spring. Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Precious Jade smiled foolishly instead of asking whether she had found it

Xiuyan went back, and as soon as she entered the courtyard the oth¬ers all wanted to know how she had fared. Without giving them the de¬tails, she handed Li Wan the oracle she had transcribed. The girls and Baoyu crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking.
“But where is this Blue Ridge Peak?” they asked.
“That must be some divine riddle,” said Li Wan. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?”
Daiyu remarked, “I wonder whom she invoked.”
“Saint Li the Cripple,” Xiuyan told her.
“If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed Tanchun.
Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Baoyu smiled foolishly instead of asking whether she had found it.--[[User:Hu Mengqi|Hu Mengqi]] ([[User talk:Hu Mengqi|talk]]) 12:37, 29 May 2022 (UTC)

==日语笔译胡梦琪 Hu Mengqi 202170081633==

麝月着急道：“小祖宗！你到底是那里丢的？说明了，我们就是受罪，也在明处啊。”宝玉笑道：“我说外头丢的，你们又不依。你如今问我，我知道么？”李纨探春道：“今儿从早起闹起，已到三更来的天了。你瞧林妹妹已经掌不住，各自去了。我们也该歇歇儿了，明儿再闹罢。”说着，大家散去。宝玉即便睡下。可怜袭人等哭一回，想一回，一夜无眠，暂且不题。且说黛玉先自回去，想起“金”“石”的旧话来，反自喜欢；心里说道：“和尚道士的话真个信不得。果真‘金’‘玉’有缘，宝玉如何能把这玉丢了呢？或者因我之事，拆散他们的‘金玉’，也未可知。”

“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin’s already left — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night, unable to sleep.
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.

“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin was already leave — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night and unable to sleep.
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 14:38, 29 May 2022 (UTC)

==日语笔译张白鹭 Zhang Bailu 202170081634==

想了半天，更觉安心，把这一天的劳乏，竟不理会，重新倒看起书来。紫鹃倒觉身倦，连催黛玉睡下。黛玉虽躺下，又想到海棠花上，说“这块玉原是胎里带来的，非比寻常之物，来去自有关系。若是这花主好事呢，不该失了这玉呀。看来此花开的不祥，莫非他有不吉之事？”不觉又伤起心来。又转想到喜事上头，此花又似应开，此玉又似应失；如此一悲一喜，直想到五更方睡着。次日，王夫人等早派人到当铺里去查问，凤姐暗中设法找寻。一连闹了几天，总无下落。还喜贾母贾政未知。袭人等每日提心吊胆。宝玉也好几天不上学，只是怔怔的，不言不语，没心没绪的。

Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.

Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.--[[User:Liu Anli|Liu Anli]] ([[User talk:Liu Anli|talk]]) 14:35, 29 May 2022 (UTC)

==朝鲜语笔译刘安莉 Liu Anli 202170081635==

王夫人只知他因失玉而起，也不大着意。那日正在纳闷，忽见贾琏进来请安，嘻嘻的笑道：“今日听得军机贾雨村打发人来告诉二老爷，说：‘舅太爷升了内阁大学士，奉旨来京，已定明年正月二十日宣麻，有三百里的文书去了。’想舅太爷昼夜趱行，半个多月就要到了。侄儿特来回太太知道。”王夫人听说，便欢喜非常。正想娘家人少，薛姨妈家又衰败了；兄弟又在外任，照应不着。今日忽听兄弟拜相回京，王家荣耀，将来宝玉都有倚靠。便把失玉的心又略放开些了，天天专望兄弟来京。忽一天，贾政进来，满脸泪痕，喘吁吁的说道：

His mother did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam.
Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now as Grand Secretary would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival.
Then one day Master Merchant burst in, tears streaming down his cheeks.

Lady King did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam. Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now and it would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival. Then one day Master Merchant burst in, tears streaming down his cheeks.--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 03:18, 30 May 2022 (UTC)

<nowiki></nowiki>==朝鲜语笔译王思佳 Wang Sijia 202170081636==

“你快去禀知老太太，即刻进宫！不用多人的，是你伏侍进去。因娘娘忽得暴病，现在太监在外立等。他说：‘太医院已经奏明痰厥，不能医治。’”王夫人听说，便大哭起来。贾政道：“这不是哭的时候，快快去请老太太。说得宽缓些，不要吓坏了老人家。”贾政说着，出来吩咐家人伺候。王夫人收了泪，去请贾母，只说元妃有病，进去请安。贾母念佛道：“怎么又病了？前番吓的我了不得，后来又打听错了。这回情愿再错了也罢。”王夫人一面回答，一面催鸳鸯等开箱取衣饰穿戴起来。王夫人赶着回到自己房中也穿戴好了，过来伺候。一时出厅，上轿进宫不题。

"Go to the old lady and enter the palace at once!" It doesn't take many people, it's you who ambush in. Because Princess Merchant suddenly fell ill violently, the eunuch is now waiting outside. He said: 'The hospital has made it clear that it cannot be cured.' When Lady King heard this, she burst into tears. Master Merchant said, "This is not the time to cry, go and ask the old lady quickly." Speak more gently, don't frighten the old man. Master Merchant said, and came out to order his family to serve. Lady King collected her tears and went to ask Grandma Merchant, only to say that Princess Merchant was ill and went in to ask for peace. Grandma Merchant chanted the Buddha, "Why are you sick again?" I was terrified of it before, and then I was wrong. This time I'm willing to be wrong. Lady King replied while urging mandarin ducks to open the box and take clothes and put them on. Lady King hurried back to her room and dressed herself, and came to serve. When I went out of the hall for a while, I went to the palace and entered the palace without a title.

"Go to the old lady and enter the palace at once!" It doesn't take many people, it's you who ambush in. Because Princess Merchant suddenly fell ill violently, the eunuch is now waiting outside. He said: 'The Taiyuan hospital has made it clear that it cannot be cured.' When Lady King heard this, she burst into tears. Master Merchant said, "This is not the time to cry, go and ask the old lady quickly." Speak more gently, don't frighten the old man. Master Merchant said, and came out to order his family to serve. Lady King collected her tears and went to ask Grandma Merchant, only to say that Princess Merchant was ill and went in to ask for peace. Grandma Merchant chanted the Buddha, "Why are you sick again?" I was terrified of it before, and then I was wrong. This time I'm willing to be wrong. Lady King replied while urging mandarin ducks to open the box and take clothes and put them on. Lady King hurried back to her room and dressed herself, and came to serve. When I went out of the hall for a while, I went to the palace and entered the palace without a title--[[User:Xu Gai|Xu Gai]] ([[User talk:Xu Gai|talk]]) 12:22, 31 May 2022 (UTC)

==朝鲜语笔译徐盖 Xu Gai 202170081638==

且说元春自选了凤藻宫后，圣眷隆重，身体发福，未免举动费力。每日起居劳乏，时发痰疾。因前日侍宴回宫，偶沾寒气，勾起旧病。不料此回甚属利害，竟至痰气壅塞，四肢厥冷。一面奏明，即召太医调治。岂知汤药不进，连用通关之剂，并不见效。内官忧虑，奏请预办后事，所以传旨命贾氏椒房进见。贾母王夫人遵旨进宫，见元妃痰塞口涎，不能言语。见了贾母，只有悲泣之状，却少眼泪。贾母进前请安，奏些宽慰的话。少时贾政等职名递进，宫嫔传奏，元妃目不能顾，渐渐脸色改变。内宫太监即要奏闻，恐派各妃看视，椒房姻戚未便久羁，请在外宫伺候。

Let's say that since the election of the fengzao palace, the holy family members have been ceremonious and have gained weight. It's hard to move. Daily life fatigue, sometimes phlegm disease. I came back to the palace from the banquet the day before yesterday, and I got cold and started an old illness. Unexpectedly, this time it was very dangerous. It was so bad that the phlegm was blocked and the limbs were cold. On the other hand, the doctor will be called for treatment. I didn't know that the soup and medicine were not available. Even the customs clearance agent was not effective. The internal officer was worried, so he ordered Jia's pepper room to see him. Grandma merchant entered the palace according to his order. When he saw that congubine yuan was salivating and unable to speak. When I met grandma merchant, I was only sad but had few tears. Grandma merchant goes in to say hello and say a few words of comfort. When he was young, the title of master merchant was gradually advanced, and the palace concubines played, but the eyes of concubine yuan could not care, and his face gradually changed. The eunuch in the inner palace is about to hear about it. He is afraid that he will send his concubines to watch him. The marriage of pepper house has been detained for a long time. Please serve him in the outer palace.

==朝鲜语笔译徐文慧 Xu Wenhui 202170081639==

贾母王夫人怎忍便离，无奈国家制度，只得下来，又不敢啼哭，惟有心内悲感。朝门内官员有信。不多时，只见太监出来，立传钦天监。贾母便知不好，尚未敢动。稍刻，小太监传谕出来，说：“贾娘娘薨逝。”是年甲寅年十二月十八日立春；元妃薨日，是十二月十九日，已交卯年寅月，存年四十三岁。贾母含悲起身，只得出宫上轿回家。贾政等亦已得信，一路悲戚。到家中，邢夫人、李纨、凤姐、宝玉等出厅，分东西迎着贾母，请了安，并贾政王夫人请安，大家哭泣不题。次日早起，凡有品级的，按贵妃丧礼进内请安哭临。

Grandma Merchant and Lady King could not bear to leave, but had no choice but to come down from the state system. She did not dare to cry, but she felt sad inside. The official inside the door has a letter. Before long, the eunuch came out to preach The Imperial Board of Astronomy. Grandma Merchant knew it was not good and had not dared to move. A moment later, the little eunuch sent an oracle, saying: "Empress died." It is December 18, the beginning of spring; Concubine Yuan died and died on December 19. He was forty-three years old. Grandma Merchant sad up, only the palace on the sedan home. Master Merchant and so on have also got the letter, all the way sad. When they got home, Lady City, Silk Plum, Splendid Phoenix King, Precious Jade Merchant went out to greet Grandma Merchant with their belongings and pay their respects to Master Merchant and Lady King. Early the next morning, all who have grade, according to the funeral ceremony of the imperial concubine into the room to ask for peace and cry.

==比较文学与跨文化研究 Mahzad Heydarian 202021080004==

贾政又是工部，虽按照仪注办理，未免堂上又要周旋他些，同事又要请教他，所以两头更忙，非比从前太后与周妃的丧事了。但元妃并无所出，惟谥曰贤淑贵妃。此是王家制度，不必多赘。只讲贾府中男女，天天进宫，忙的了不得。幸喜凤姐儿近日身子好些，还得出来照应家事；又要预备王子腾进京，接风贺喜。凤姐胞兄王仁，知道叔叔入了内阁，仍带家眷来京。凤姐心里喜欢，便有些心病，有这些娘家的人，也便撂开，所以身子倒觉比前好了些。王夫人看见凤姐照旧办事，又把担子卸了一半；又眼见兄弟来京，诸事放心，倒觉安静些。

Master Merchant is also in the Ministry of Works. Although it was handled by the ceremonies, it was necessary to deal with him in the court, and his colleagues had to ask him for advice, so the two sides were busier, not compared with the funeral of the Queen Mother and Concubine Zhou in the past. But Concubine Yuan did not come out, but she was given the posthumous title of Concubine Xianshu. This is the royal family system, so there is no need to repeat it. It only talks about men and women in Merchant's house, who go to the palace every day and are very busy. Fortunately, Sister Phoenix is in better health recently, and she has to come out to take care of the housework. She also has to prepare Soar King to come to Beijing to welcome the wind and congratulate her. Sister Phoenix's elder brother Wang Ren brought his family to Beijing when he knew that his uncle had joined the cabinet. Sister Phoenix liked it in her heart, and she felt a little sick. She also gave up with these family members, so her body felt better than before. Lady King saw that Sister Phoenix was doing things as usual, and half of the burden was unloaded; and when she saw her brother come to Beijing, everything was relieved, and she felt quieter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:26, 30 May 2022 (UTC)

==外国语言文学 Akira 202121080009==

独有宝玉原是无职之人，又不念书，代儒学里知他家里有事，也不来管他；贾政正忙，自然没有空儿查他：想来宝玉趁此机会竟可与姊妹们天天畅乐。不料他自失了玉后，终日懒怠走动，说话也糊涂了。并贾母等出门回来，有人叫他去请安，便去；没人叫他，他也不动。袭人等怀着鬼胎，又不敢去招惹他，恐他生气。每天茶饭，端到面前便吃，不来也不要。袭人看这光景，不像是有气，竟像是有病的。袭人偷着空儿到潇湘馆告诉紫鹃，说是：“二爷这么着，求姑娘给他开导开导。”

Unique Precious Jade was a jobless person and didn't study. Confucianism knew that he had something to do at home, so he didn't care about him; Master Merchant was busy and naturally didn't have time to check him: I wanted to come to Precious Jade to take this opportunity to meet him. Sisters are happy every day. Unexpectedly, after he lost his jade, he walked around lazy all day, and his speech was confused. And when Grandma Merchant came back from going out, someone called him to greet him, so he went; no one called him, and he didn't move. Aroma and others were pregnant, but they didn't dare to provoke him, for fear that he would get angry. Everyday tea and rice, bring it to the front and eat it, don't come if you don't come. Aroma looked at this scene, and it didn't look like she was angry, but she looked like she was sick. Aroma stole the air to Bamboo Lodge and told Nightingale, saying, "Second Master is like this, I beg the girl to enlighten him."

==英语语言文学 Mariam Tourse 2020GBJ002301==

紫鹃虽即告诉黛玉，只因黛玉想着亲事上头，一定是自己了，如今见了他，反觉不好意思，“若是他来呢，原是小时在一处的，也难不理他；若说我去找他，断断使不得。”所以黛玉不肯过来。袭人又背地里去告诉探春。那知探春心里明明知道海棠开得怪异，“宝玉”失的更奇，接连着元妃姐姐薨逝，谅家道不祥，日日愁闷，那有心肠去劝宝玉？况兄妹们男女有别，只好过来一两次，宝玉又终是懒懒的，所以也不大常来。宝钗也知失玉。因薛姨妈那日应了宝玉的亲事，回去便告诉了宝钗。薛姨妈还说：“虽是你姨妈说了，我还没有应准，说等你哥哥回来再定。你愿意不愿意？”

20220602 homework

2022-06-02T02:04:36Z

Liang Siting: /* 英语笔译李媛 Li Yuan 202170081579 */

Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]

IN PREPARATION

=Please write your homework directly down here=
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line.

While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.

When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".

Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.

==英语笔译卞王倩 Bian Wangqian 202170081563==

虽是玩话，细想来倒也有些意思。我想宝琴虽有了人家，我虽无人可给，难道一句话也不说？我想你宝兄弟，老太太那样疼他，他又生得那样，若要外头说去，老太太断不中意，不如把你林妹妹定与他，岂不四角俱全？”黛玉先还怔怔的，后来见说到自己身上，便啐了宝钗一口，红了脸，拉着宝钗笑道：“我只打你！为什么招出姨妈这些老没正经的话来？”宝钗笑道：“这可奇了！妈妈说你，为什么打我？”紫鹃忙跑来笑道：“姨太太既有这主意，为什么不和太太说去？”

A joke as it was, the old lady should have this intention, I suppose. Although I can select no one except Precious Strings, who has been engaged, how can’t I help with Precious Jade’s marriage? As for this issue, our old lady is so doting on her grandson, such a handsome man, so it’s expected that she will definitely not be satisfied with a girl from an unfamiliar family as her granddaughter-in-law. Your Sister Forest seems to be a better choice than any others. Isn’t it a perfect match, is it? ” At first, Mascara Jade was absent-minded at the topic, and then realized the topic had come to her, so the blushed girl pretended to spit at Precious Hairpin and pushed her, “I’ll knock your head off! You just entice your mother to make such ridiculous remarks!” “It indeed amazes me! Mom gossiped about you! And why you beat me!”Precious Hairpin joked. Nightingale also came to join them, “Now that Lady Marshgrass has this idea, you shall talk it to Grandma Merchant.”

Thank you for your correction work this semester! (*￣︶￣)

（reply: My enjoyment, sweet girl~）

A joke as it was, the old lady should have this intention, I suppose. Although I can select no one except Precious Strings, who has been engaged, how can I pass over Precious Jade’s marriage? As for this issue, our old lady has been so doting on her grandson, such a handsome man, so it’s expected that she will definitely not be satisfied with a girl from an unfamiliar family as her granddaughter-in-law. Your Sister Forest seems to be a better choice than any others. Isn’t it a perfect match, is it? ” At first, Mascara Jade was absent-minded at the topic, and then realized the topic had come to her, so the blushed girl pretended to spit at Precious Hairpin and pulled her arm, “I’ll knock your head off! You just entice your mother to make such ridiculous remarks!” “It indeed amazes me! It's Mom that gossiped about you! And why you beat me!”Precious Hairpin joked. Nightingale also came to join them, “Now that Lady Marshgrass has this idea, you shall talk it to Grandma Merchant.”--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:44, 29 May 2022 (UTC)

==英语笔译曹姣 Cao Jiao 202170081564==

薛姨妈笑道：“你这孩子急什么！想必催着姑娘出了阁，你也要早些寻一个小女婿去了。”紫鹃也红了脸，笑道：“姨太太真个倚老卖老的！”说着便转身去了。黛玉先骂：“又与你这蹄子什么相干！”后来见了这样，也笑道：“阿弥陀佛！该，该，该！也臊了一鼻子灰去了！”薛姨妈母女及婆子丫鬟都笑起来。一语未了，忽见湘云走来，手里拿着一张当票，口内笑道：“这是什么账篇子？”黛玉瞧了，不认得。地下婆子们都笑道：“这可是一件好东西！这个乖不是
白教的。”

"What are you hurry for, child?" teased Aunt Marshgrass. "I reckon the sooner your mistress is married off, the sooner you can find yourself a young husband." Nightingale flushed to turn back, "You’re taking advantage of one's seniority, your Ladyship!" Then she went away. "What business does it have with you?" scolded Mascara Forest, and then laughed too at her discomfiture. "Amitabha! She deserves it!" Aunt Marshgrass, Precious Hairpin and all the present joined the laughter. At that moment, Fragrant Cloud came in, with a pawn ticket in her hand. "What’s this bill for?" she asked smilingly. Mascara Forest took a look but did not know what it was. "It’s something marvelous," the married servants laughed. "But we won’t teach you for nothing."

"What are you hurry for, child?" teased Aunt Marshgrass. "I reckon the sooner your mistress is married off, the sooner you can find yourself a young husband." Nightingale flushed to turn back, "You’re taking advantage of one's seniority, your Ladyship!" Then she went away. "What business does it have with you?" scolded Mascara Forest, and then laughed too at her discomfiture. "Amitabha! She deserves it!" Aunt Marshgrass, Precious Hairpin and all the present joined the laughter. At that moment, Fragrant Cloud came in, with a pawn ticket in her hand. "What’s this bill for?" she asked smilingly. Mascara Forest took a look but did not know what it was. "It’s something marvelous," the married servants laughed. "But we won’t teach you for nothing."--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 11:16, 30 May 2022 (UTC)

==英语笔译陈路瑶 Chen Luyao 202170081565==

宝钗忙一把接了看时，正是岫烟才说的当票子，忙折了起来。薛姨妈忙说：“那必定是那个妈妈的当票子失落了，回来急的他们找。那里得的？”湘云道：“什么‘当票子’？”众人笑道：“真真是个呆子，连个票子也不知道！”薛姨妈叹道：“怨不得他，真真是侯门千金，而且又小，那里知道这个？那里去有这个？便是家下人有这个，他如何得见？别笑他是呆子，若给你们家的姑娘看了，也都成了呆子。”众婆子笑道：“林姑娘方才也不认得。别说姑娘们。就如宝玉，倒是外头常走出去的，只怕也还没见过呢。”

Precious Hairpin took it from Fragrant-cloud and found that it was the pawn Tadpole had mentioned. She hastily folded it up.‘It must be a pawn ticket some old nurse has lost,’ said Aunt Marshgrass. ‘She’ll be frantic when she can’t find it.’‘A pawn ticket? What’s that?’ asked Fragrant-cloud.Everybody laughed.‘You idiot! You doesn’t even know what a pawn ticket is.’‘That’s quite natural,’ remarked Aunt Marshgrass. ‘As the daughter of a noble house, and still young, how could she know of such things? Where would she have seen one? Even if some one in their household had one, she wouldn’t set eyes on it. So don’t you go calling her an idiot. If you showed your young mistresses this, that would make them all idiots,too.’‘Just now Sister Fores didn’t know it either,’ agreed the women. ‘And not only the young ladies. We’d be surprised if Precious Jade doesn't know what it is, though he often goes outside.’
Precious Hairpin took it from Fragrant-cloud and found that it was the pawn Tadpole had mentioned. She hastily folded it up.‘It must be a pawn ticket some old nurse has lost,’ said Aunt Marshgrass. ‘She’ll be frantic when she can’t find it.’‘A pawn ticket? What’s that?’ asked Fragrant-cloud.Everybody laughed.‘You idiot! You doesn’t even know what a pawn ticket is.’‘That’s quite natural,’ remarked Aunt Marshgrass. ‘As the daughter of a noble house, and still young, how could she know of such things? Where would she have seen one? Even if some one in their household had one, she wouldn’t set eyes on it. So don’t you go calling her an idiot. If you showed your young mistresses this, that would make them all idiots,too.’‘Just now Sister Fores didn’t know it either,’ agreed the women. ‘And not only the young ladies. We’d be surprised if Precious Jade doesn't know what it is, though he often goes outside.’--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 12:58, 30 May 2022 (UTC)

==英语笔译邓阳林 Deng Yanglin 202170081567==

薛姨妈忙将原故讲明。湘云黛玉二人听了，方笑道：“这人也太会想钱了！姨妈家当铺也有这个不成？”众人笑道：“这更呆了！‘天下老鸹一般黑’，岂有两样的。”薛姨妈因又问：“是那里拾的？”湘云方欲说时，宝钗忙说：“是一张死了没用的，不知是那年勾了账的。香菱拿着哄他们玩的。”薛姨妈听了此话是真，也就不问了。一时人来回：“那府里大奶奶过来请姨太太说话呢。”薛姨妈起身去了。这里屋内无人时，宝钗方问湘云：“何处拾的？”湘云笑道：“我见你令弟媳的丫头篆儿悄悄的递与莺儿。

Aunt Marshgrass quickly explained the reason. When the two of them heard this, Fang laughed and said, "This man is so good at thinking about money! My aunt's pawnshop has that too?" The crowd laughed: "This is more foolish! There is nothing different about the pot calling the kettle black. Aunt Marshgrass asked again, "Where did you pick it up?" When Fragrant-cloud History was about to say something, Precious Hairpin Marshgrass replied, "It's a dead one. I don't know if it was written that year. Wiselotus Potterymaker is holding it to coax them." Aunt Marshgrass heard this to be true and asked no more questions. At that time a person back and forth: "that mansion big grandma come to ask a concubine to talk." Aunt Marshgrass got up and went. When there was no one in the room, Precious Hairpin Marshgrass asked Fragrant-cloud History, "Where did you pick it up?" Fragrant-cloud History said with a smile, "I saw you make your sister-in-law's wench whisper to Maid Oriole.

Aunt Marshgrass quickly explained the reason. When the two of them heard this, they laughed and said, "This man loves money too much! Aunt, is your family shop the same, aunt?" The crowd laughed: "This is more foolish! All crows are black the world over. "Aunt Marshgrass asked again, "Where did you pick it up?" When Fragrant-cloud History was about to say something, Precious Hairpin Marshgrass hurried to reply, "It's a ticket that has expired. I don't know when it was canceled. Wiselotus Potterymaker must have given it to coax them." Aunt Marshgrass thought it true and asked no more questions. At that time a person reported, "The mistress in the other mansion invite Madam Marshgrass to have a talk." Aunt Marshgrass got up and went. When there was no one in the room, Precious Hairpin Marshgrass asked Fragrant-cloud History, "Where did you pick it up?" Fragrant-cloud History said with a smile, "I saw your future sister-in-law’s maid Seal slip it to Warbler."
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 12:04, 1 June 2022 (UTC)

==英语笔译何丽娜 He Lina 202170081569==

莺儿便随手夹在书里，只当我没看见。我等他们出去了，我偷着看，竟不认得。知道你们都在这里，所以拿来大家认认。”黛玉忙问：“怎么他也当衣裳不成？既当了，怎么又给你去？”宝钗见问，不好隐瞒他两个，便将方才之事，都告诉了他二人。黛玉便说：“兔死狐悲，物伤其类”，不免也要感叹起来了。史湘云听了，便动了气，说：“等我问着二姐姐去！我骂那起老婆子丫头一顿，给你们出气，何如？”说着，便要走出去，宝钗忙一把拉住，笑道：“你又发疯了，还不给我坐着呢！”

"Warbler then clipped it in the book, and thought I did not notice. After they went out, I took a peep at it but did not know what it is. I knew you were all here, so I brought it for everyone to recognize." Mascara Jade asked , "Did she pawn her clothes too? And if so, why should she give the ticket to you?" Knowing it is not good to hide the truth, then Precious Hairpin told them what had happened. Mascara Jade then said, "It's like the fox is sad at the death of a hare and all beings grieve for their fellow beings." And she can not help but also sigh up. However,Fragrant-cloud became angry and said, "Wait till I go to ask the second sister! What if I scolded the old woman to vent your anger on them?" Precious Hairpin quickly stopped her and said with a smile, "You are crazy again. Hurry to sit down here!"

"Warbler then clipped it in the book, and thought I did not notice. After they went out, I took a peep at it but did not know what it is. I knew you were all here, so I brought it for everyone to recognize." Mascara Jade asked , "Did she pawn her clothes too? And if so, why should she give it to you?" Knowing it is not good to hide the truth, then Precious Hairpin told them what had happened. Mascara Jade then said, "It's like the fox is sad at the death of a hare and all beings grieve for their fellow beings." And she can not help but also sigh up. However,Fragrant-cloud became angry and said, "Wait till I go to ask the second sister! What if I scolded the old woman to vent your anger on them?" Precious Hairpin quickly stopped her and said with a smile, "You are crazy again. Hurry to sit down here!"--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 05:26, 31 May 2022 (UTC)

==英语笔译胡良明 Hu Liangming 202170081570==

黛玉笑道：“你要是个男人，出去打一个抱不平儿。你又充什么荆轲、聂政？真真好笑。”湘云道：“既不叫我问他去，明日也把他接到咱们院里一处住去，岂不是好？”宝钗笑道：“明日再商量。”说着，人报：“三姑娘四姑娘来了。”三人听说，忙掩了口，不提此事。要知端的，且听下回分解。
◎第五十八回杏子阴假凤泣虚凰茜纱窗真情揆痴理
话说他三人因见探春等进来，忙将此话掩住不提。探春等问候过，大家说笑了一会方散。谁知上回所表的那位老太妃已薨，凡诰命等皆入朝随班，按爵守制；

Mascara Jade said with a smile, "If you were a man, go out and fight for justice. What are you calling Jing Ke and Nie Zheng for? It's really funny." Fragrant-cloud said, "If you don't ask me to ask him, I'll pick him up tomorrow. Wouldn’t it be good for us to live in one place in the courtyard?” Precious Hairpin smiled and said, “We’ll discuss it tomorrow.” Then the people reported, “The third girl and fourth girl come here.” Knowing this, they shut their mouth and said nothing. To know the truth, and listen to the next decomposition.
◎The fifty-eighth chapter Xingzi Yin fake phoenix weeping illusory phoenix Qian screen window is true and idiotic. It was said that the three of them were waiting to come in because of seeing Seeking-Spring so they hurriedly covered up this remark. After Seeking-Spring and other greetings, everyone joked and laughed for a while before dispersing. Who would have known that the old concubine who was listed last time had passed away, and all the appointments, etc., would enter the court and follow the class, and be held by the rank;

Mascara Jade said with a quizzical smile, "If you were a real man, go out and fight for justice. What are you calling Jing Ke and Nie Zheng for? It's really funny." Fragrant-cloud said, "If you don't ask me to ask him, I'll pick him up tomorrow. Wouldn’t it be good for us to give him a room to live in in the courtyard?” Precious Hairpin smiled and said, “We’ll discuss it tomorrow.” Then the people reported, “The third girl and fourth girl are coming.” Knowing this, they ended their conversation. To know the truth, listen to the next decomposition.
◎The fifty-eighth chapter Xingzi Yin fake phoenix weeping illusory phoenix Qian screen window is true and idiotic. It was said that the three of them were waiting to come in because of seeing Seeking-Spring so they hurriedly covered up this remark. After Seeking-Spring and her greetings, everyone joked and laughed for a while before dispersing. Who would have known that the old concubine who was listed last time had passed away, and all the appointments, etc., would enter the court and follow the class, and be held by the rank;--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 13:34, 31 May 2022 (UTC)

==英语笔译黄琼 Huang Qiong 202170081571==

敕谕天下，凡有爵之家，一年内不得筵宴音乐，庶民皆三月不得婚姻。贾母婆媳祖孙等俱每日入朝随祭，至未正以后方回。在大偏宫二十一日后，方请灵入先陵，地名孝慈县。这陵离都来往得十来日之功，如今请灵至此，还要停放数日，方入地宫，故得一月光景。宁府贾珍夫妻二人，也少不得是要去的。两府无人，因此大家计议，家中无主，便报了“尤氏产育”，将他腾挪出来，协理荣宁两处事件。因托了薛姨妈在园内照管他姊妹丫鬟。薛姨妈只得也挪进园来。

It announced that Nobles throughout the empire were forbidden feasting and music for a year, while common people were prohibited from marrying for three months.
Grandma Merchant with her daughter-in-law as well as grandchildren of the family had to go to court every morning and offered the sacrifice, not returning until around two p.m. After twenty-one days of lying in state in the Great Inner Court of the Side Palace, the coffin would be conveyed to the Imperial Mausoleum in the county called Filial Kindness; and as this was some ten days journey from the capital, the coffin would have to wait there for several days before it could be interred in the underground palace, the whole proceedings would occupy nearly one month. Treasure Merchant and his wife should both have assisted at these obsequies; but as that would have left no one at home, after much discussion they decided to beg leave from the court for Madam Outstanding on the plea that she was with the child so that she could take over the supervision of the two mansions. Aunt Marshgrass, having been prevailed upon to take care of the girls and maids in the Garden, now had to move in there too.

It announced that Nobles throughout the empire were forbidden feasting and music for a year, while common people were prohibited from marrying for three months. Grandma Merchant with her daughter-in-law as well as grandchildren of the family had to go to court every morning and offered the sacrifice, not returning until around two in the afternoon. After twenty-one days of lying in state in the Great Inner Court of the Side Palace, the coffin would be conveyed to the Imperial Mausoleum in the county called Filial Kindness; and as this was some ten days journey from the capital, the coffin would have to wait there for several days before it could be interred in the underground palace, the whole proceedings would occupy nearly one month. Treasure Merchant and his wife of the Ning Mansion should both have assisted at these obsequies; but as that would have left no one at home, after much discussion they decided to beg leave from the court for Madam Outstanding on the plea that she was with child, so that she could take over the supervision of the two mansions. Aunt Marshgrass, having been prevailed upon to take care of the girls and maids in the Garden, now had to move in there too.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 15:11, 29 May 2022 (UTC)

==英语笔译邝雨琪 Kuang Yuqi 202170081572==

因宝钗处有湘云香菱，李纨处目今李婶母虽去，然有时来住，三五日不定，贾母又将宝琴送与他去照管；迎春处有岫烟；探春因家务冗杂，且不时有赵姨娘与贾环来嘈聒，甚不方便，惜春处房屋狭小，况贾母又千叮咛万嘱咐托他照管林黛玉，薛姨妈素习也最怜爱他的，今既巧遇这事，便挪至潇湘馆来和黛玉同房，一应药饵饮食，十分经心。黛玉感戴不尽，以后便亦如宝钗之称呼，连宝钗前亦直以“姐姐”呼之，宝琴前直以“妹妹”呼之，俨似同胞共出，较诸人更似亲切。贾母见如此，也十分喜悦放心。

Precious Hairpin already had Fragrant-cloud and Wiselotus Potterymaker living with her; Silk Plum, although her aunt and her aunt's two daughters were not staying with her, received visits from them every few days, and she had been entrusted with Precious Strings as well by the Grandma Merchant; Spring Pleasure was sharing with Cloud Marshgrass; Seeking-Spring's apartments were not convenient either, as she was fully occupied with household affairs and the trouble caused by Concubine Walk and Ring Merchant; and Cherishing Spring's place was limited. Besides, as the old lady had asked Aunt Marshgrass to take special care of Mascara Jade Forest, for whom she herself felt the deepest sympathy. Under the circumstances she naturally moved into Bamboo Lodge where she shared Mascara Jade's room and kept a strict eye on the girl's medicines. Mascara Jade was more grateful for this than words can tell, She began to treat Aunt Marshgrass as her own mother and Precious Hairpin and Precious Strings as her sisters, feeling closer to them than to all the other girls. Grandma Merchant was very relieved and happy to observe this condition.

==英语笔译黎溢佳 Li Yijia 202170081573==

薛姨妈只不过照管他姊妹，禁约得丫鬟辈；一应家中大小事务也不肯多口。尤氏虽天天过来，也不过应名点卯，亦不肯乱作威福，且他家内上下，也只剩他一个料理；再者，每日还要照管贾母王夫人的下处一应所需饮馔铺设之物：所以也甚操劳。当下荣宁两处主人既如此不暇，并两处执事人等，或有跟随着入朝的，或有朝外照理下处事务的，又有先踩踏下处的，也都各各忙乱。因此两处下人无了正经头绪，也都偷安，或乘隙结党，与权暂执事者窃弄威福。荣府只留得赖大并几个管家照管外务。

==英语笔译李思敏 Li Simin 202170081574==

这赖大手下常用几个人已去，虽另委人，都是些生的，只觉不顺手。且他们无知，或赚骗无节，或呈告无据，或举荐无因，种种不善，在在生事，也难备述。又见各官宦家，凡养优伶男女者，一概蠲免遣发，尤氏等便议定，待王夫人回家回明，也欲遣发十二个女孩子。又说：“这些人原是买的，如今虽不学唱，尽可留着使唤，只令其教习们自去也罢了。”王夫人因说：“这学戏的倒比不得使唤的，他们也是好人家的女儿，因无能，卖了做这事，装丑弄鬼的几年，如今有这机会，不如给他们几两银子盘费，各自去罢。

Big Rely's trusted servants had gone somewhere else, although he had appointed others, he was not familiar with them so he felt that it was not going well. Moreover, they were ignorant, dishonest, reported without evidence, or recommended for no reason. All in all, they have so many inadequacies, too much to account. As all the official families had dismissed all the actors and actresses raised in their house, Madam Outstanding and others agreed that they also wanted to lay off twelve maids when Lady King came back home. She added, "These people were bought from traffickers at first, but now, although they don't learn to sing, we can keep them and let serving women teach them to do household work ."Lady King said, "there is no comparison between these servants and actors who are also the daughters of good families, they were sold to learn performing for their families' deficit financial condition. Having been acting in opera for several years, they have this opportunity to do something else now, it's better to give them a few taels of silver and let them go somewhere else."--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 12:53, 28 May 2022 (UTC)

Big Rely's trusted servants had gone somewhere else, although he had appointed others, he was not familiar with them so he felt that it was not going well. Moreover, they were ignorant, dishonest, reported without evidence, or recommended for no reason. Generally speaking, they have so many inadequacies, too much to account. As all the official families had dismissed all the actors and actresses raised in their house, Madam Outstanding and others agreed that they also wanted to lay off twelve maids when Lady King came back home. She added, "These people were bought from traffickers at first, but now, although they don't learn to sing, we can keep them and let serving women teach them to do household work ."Lady King said, "there is no comparison between these servants and actors who are also the daughters of good families, they were sold to learn performing for their families' deficit financial condition. Having been acting in opera for several years, they have this opportunity to do something else now, it's better to give them a few taels of silver and let them go somewhere else."--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 01:34, 31 May 2022 (UTC)

==英语笔译李思源 Li Siyuan 202170081575==

当日祖宗手里都是有这例的。咱们如今损阴坏德，而且还小器。如今虽有几个老的还在，那是他们各有原故，不肯回去的，所以才留下使唤的，大了配了我们家里小厮们了。”尤氏道：“如今我们也去问他十二个，有愿意回去的，就带了信儿，叫他父母来亲自来领回去，给他们几两银子盘缠，方妥；倘若不叫上他的亲人来，只怕有混帐人冒名领出去，又转卖了，岂不辜负了这恩典？若有不愿意回去的，就留下。”王夫人笑道：“这话妥当。”尤氏等遣人告诉了凤姐儿，一面说与总理房中，每教习给银八两，令其自便。

There is a precedent for this in the time of our ancestors. Now we have become immoral and mean. Now there are still a few old servants left, have their own difficulties. Let the older pair with the younger." "Now let's ask the servants what they think of it," said Outstanding. "If any of them want to go home, let them write to their parents and ask them to take them home. And gave them a few taels of silver for their journey home. If there are no relatives to take them, it is likely that a fraudster will take their place, lead them out and then sell them again. Then all the good work we've done has gone down the drain. Those who don't want to go home, let them stay." Lady King smiled and said, "It's good to do that." Outstanding called servant notice Splendid Phoenix King, and then told the accountant about it. Each servant was given eight ounces of silver to decide for themselves.

There is a precedent for this in the time of our ancestors. Now we have become immoral and mean. Now there are still a few old servants left, because they have their own difficulties. Let the older pair with the younger." "Now let's ask these twelve girls about their thoughts," said Madam Outstanding. "If any of them want to go home, then let them write to their parents and ask them to take them home, with giving them a few taels of silver for their journey home. If there are no relatives to take them, it is likely that a fraudster will take their place, and sell them out again. Then all the good work we've done has gone down the drain. Those who don't want to go home can be kept." Lady King smiled and said, "It's good to do that." Madam Outstanding ordered a servant to inform Sister Phoenix, and then told the accountant about it. Each instructor was given an eight-tael gratuity with free permission to leave.--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 13:08, 28 May 2022 (UTC)

==英语笔译李婷 Li Ting 202170081576==

凡梨香院一应物件，查清记册收明，派人上夜。将十二个女孩子叫来，当面细问，倒有一多半不愿意回家的：也有说父母虽有，他只以卖我们姊妹为事，这一去还被他卖了；也有父母已亡，或被叔伯兄弟所卖的；也有说无人可投的；也有说恋恩不舍的。所愿去者止四五人。王夫人听了，只得留下。将去者四五人皆令其干娘领回家去，单等他亲父母来领；将不愿去者，分散在园中使唤。贾母便留下文官自使，将正旦芳官指与宝玉，将小旦蕊官送了宝钗，将小生藕官指与了黛玉，将大花面葵官送了湘云，将小花面豆官送了宝琴，将老外艾官指与了探春，尤氏便讨了老旦茄官去。

Everything in Pear Fragrance Court was inventoried and put away, and some servants were appointed to guard the place at night. Twelve girls were called for and questioned, and more than half of them did not want to go home. Others said that their parents only sold their daughters for money, and if they went back they would be sold again. Some said their parents were dead and they were sold by their brothers or uncles. But others said there was no one to depend; there were also those who said they didn’t want to leave this kind family which had been so good to them. There were only four or five people who wished to go. When Lady King heard this she had to keep them. The few who chose to leave were instructed to stay with their foster-mothers until their own parents should come for them; and she allocated those people who stayed there to work in the Garden. Grandma Merchant then left Literal Official, and allocated Fragrant Official who played the part of young ladies to Precious Jade, Actress Pistil who played pert maids to Precious Hairpin, Actress Lotus-root who played young gentlemen to Mascara Jade, Sunflower who played the chief warriors to Fragrant-cloud, Bean who played lesser warriors to Precious Strings, Chinese Mugwort who played old men to Seeking-Spring. Madam Outstanding then took Entertainer whose role was old women.

Everything in Pear Fragrance Court was inventoried and put away, and some servants were appointed to guard the place at night. Twelve girls were called for and questioned carefully by the way of facing each other, and more than half of them did not want to go home. Others said that even though their parents weren't poor ,they still sold their daughters for money, and if they went back they would be sold again. Some said their parents were dead and they were sold by their brothers or uncles. But others said there was no one to depend; there were also those who said they didn’t want to leave this kind family which had been so good to them. There were only four or five people who wished to leave. When Lady King heard this she had to keep them. The few who chose to leave were instructed to stay with their foster-mothers until their own parents should come for them; and she allocated those people who stayed there to work in the Garden. Grandma Merchant then left Literal Official, and allocated Fragrant Official who played the part of young ladies to Precious Jade, Actress Pistil who played pert maids to Precious Hairpin, Actress Lotus-root who played young gentlemen to Mascara Jade, Sunflower who played the chief warriors to Fragrant-cloud, Bean who played lesser warriors to Precious Strings, Chinese Mugwort who played old men to Seeking-Spring. Madam Outstanding then took Entertainer whose role was old women.--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 03:14, 29 May 2022 (UTC)Li Ying

==英语笔译李颖 Li Ying 202170081578==

当下各得其所，就如那倦鸟出笼，每日园中游戏。众人皆知他们不能针黹，不惯使用，皆不大责备。其中或有一二个知事的，愁将来无应时之技，亦将本技丢开，便学起针黹纺绩女工诸务。一日正是朝中大祭，贾母等五更便去了，下处用些点心小食，然后入朝。早膳已毕，方退至下处歇息，用过早饭，略歇片刻，复入朝待中晚二祭，方出至下处歇息。用过晚饭方回家。可巧这下处乃是一个大官的家庙，乃比丘尼焚修，房舍极多极净，东西二院，荣府便赁了东院；北静王府便赁了西院。

Once places had been found of them, they were like the uncaged bird enjoying the fresh air, did nothing all day but wander about happily in the garden.Everyone knows they aren't able to cook and sew, so they don't blame them." It is true that one or two of them had the good sense to see that the future would be bleak for them without a craft, now that their theatrical training had been discontinued, and who applied themselves to learning domestic skills like sewing and spinning; but they were the exception. It is time for the great sacrifice at the court.The Granny Merchant prepared to went to the court, she ate some deserts at about 4 a.m in the morning and then proceed to the court.After breakfast, she returned home to rest for a while. Then she had participated in the second sacrifice held at moon or night. As the ceremony finished ,she had time to rest. By chance，the hostel，the family temple of a high official，had nuns in residence and scores of cells all of which were scrupulous clean.There are two mansions respectively located in the west and east. The Ring Mansions party had the use of the east courtyard, the Prince of Beijing's household that of the west.

Once places had been found for them, they were like the uncaged bird enjoying the fresh air, ad did nothing all day but wander about happily in the Garden. Everyone knew they weren't able to and used to cooking and sewing, so they did't blame them. It was true that one or two of them had the good sense to see that the future would be bleak for them without a craft. Now that their theatrical training had been discontinued, they applied themselves to learning domestic skills like sewing and spinning. One day, it was the time for the great sacrifice at the court. The Grandma Merchant prepared to the court at about 4 o'clock in the morning, ate some deserts in the place for rest, and then proceeded to the court. After breakfast, she returned the former place to have a rest for a while and have breakfast. Then she participated in the second sacrifice held at moon and night. As the ceremony finished ,she had time to rest, and she could went home after dinner. By chance，the hostel，the family temple of a high official，had nuns in residence and scores of cells all of which were scrupulously clean. There were two mansions respectively located in the west and east. The Ring Mansions party had the use of the east courtyard, while the Prince of Beijing's household was that of the west.--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 15:59, 31 May 2022 (UTC)

==英语笔译李媛 Li Yuan 202170081579==

太妃少妃每日宴息，见贾母等在东院，彼此同出同入，都有照应。外面细事不消细述。且说大观园内，因贾母王夫人天天不在家内，又送灵去一月方回，各丫鬟婆子，皆有闲空，多在园中游玩，更又将梨香院内伏侍的众婆子一概撤回，并散在园内听使，更觉园内人多了几十个。因文官等一干人，或心性高傲，或倚势凌下，或拣衣挑食，或口角锋芒，大概不安分守己者多，因此众婆子含怨，只是口中不敢与他们分争；如今散了学，大家趁了愿；也有丢开手的；也有心地狭窄犹怀旧怨的，因将众人皆分在各房名下，不敢来厮侵。

The two ladies would see Grandma Merchant in the banquet held in the east of the Garden each day, and they were together all the time to be there for each other. There was no need to talk about the outside thins. In the Garden, when Grandma Merchant and Lady King were away from home for the funeral affairs and would come back a month later, all the maids and women servants were free from work and had fun in the Garden. What’s more, all the women servants of the Peer Fragrance Court were called back and then sent to serve around the Garden. Then, there were more dozens of people in the Garden. Literal Official and other girls were arrogant, likely to throw weight on others, fastidious about food and clothing, and likely to speak harsh words. That is to say, they were not inclined to be obedient. Hence, other women servants complained about their behaviors, but they dared not to argue with them. Now, they would be relieved after the closing of the opera club. Some of them were open to it, while others were too mean to let the former thing go. Therefore, they were arranged to serve different places, so they dared not to fight with each other.

The two ladies would see Grandma Merchant in the banquet held in the east of the Garden each day, and they were together all the time to be there for each other. There was no need to talk about the outside thins. In the Garden, when Grandma Merchant and Lady King were away from home for the funeral affairs and would come back a month later, all the maids and women servants were free from work and had fun in the Garden. What’s more, all the women servants of the Peer Fragrance Court were called back and then sent to serve around the Garden. Then, there were more dozens of people in the Garden. Literal Official and other girls were arrogant, likely to throw weight on others, fastidious about food and clothing, and likely to speak harsh words. That is to say, they were not inclined to be obedient. Hence, other women servants complained about their behaviors, but they dared not to argue with them. Now, they would be relieved after the closing of the opera club. Some of them were open to it, while others were too mean to let the former thing go. Therefore, they were arranged to serve different places, so they dared not to fight with each other.--[[User:Liang Siting|Liang Siting]] ([[User talk:Liang Siting|talk]]) 02:04, 2 June 2022 (UTC)

==英语笔译梁思婷 Liang Siting 202170081581==

可巧这日乃是清明之日，贾琏已备下年例祭祀，带领贾环、贾琮、贾兰三人去往铁槛寺祭柩烧纸；宁府贾蓉也同族中人各办祭祀前往。因宝玉病未大愈，故不曾去得。饭后发倦，袭人因说：“天气甚好，你且出去逛逛，省的丢下粥碗就睡，存在心里。”宝玉听说，只得拄了一支杖，靸着鞋，步出院来。因近日将园中分与众婆子料理，各司各业，皆在忙时：也有修竹的，也有??树的，也有栽花的，也有种豆的，池中间又有驾娘们行着船夹泥的，种藕的。湘云、香菱、宝琴与些丫鬟等都坐在山石上瞧他们取乐。宝玉也慢慢行来。

Coincidentally, this day was the Ching Ming Festival. Romance had prepared ritual feast and sacrifice. He led Ring, Zong, Cymbidium to Tiekansi Temple to make sacrifice. Prosperity Merchant also led his family to prepare for the festival. As Precious Jade hadn't completely recovered, he didn't go with them. After lunch, he was sleepy. Aroma thus said, "The day is good. You should go out for a walk so that you won't sleep after eating." Hearing this, Precious Jade walked out with a stick, shuffling to the yard. Due to the festival, the yard was being taken care of by female merchants. They were all busy with their duties. Some was pruning the bamboo, some the tree and some the flowers and beans. The lake were girls dredging or picking lotus roots on boats. Fragrant-cloud, Wiselotus, Precious String and some girl servants were sitting on the artificial hills and looking at the people working. Precious approached them slowly.

==英语笔译廖诗韵 Liao Shiyun 202170081582==

湘云见了他来，忙笑说：“快把这船打出去！他们是接林妹妹的。”众人都笑起来。宝玉红了脸，也笑道：“人家的病，谁是好意的，你也形容着取笑儿。”湘云笑道：“病也比人家另一样，原招笑儿，反说起人来。”说着，宝玉便也坐下，看着众人忙乱了一回。湘云因说：“这里有风，石头上又冷，坐坐去罢。”宝玉也正要去瞧黛玉，起身拄拐，辞了他们，从沁芳桥一带堤上走来。只见柳垂金线，桃吐丹霞，山石之后，一株大杏树，花已全落，叶稠阴翠，上面已结了豆子大小的许多小杏。

Fragrant-cloud saw him coming, and said with a smile, "Quickly launch this ship! They were to pick up Sister Forest. The crowd laughed. Precious Jade blushed and laughed: "her illness, who is well-intentioned, you also describe it as making fun of it." Fragrant-cloud laughed: "The illness, the same as people, is interesting. Don’t blame me." With that, Precious Jade also sat down and watched the busy crowd. Fragrant-cloud said, "It is windy and cold on the stone, don’t stay here too long." Precious Jade was also about to go to see Mascara Jade, so he got up on crutches, resigned from them, and walked from the embankment around Qinfang Bridge. On the road, he saw the willow weeping, peach blossoms. After the mountain stone, he saw a large apricot tree, whose flowers have all fallen and leaves are thick and shady. Many bean-sized apricots have been formed on it.

Fragrant-cloud saw him coming, and said with a smile, "Quickly launch this ship! They were to pick up Sister Forest. The crowd laughed. Precious Jade blushed and laughed: "her illness, who is well-intentioned, you also describe it as making fun of it." Fragrant-cloud laughed: "The illness, the same as people, is interesting. Don’t blame me." With that, Precious Jade also sat down and watched the busy crowd. Fragrant-cloud said, "It is windy and cold on the stone, don’t stay here too long." Precious Jade was also about to go to see Mascara Jade, so he got up on crutches, resigned from them, and walked from the embankment around Qinfang Bridge. On the road, he saw the willow weeping, peach blossoms. After the mountain stone, he saw a large apricot tree, whose flowers have all fallen and leaves are thick and shady. Many bean-sized apricots have been formed on it.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:03, 30 May 2022 (UTC)

==英语笔译刘唱 Liu Chang 202170081583==

宝玉因想道：“能病了几天，竟把杏花辜负了！不觉到‘绿叶成荫子满枝’了！”因此仰望杏子不舍。又想起邢岫烟已择了夫婿一事：虽说男女大事，不可不行，但未免又少了一个好女儿，不过二年，便也要“绿叶成荫子满枝”了；再过几日，这杏树子落枝空，再几年，岫烟也不免乌发如银，红颜似缟了。因此，不免伤心，只管对杏叹息。正悲叹时，忽有一个雀儿飞来，落于枝上乱啼。宝玉又发了呆性了，心下想道：“这雀儿必定是杏花正开时他曾来过，今见无花空有叶，故也乱啼。这声韵必是啼哭之声，可恨公冶长不在眼前，不能问他。

Precious Jade then thought:"The illness got in the way of watching apricot blossom! Now it's full of leaves!" That made him fell disrupting. Then he thought about the marriage of Cave Cloud City: Thought it's necessary for people to marry someone, however, the family of City still has to see off their good girl. No more than two years, she will have kids; A few days later, the apricot tree would wither and a few years later, the hair of Cave Cloud would turn into grey, and she will get old. That's what made Precious Jade sad, and he just heaved sigh in front of the apricot tree. Meanwhile, here flied a sparrow. it landed on the branch, singing around. Precious Jade then dived into deep thought again:"This sparrow must come when the apricot blossomed, now it sees that there are no flowers so it can't stop making noise. That must be crying. it's a pity that GongYechang is not here, or i can ask him about it.

Precious Jade then thought:"The illness prevented him from watching apricot blossom! Now it's full of leaves!" That made him fell disrupting. Then he thought about the marriage of Cave Cloud City: Though she will get married sooner or later, the world has to see off their good girl. No more than two years, she will have kids; A few days later, the apricot tree would wither and a few years later, the hair of Cave Cloud would turn into grey, and she will get old. That's what made Precious Jade sad, and he just heaved sigh in front of the apricot tree. Meanwhile, here flied a sparrow. it landed on the branch, singing around. Precious Jade then dived into deep thought again:"This sparrow must come when the apricot blossomed, now it sees that there are no flowers so it can't stop making noise. That must be crying. it's a pity that GongYechang is not here, or I can ask him about it.--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:31, 28 May 2022 (UTC)

==英语笔译刘乐乐 Liu Lele 202170081584==

但不知明年再发时，这个雀儿可还记得飞到这里来与杏花一会不能？”正自胡思间，忽见一股火光，从山石那边发出，将雀儿惊飞。宝玉吃了一惊，又听外边有人喊道：“藕官，你要死！怎么弄些纸钱进来烧？我回奶奶们去，仔细你的肉！”宝玉听了，益发疑惑起来，忙转过山石看时，只见藕官满面泪痕，蹲在那里，手内还拿着火，守着些纸钱灰作悲。宝玉忙问道：“你与谁烧纸钱？快不要在这里烧！你或是为父母兄弟，你告诉我名姓，外头去叫小厮们，打了包袱写上名姓去烧。”藕官见了宝玉，只不做一声，宝玉数问不答。

He wonder if the bird will remember next year when it blossoms again.His fantasy was interrupted by a sudden burst of flames on the other side of the rockery, and the bird flew away in terror. Precious Jade was as startled as the bird. A brief burst of flames was followed by an angry shout.Lotus-root, you little rascal, how dare you burn paper offerings in the garden! I'll report you right away. You'll be whipped, my girl. Precious Jade wonder what happened in the end, hurried around to the other side of the rockery to investigate. With tears streaming down his face, Lotus-root squatted on the ground, holding a hot pan that had just burst into flames, and looked sadly at a pile of charred and smoking gold paper money.Who? He asked her. You know, you really shouldn't burn it here. I think it must be for one of your parents -- or your brother, perhaps? Tell me this man's name, and I'll tell my men to go out and buy you a decent bun and write your name on it. When seeing it was Precious Jade, she pressed her lips tightly, and no matter how he asked, she just would not speak. --[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:26, 28 May 2022 (UTC)

==英语笔译刘双英 Liu Shuangying 202170081585==

忽见一个婆子恶狠狠的走来拉藕官，口内说道：“我已经回了奶奶们，奶奶们气得了不得！”藕官听了，终是孩气，怕辱没了没脸，便不肯去。婆子道：“我说你们别太兴头过余了，如今还比得你们在外头乱闹呢！这是尺寸地方儿。”指着宝玉道：“连我们的爷还守规矩呢，你是什么阿物儿，跑来胡闹！怕也不中用，跟我快走罢！”宝玉忙道：“他并没烧纸钱，原是林妹妹叫他来烧那烂字纸的，你没看真，反错告了他。”藕官正没了主意，见了宝玉，也正添了畏惧；

Then up came an irate matron to drag her away.“I’ve reported this to the mistresses.They’re very angry!” she scolded.Nenuphar,being only a child,hung back for fear of being put to shame.“I always said you were riding for a fall,”stormed the woman.“You can’t fool around here the way you did outside.You have to watch your step.”pointing at Preciou Jade she continued,“Even our young master has to observe the rules.Who do you think you are to fool around here? It’s no use being afraid.Come along with me.”“She wasn’t burning paper coins but waste paper for Mascara Jade Forest,”put in Preciou Jade quickly.“You didn’t see clearly and accused her wrongly.”Nenuphar had been at a loss,and Preciou Jade’s appearance had frightened her even more;

Just then the woman he had heard shouting came hurrying back, an evil expression of triumph on her face, and seized hold of the girl. “Well, I've reported you to the young mistresses,” she said, “and they're very, very angry.” she scolded.Nenuphar,being only a child,hung back for fear of being put to shame.“I always said you were riding for a fall,”stormed the woman.“You can’t fool around here the way you did outside.You have to watch your step.”pointing at Preciou Jade she continued,“Even our young master has to observe the rules.Who do you think you are to fool around here? It’s no use being afraid.Come along with me.”“She wasn’t burning paper coins but waste paper for Mascara Jade Forest,”put in Preciou Jade quickly.“You didn’t see clearly and accused her wrongly.”Nenuphar had been at a loss,and Preciou Jade’s appearance had frightened her even more;--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 11:33, 30 May 2022 (UTC)

==英语笔译刘婷 Liu Ting 202170081586==

忽听他反替遮饰，心内转忧成喜，也便硬着口说道：“你狠看真是纸钱了么？我烧的是林姑娘写坏了的字纸。”那婆子便弯腰向纸灰中拣那不曾化尽的遗纸在手内，说道：“你还嘴硬？有证又有凭。只和你厅上讲去。”说着，拉了袖子，拽着要走。宝玉忙拉藕官，又用拄杖隔开那婆子的手，说道：“你只管拿了回去。实告诉你，我昨夜做了一梦，梦见杏花神和我要一挂白钱，不可叫本房人烧，另叫生人替烧，我的病就好得快了。所以我请了白钱，巴巴的烦他来替我烧了。我今日才能起来，偏你又看见了。

She could hardly believe her ears when she heard him covering up for her. Her fear gave way to a surprised delight and she plucked up courage to defend herself. “Yes, what makes you so sure it was spirit money?” “Miss Lin spoiled some paper when writing. That's what I've been burning.” But the woman was unimpressed. Stooping down, she picked out one or two of the unconsumed fragments from the ashes. “Don't argue with me! Here's evidence! You'll have to come with me to the jobs room and explain yourself to them there.” She caught hold of the girl's sleeve to drag her off. But Bao-yu held her by the other sleeve and struck at the woman's hand with his walking-stick until she let go. “I'll tell you the truth. Last night I dreamed that the spirit of the apricot tree came to ask me for a string of white paper money, saying that if it was burns for me by a stranger, not by anyone in my apartments, my sickness would be cured faster. And now, after I've been to the trouble of getting the stuff and finding this girl to make the offering for me, it's all wasted, because you saw her doing it.”

She could hardly believe her ears when she heard him covering up for her. Her fear gave way to a surprised delight and she plucked up courage to defend herself. “Yes, what makes you so sure it was spirit money?” “Miss Lin spoiled some paper when writing. That's what I've been burning.” But the woman was unimpressed. Stooping down, she picked out one or two of the unconsumed fragments from the ashes. “Don't argue with me! Here's evidence! You'll have to come with me to the jobs room and explain yourself to them there.” She caught hold of the girl's sleeve to drag her off. But Precious Jade held her by the other sleeve and struck at the woman's hand with his walking-stick until she let go. “I'll tell you the truth. Last night I dreamed that the spirit of the apricot tree came to ask me for a string of white paper money, saying that if it was burns for me by a stranger, not by anyone in my apartments, my sickness would be cured faster. And now, after I've been to the trouble of getting the stuff and finding this girl to make the offering for me, it's all wasted, because you saw her doing it.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 14:32, 30 May 2022 (UTC)

==英语笔译刘瑶 Liu Yao 202170081587==

这会子又不好了，都是你冲了！还要告他去？藕官，你只管见他们去，就照依这话说。”藕官听了，越得主意，反拉着要走。那婆子忙丢下纸钱，陪笑央告宝玉，说道：“我原不知道，若回太太，我这人岂不完了？”宝玉道：“你也不许再回，我便不说。”婆子道：“我已经回了，原叫我带他。只好说他被林姑娘叫去了。”宝玉点头应允。婆子自去。这里宝玉细问藉官：“为谁烧纸？必非父母兄弟，定有私自的情理。”藕官因方才护庇之情，心中感激，知他是自己一流人物，况再难隐瞒，便含泪说道：

But now, by butting in like this, you’ve gone and spoiled everything. And do you still mean to report her? Go with her, Actress Lotus-root, and tell them what I’ve just said. When the old lady comes back, I’ll report her for deliberately spoiling my sacrifice so as to make me die early.” Emboldened by this, Actress Lotus-root started tugging the woman away. The latter hastily dropped the paper money.“How was I to know?” she asked Precious Jade meekly. “If you tell the old lady, Second Master, it will be the end of me! I’ll go and tell the mistresses that I made a mistake—it was you burning sacrificial paper.” “Don’t say anything about it and I won’t tell her,” he promised. “But I’ve already reported it, and they ordered me to take her there. How can I say nothing? All right, I’ll tell them Miss Lin sent for her.” Precious Jade thought for a while then nodded, and the woman went away. Then he asked again: “Whom was the offering for? I’m sure it can’t have been for your own people, as in that case you’d have asked others to burn it for you. There must be a story behind it.” Actress Lotus-root, grateful for his championship, began to feel that they were kindred spirits. Tears sprang to her eyes.

But now, by butting in like this, you’ve gone and spoiled everything. And do you still mean to report her? Go with her, Actress Lotus-root, and tell them what I’ve just said. When the old lady comes back, I’ll report her for deliberately spoiling my sacrifice so as to make me die early.” Emboldened by this, Actress Lotus-root started tugging the woman away. The latter hastily dropped the paper money.“How was I to know?” she asked Precious Jade meekly. “If you tell the old lady, Second Master, it will be the end of me! I’ll go and tell the mistresses that I made a mistake—it was you burning sacrificial paper.” “Don’t say anything about it and I won’t tell her,” he promised. “But I’ve already reported it, and they ordered me to take her there. How can I say nothing? All right, I’ll tell them Miss Lin sent for her.” Precious Jade thought for a while then nodded, and the woman went away. Then he asked again: “Whom was the offering for? I’m sure it can’t have been for your own people, as in that case you’d have asked others to burn it for you. There must be a story behind it.” Actress Lotus-root, grateful for his championship, began to feel that they were kindred spirits. Tears sprang to her eyes.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 12:32, 30 May 2022 (UTC)

==英语笔译刘珍 Liu Zhen 202170081588==

“我这事，除了你屋里的芳官合宝姑娘的蕊官，并没第三个人知道。今日忽然被你撞见，这意思，少不得也告诉了你，只不许再对一人言讲。”又哭道：“我也不便和你面说，你只回去，背人悄悄问芳官就知道了。”说毕，怏怏而去。宝玉听了，心下纳闷，只得踱到潇湘馆瞧黛玉，越发瘦得可怜，问起来，比往日大好了些。黛玉见他也比先大瘦了，想起往日之事，不免流下泪来，些微谈了一谈，便催宝玉去歇息调养。宝玉只得回来。因惦记着要问芳官原委，偏有湘云香菱来了，正和袭人芳官一处说笑，不好叫他，恐人又盘诘，只得耐着。

"Besides myself there are only two other people in the world who know about this: Fragrant Official in your room and Etamine in Miss Bao's.After what happened today, I think I shall have to let you be a third; but you must promise never to speak about it to anyone else.”She slipped away then, leaving him full of curiosity. Precious Jade was very puzzled as he went on to Bamboo Lodge.He found Mascara Jade looking more pathetically frail than ever, although she insisted that her health was much better.She saw that he too was much thinner, and could not help shedding tears at the thought of the reason. After a brief chat she urged him to go back and rest,He left reluctantly, not knowing quite where to go.he was anxious to ask Parfumee about Nenuphar's secret, but Fragrant-cloud and Caltrop had just arrived and were engaged in lively conversation with her and Aroma in the adjoining room. Fearing that if he called her to him the others might ask questions, he resolved to be patient.

==英语笔译马艳焕 Ma Yanhuan 202170081591==

一时芳官又跟了他干娘去洗头，他干娘偏又先叫他亲女儿洗过才叫芳官洗。芳官见了这般，便说他偏心：“把你女儿的剩水给我洗。我一个月的月钱都是你拿着，沾我的光不算，反倒给我剩东剩西的！”他干娘羞愧变成恼，便骂他：“不识抬举的东西！怪不得人人都说戏子没一个好缠的，凭你什么好的，入了这一行，都学坏了。这一点子小崽子，也挑幺挑六，咸嘴淡舌，咬群的骡子似的！”娘儿两个吵起来。袭人忙打发人去说：“少乱嚷！瞅着老太太不在家，一个个连句安静话也都不说了。”
At this time, Fragrant Official followed his godmother to wash his hair, and his adopted mother asked her own daughter to wash before Fragrant Official washed.
When Fragrant Official saw this, he said that she was partial: "You actually let me wash my hair with your daughter's leftover water. You take all my money every month, which takes advantage of me, but give me what's leftover! " His mother turned from shame to annoyance, so she scolded him: "Unappreciative guy！" No wonder everyone says that there is no one actor who is easy to be entangled with. Since you who had been a kind child entered this profession, you became a bad one. You little jerk should be choosy and wag your jaw like a rogue mule." They quarreled. Aroma hurriedly sent someone to say, "Don't shout! Seeing that Grandma Merchant was not at home, you didn't even keep quiet. "

At that time, Fragrant Official followed his foster mother to wash her hair, but her foster mother asked her own daughter to wash before Fragrant Official. Then she accused her of being partial: " You actually let me wash my hair with your daughter's leftover water. You take all my money every month. You are taking advantage of me, but you always give me what's leftover!" Her mother turned from shame to annoyance, so she scolded her: " Unappreciative guy! No wonder everyone says that there is no one actor who is easy to be entangled with. No matter how good you are, as long as you entered this profession, you will definitely become a bad one. You little jerk should be choosy and wag your jaw like a rogue mule." Then they had a big quarrel. Aroma hurriedly sent someone to say, " Don't shout! Seeing that Grandma Merchant was not at home, you didn't even keep quiet now. "--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 13:54, 28 May 2022 (UTC)

==英语笔译聂薇 Nie Wei 202170081592==

晴雯因说：“这是芳官不省事，不知狂的什么？也不过是会两出戏，倒像杀了贼王、擒过反叛来的！”袭人道：“‘一个巴掌拍不响’，老的也太不公些，小的也太可恶些。”宝玉道：“怨不得芳官！自古说：‘物不平则鸣’。他少亲少眷的在这里，没人照看；赚了他的钱。又作践他，如何怪得！”又向袭人说：“他到底一月多少钱？以后不如你收了过来照管他，岂不省事？”袭人道：“我要照看他，那里不照看了？又要他那几个钱才照看他？没的招人骂去了。”

Then Sunny Cloud said, “ Fragrant Official is to blame for arousing this trouble. How could she be so arrogant? All that she knows is how to act in a couple of plays, but why did she act like she has ever killed a thief or crushed the rebellion?” But Aroma refuted, “ As the old saying goes, ‘It takes two to make a quarrel’. Her mother was too unfair to her, while she was too detestable.” Then Precious Jade said, “ We should not blame her. Injustice provokes outcry. She is alone here, without any relatives or anyone taking care of her. Now that her foster mother took away her money, but ill-treated her, how can we blame her for acting like this？” He continued to speak to Aroma, “ How much money does she get every month? Why don’t you get her money and take care of her from now on? Won’t it save much trouble?” But Aroma said, “ I’m taking care of her all the time. When did I miss my job? What’s the point of doing this with taking her money away? It will do nothing good to me except for courting others’ curse.”

Then Sunny Cloud Formation said, “ Fragrant Official is to blame for arousing this trouble. How could she be so arrogant? All that she knows is how to perform in a couple of plays, but why did she act like she has ever killed a thief or crushed the rebellion?” But Aroma refuted, “ As the old saying goes, ‘It takes two to make a quarrel’. Her mother treated her unfairly, while she was too detestable.” Then Precious Jade said, “ We should not blame her. Injustice provokes outcry. She is alone here, without any relatives or anyone taking care of her. Now that her foster mother took away her money, but ill-treated her, how can we blame her for acting like this？” He continued to speak to Aroma, “ How much money does she get every month? Why don’t you get her money and take care of her from now on? Won’t it save much trouble?” But Aroma said, “ I’m taking care of her all the time. When did I miss my job? What’s the point of doing this with taking her money away? It will do nothing good to me except for courting others’ curse.”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 14:51, 28 May 2022 (UTC)

==英语笔译孙丽君 Sun Lijun 202170081593==

说着，便起身至那屋里，取了一瓶花露油、鸡蛋、香皂、头绳之类，叫了一个婆子来：“送给芳官去，叫他另要水自洗，不要吵闹了。”他干娘越发羞愧，便说芳官“没良心！只说我克扣你的钱！”便向他身上拍了几下，芳官便哭起来。宝玉便走出来，袭人忙劝：“做什么？我去说他。”晴雯忙先过来，指他干娘说道：“你这么大年纪，太不懂事！你不给他好好的洗，我们才给他东西。你自己不臊，还有脸打他！他要是还在学里学艺，你也敢打他不成？”那婆子便说：“‘一日叫娘，终身是母。’他排揎我，我就打得！”

While speaking, Aroma stood up and headed for that room to fetch back a bottle of essential oil extracted from floral water, some eggs, toilet soap, sheadlines alike. Then she found a granny and ordered, “Just bring those stuff to Fragrant Official, tell him to have a bath with clean water and stop kicking up a row.” Becoming terribly ashamed, his adopted mother just said to Fragrant Official, “You brute! All you can say is I short-charge you!” While speaking, she patted Fragrant Official a few times, inviting his crying out. Therefore, Precious Jade just came out, and Aroma just stopped him, “What are you doing? Let me exhort him.” Hurriedly rushing there at once, Sunny Cloud Formation pointed to Fragrant Official’s adopted mother and said, “Well then, you’ve come to such an old age, and you still don’t know how to behave properly! We’ve just offered something for him and you don’t help with his bathing well. Even you don’t feel bashful to beat him! If he stills learns an artistic skill now, don’t you dare hit him?” That woman just replied, “As a common saying goes, ‘Once you call me mother, then I’ll be your mother for the whole life.’ If he yells at me, then I can beat him.”

While speaking, Aroma stood up and headed for that room to fetch back a bottle of floral water, some eggs, toilet soaps, hair bands alike. Then she found a granny and ordered, “Just bring those stuff to Fragrant Official, and tell her to get some water to wash her hair and stop kicking up a row.” Becoming terribly ashamed, her adopted mother just said to Fragrant Official, “You brute! All you can do is to tell others that I pocket your wages!” While speaking, she patted Fragrant Official a few times, inviting his crying out. Therefore, Precious Jade just came out, and Aroma stopped him in a rush, “What are you doing? Let me exhort her.” Hurriedly rushing there at once, Sunny Cloud Formation pointed to Fragrant Official’s adopted mother and said, “Well then, you’ve come to such an old age, and you still don’t know how to behave properly! As you don’t wash her hair well, so we just offered something for her. You're not ashamed of yourself but have the nerve to beat her! If she still learns an artistic skill now, don’t you dare hit her?” That woman just replied, “As a common saying goes, ‘Once you call me mother, then I’ll be your mother for the whole life.’ If she yells at me, then I can beat her.”--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 06:44, 30 May 2022 (UTC)

==英语笔译仝雨梦 Tong Yumeng 202170081594==

袭人唤麝月道：“我不会和人拌嘴，晴雯性太急，你快过去震吓他两句。”麝月听了，忙过来说道：“你且别嚷。我且问你：别说我们这一处，你看满园子里，谁在主子屋里教导过女儿的？就是你的亲女儿，既经分了房，有了主子，自有主子打骂；再者，大些的姑娘姐姐们也可以打得骂得，谁许你老子娘又半中间管起闲事来了！都这样管，又要叫他们跟着我们学什么？越老越没了规矩！你见前日坠儿的妈来吵，你如今也来跟他学！你们放心，因连日这个病那个病，再老太太又不得闲，所以我也没有去回。

Listening to that, Aroma asked Musk Deer Month for help: "I'm clumsy in quarreling with others, and Sunny Cloud Formation has an impatient disposition. Now you go there and frighten her with your words." Hearing that, Musk Deer Month came here in a rush and said, "Hold on a second. Let me ask you: In the Grand View Garden, have you ever seen anyone lecturing their daughter in the master's house? Let alone in our house. Even if Fragrant Official is your own daughter, she has been assigned to a master who will naturally beat her if she makes mistakes; besides, the older sisters and girls in this house are also eligible to do so, in this way, who allowed you to meddle in this business? If all people act like you, how can these little girls learn from us? The older you get, the less rules you have! Witnessing Lassock Drop's mother wrangling here few days ago, so you followed her example today! Trust me, I haven't reported this matter since the ladies fell ill in succession and Grandma Merchant was so busy.

Aroma told Musk, “I’m no good at arguing, and Sunny Cloud Formation’s too hot-tempered. Why don’t you go and give her a good scare?”Hearing that, Musk Deer Month came here in a rush and said, "Hold on a second. Let me ask you: In the Grand View Garden, have you ever seen anyone lecturing their daughter in the master's house? Let alone in our house. Even if Fragrant Official is your own daughter, she has been assigned to a master who will naturally beat her if she makes mistakes; besides, the older sisters and girls in this house are also eligible to do so, in this way, who allowed you to meddle in this business? If all people act like you, how can these little girls learn from us? The older you get, the less rules you have! Witnessing Lassock Drop's mother wrangling here few days ago, so you followed her example today! Trust me, I haven't reported this matter since the ladies fell ill in succession and Grandma Merchant was so busy.--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 11:36, 29 May 2022 (UTC)

==英语笔译童略雅 Tong Lueya 202170081595==

等两日咱们去痛回一回，大家把这威风煞一煞儿才好呢！况且宝玉才好了些，连我们也不敢说话，你反打得人狼号鬼叫的！上头出了几日门，你们就无法无天的，眼珠子里就没了人了。再两天，你们就该打我们了。他不要你这干娘，怕粪草埋了他不成？”宝玉恨得拿拄杖打着门槛子说道：“这些老婆子都是铁心石肠是的，真是大奇事！不能照看，反倒折挫他们。地久天长，如何是好？”晴雯道：“什么‘如何是好’？都撵了出去，不要这些‘中看不中吃的’！”那婆子羞愧难当，一言不发。

In a couple of days I shall make a full report,and that will take the wind out of your sails.Precious Jade’s just getting better, and we’ve all been trying to keep our voices down; yet you raise a rumpus fit to wake the dead.If the higher-ups are away just a few days,you lot run completely wild with no respect for anyone at all.In another day or two,I suppose,you’ll be slapping us as well. She doesn’t need a foster-mother like you to muck her up!”Precious Jade,in the doorway,pounded the sill with his cane.“How can these old women be so heartless?”he fumed.“Fantastic! Instead of looking after the girls in their charge, they torment them. If this goes on, what’s to be done?”“What’s to be done?”echoed Sunny Cloud Formation.“Drive all those humbugs out,I say.We don’t need such good-for-nothings here.”The woman was too deflated to say a word.

In a couple of days I shall make a full report, and that will take the wind out of your sails.Precious Jade’s just getting better, and we’ve all been trying to keep our voices down; yet you raise a rumpus fit to wake the dead.If the higher-ups are away just a few days, you lot run completely wild with no respect for anyone at all.In another day or two,I suppose, you’ll be slapping us as well. She doesn’t need a foster-mother like you to muck her up!”Precious Jade,in the doorway, pounded the sill with his cane.“How can these old women be so heartless?” Precious Jade was so angry that he banged on the threshold with his stick. ‘These old women have hearts of stone.he fumed.“Fantastic! Instead of looking after the girls in their charge, they torment them. If this goes on, what’s to be done?”“What’s to be done?” echoed Sunny Cloud Formation.“Drive all those humbugs out,I say.We don’t need such good-for-nothings here.” The woman, shamed into silence by Musk's tirade, made no reply.--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 14:28, 29 May 2022 (UTC)

==英语笔译庹树梅 Tuo Shumei 202170081596==

那芳官只穿着海棠红的小棉袄，底下绿绸洒花夹裤，敞着裤脚，一头乌油似的头发披在脑后，哭得泪人一般。麝月笑道：“把个莺莺小姐反弄成才拷打完的红娘了！这会子又不妆扮了，还是这么着？”晴雯因走过去拉了他，替他洗净了发，用手巾拧干，松松的挽了一个慵妆髻；命他穿了衣服，过这边来。接着司内厨的婆子来问：“晚饭有了，可送不送？”小丫头听了，进来问袭人。袭人笑道：“方才胡吵了一阵，也没留心听得，几下钟了？”晴雯道：“这劳什子又不知怎么了，又得去收拾！”

Meanwhile, Fragrant Official, wearing only a cerise padded jacket and flowered green silk lined-trousers, loose around the ankles, her glossy black hair streaming over her shoulders, had given way to floods of tears. It was a spectacle so different from her more familiar stage appearances that Musk could not help laughing at its incongruousness: ‘I must say, you don't look much like Cui Ying-ying at the moment. Reddie after her beating, though: now that's a part you could play without having to make up for it!” Skybright led Parfumee away and washed her hair for her. When she had toweled it dry, she did it up for her in a ‘lazy knot' and told her to go back to Precious Jade 's room when she had finished dressing. The old kitchen-maids now reported that dinner was ready, and asked whether it should be sent in or not. One of the junior maids went inside to ask Aroma. With all that racket just now I forgot to listen for the clock,” she said. “What time is it? It didn't,' said Skybright. ‘The wretched thing needs repairing again, I don't know why.”

Meanwhile, Fragrant Official, wearing only a cerise padded jacket and flowered green silk lined-trousers, loose around the ankles, her glossy black hair streaming over her shoulders, had given way to floods of tears. It was a spectacle so different from her more familiar stage appearances that Musk could not help laughing at its incongruousness: ‘I must say, you don't look much like Cui Ying-ying at the moment. Reddie after her beating, though: now that's a part you could play without having to make up for it!” Skybright led Parfumee away and washed her hair for her. When she had toweled it dry, she did it up for her in a ‘lazy knot' and told her to go back to Precious Jade 's room when she had finished dressing. The old kitchen-maids now reported that dinner was ready, and asked whether it should be sent in or not. One of the junior maids went inside to ask Aroma. With all that racket just now I forgot to listen for the clock,” she said. “argued for a while, and did not pay attention to time, a few timesWhat time is it? It didn't,' said Skybright. ‘The wretched thing needs repairing again, I don't know why.”--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 10:34, 30 May 2022 (UTC)

==英语笔译王思琪 Wang Siqi 202170081597==

说着，拿过表来瞧了一瞧，说道：“再略等半钟茶的工夫就是了。”小丫头去了。麝月笑道：“提起淘气来，芳官也该打两下儿，昨日是他摆弄了那坠子半日，就坏了。”说话之间，便将食具打点现成。一时小丫头子捧了盒子进来站住。晴雯麝月揭开看时，还是这四样小菜。晴雯笑道：“已经好了，还不给两样清淡菜吃！这稀饭咸菜闹到多早晚？”一面摆好，一面又看那盒中，却有一碗火腿鲜笋汤，忙端了放在宝玉跟前。宝玉便就桌上喝了一口，说道：“好汤！”众人都笑道：“菩萨，能几日没见荤腥儿，馋得这样起来？”

Saying that, he took a look at his watch and said, "Just wait for half an hour for tea." "The little girl went. Musk smiled, "When it comes to naughtiness,
Fragrant Official should also hit it twice, yesterday he fiddled with the pendant for half a day, and it broke." Between words, he made some ready-made utensils. At a moment the little girl took the box and came in and stood still. When Skybright Musk Moon was unveiled, it was still these four small dishes. Skybright smiled and said, "It's already good, don't give two light vegetables to eat!" How early and late is this porridge pickle? While laying it out, while looking at the box, there was a bowl of ham fresh bamboo shoot soup, which was busy serving it in front of Precious Jade. Precious Jade took a sip on the table and said, "Good soup! Everyone laughed and said, "Bodhisattva, how many days have you not seen a meaty child, and you are so hungry?" ”

Saying that, he took a look at his watch and said, "Just wait for half an hour for tea." "The little girl went. Musk smiled, "When it comes to naughtiness,
Fragrant Official should also hit him, yesterday he fiddled with the pendant for half a day, and it broke." Between words, he made some ready-made utensils. At a moment the little girl took the box and came in and stood still. When Skybright Musk Moon was unveiled, it was still these four small dishes. Skybright smiled and said, "It's already good, don't give two light vegetables to eat!" How early and late is this porridge pickle? While laying it out, while looking at the box, there was a bowl of ham fresh bamboo shoot soup, which was busy serving it in front of Precious Jade. Precious Jade took a sip on the table and said, "Good soup! Everyone laughed and said, "Bodhisattva, how many days have you not seen a meaty child, and why you are so hungry?”--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 05:08, 1 June 2022 (UTC)

==英语笔译王亚娟 Wang Yajuan 202170081598==

一面说，一面端起来，轻轻用口吹着。因见芳官在侧，便递与芳官，说道：“你也学些服侍，别一味傻玩傻睡。口儿轻着些，别吹上唾沫星儿。”芳官依言果吹了几口，甚妥。他干娘也端饭在门外伺候，向里忙跑进来，笑道：“他不老成，仔细打了碗，等我吹罢。”一面说，一面就接。晴雯忙喊道：“快出去！你让他砸了碗，也轮不到你吹！你什么空儿跑到里槅子来了？”一面又骂小丫头们：“瞎了眼的！他不知道，你们也不说给他！”小丫头们都说：“我们撵他不出去，说他又不信，如今带累我们受气，这是何苦呢！你可信了？

As he spoke, he picked it up and blew it gently. Seeing Fragrant Official at his side, he handed him over and said, "You have to learn to serve others. Don't just play and sleep. Keep your mouth quiet, and don't spit." Fragrant Official blew a few mouthfuls of the fruit according to his words. His foster mother also served at the door, rushed in to the inside, said with a smile: "He is not old, carefully bowl, wait for me to blow. As he spoke, he answered. Skybright quickly shouted: "Get out! Even he breaks the bowl, you are not qualified to blow it either! Okay, well, when did you get up?" "Blind! Blind! He doesn't know, and you won't tell him!" The girls said, "Why is it that we have brought this burden on us because we won't let him out because he doesn't believe us? Can you be trusted?

She took the bowl and blew gently at the film of oil on the surface. Then, noticing Fragrant Official standing near by, she passed the bowl to her. "You can do this," she said. "Time you learned to make yourself useful, instead of acting like a silly goose. Mind you blow gently though. Don't spit into the soup." Fragrant Official did as she was told, and was managing quite well, when in rushed her foster-mother who had been waiting outside with the rice. Now when Fragrant Official and the others first arrived they had been assigned foster-mothers outside, who had later accompanied them to Pear Fragrance Court. This woman had originally been a third-class servant in the Rong Mansion, only doing some laundry work and never entering the inner apartments, so that she did not know the rules of the house. Once the actresses were taken into the Garden, however. their foster-mothers had gone with them to the different apartments. After being told off by Sheyue, this woman was afraid that she might not be allowed to remain in charge of Fragrant Official, and that would be very much to her disadvantage. So she was determined now to win them round. Seeing Fragrant Official blowing on the soup, she hurried in. "Let me do that!' she cried with a smile. "She's so green she may break the bowl.' She reached out for it. "Get out!' shouted Sunny Cloud Formation. "Even if you make her smash it, this is no job for you. How dare you sneak into this room? Out you go at once!' She scolded the younger maids, "Are you all blind? If she doesn't know any better, you should have told her." "We tried to chase her away but she wouldn't go, they protested. "She didn't believe us. And now she's got us into trouble too." They rounded on the woman. "Now do you believe us?--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 02:24, 29 May 2022 (UTC)

==英语笔译肖冬晴 Xiao Dongqing 202170081599==

我们到的地方儿，有你到的一半儿，那一半儿是你到不去的呢！何况又跑到我们到不去的地方还不算，又去伸手动嘴的了。”一面说，一面推他出去。阶下几个等空盒家伙的婆子见他出来，都笑道：“嫂子也没有‘用镜子照一照’，就进去了！”羞得那婆子又恨又气，只得忍耐下去了。芳官吹了几口，宝玉笑道：“你尝尝，好了没有？”芳官当是玩话，只是笑着看袭人等。袭人道：“你就尝一口何妨？”晴雯笑道：“你瞧我尝。”说着便喝一口。芳官见如此，他便尝了一口，说：“好了。”

Half the places we’re allowed in are out of bounds to you, yet here you come bursting in where even we are forbidden to go. As if that weren’t enough, you now start reaching out and opening your big mouth!" They bundled the woman off. The matrons waiting at the foot of the steps for the hampers greeted her with mocking laughter. "You should have looked in the mirror before butting in there, sister," one of them sniggered. The woman, torn between rage and shame, had to control herself as best she could. By now, Fragrant Official had blown on the soup several times. "That’ll do," said Precious Jade. "Don’t tire yourself. Taste it to see if it’s cool enough." Thinking he must be joking, she turned with a smile to Aroma and the other girls. "Go on, taste it,” urged Aroma. "Let me show you," offered Sun Cloud Formation, then took a sip. Fragrant Official followed her example."It’s all right," she said.

Half the places we’re allowed in are out of bounds to you, yet here you come bursting in where even we are forbidden to go. As if that weren’t enough, you now start reaching out and opening your big mouth!" They bundled the woman off. The matrons waiting at the foot of the steps for the hampers greeted her with mocking laughter. "You should have looked in the mirror before butting in there, sister," one of them sniggered. The woman, torn between rage and shame, had to control herself as best she could. By now, Fragrant Official had blown on the soup several times. "That’ll do," said Precious Jade. "Don’t tire yourself. Taste it to see if it’s cool enough." Thinking he must be joking, she turned with a smile to Aroma and the other girls. "Go on, taste it,” urged Aroma. "Let me show you," offered Sun Cloud Formation, then took a sip. "It's all right." she said, and handed Precious Jade the bowl. --[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 16:01, 31 May 2022 (UTC)

==英语笔译肖佳莉 Xiao Jiali 202170081600==

递与宝玉，喝了半碗，吃了几片笋，又吃了半碗粥，就罢了。众人便收出去。小丫头捧沐盆，盥漱毕，袭人等去吃饭。宝玉使个眼色与芳官，芳官本来伶俐，又学几年戏，何事不知。便装肚子疼，不吃饭了。袭人道：“既不吃，在屋里做伴儿。把粥留下，你饿了再吃。”说着都去了。宝玉将方才见藕官，如何谎言护庇，如何藕官叫我问你，细细的告诉一遍，又问：“他祭的果系何人？”芳官听了，眼圈儿一红，又叹一口气，道：“这事说来，藉官儿也是胡闹。”宝玉忙问：“如何？”芳官道：“他祭的就是死了的药官儿。”

Precious Jade Merchant drank about half the soup, ate a few pieces of bamboo-shoot, consumed half a bowlful of the gruel, and declared himself satisfied. The servants cleared away. A little maid came in with a wash-bowl. After he had washed his hands and rinsed his mouth out, it was Aroma's and the other senior maids' turn to have their dinner. Precious Jade Merchant signaled at this point to Fragrant Official. And since she was quick in the uptake and had learned a good deal in her few years as an actress, She had a stomach-ache, she told them. She didn't feel like any dinner. “Then you may as well stay here and keep him company,” said Aroma. “I'll leave you the gruel, in ease you feel like it later.” Precious Jade Merchant was now able to tell Fragrant Official about his encounter with Actress Lotus-root - how he had lied to protect her and how, feeling unable to answer his question herself, she had referred him to Fragrant Official for an explanation. “For whom were those offerings?” he asked. Fragrant Official's eyes reddened slightly and she sighed. ‘Oh, Actress Lotus-root is crazy.” Why?” said Precious Jade Merchant. “What do you mean?”“ It was for Pivoine,”said Fragrant Official, “the girl in our troupe who died.”

She passed the soup to Precious Jade, who drank about half a bowl and ate a few pieces of bamboo-shoot with half a bowlful of the gruel, and declared himself satisfied. The servants cleared away. A little maid came in with a wash-bowl. After he had washed his hands and rinsed his mouth out, it was Aroma's and the other senior maids' turn to have their dinner. Precious Jade signaled at this point to Fragrant Official. And since she was quick in the uptake and had learned a good deal in her few years as an actress, she had a stomach-ache, she told them. She didn't feel like any dinner. “Then you may as well stay here and keep him company,” said Aroma. “I'll leave you the gruel, in ease you feel like it later.” Precious Jade was now able to tell Fragrant Official about his encounter with Actress Lotus-root - how he had lied to protect her and how, feeling unable to answer his question herself, she had referred him to Fragrant Official for an explanation. “For whom were those offerings?” he asked. Fragrant Official's eyes reddened slightly and she sighed. ‘Oh, Actress Lotus-root is crazy.” Why?” said Precious Jade. “What do you mean?”“ It was for Pivoine,”said Fragrant Official, “the girl in our troupe who died.” --[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 08:54, 1 June 2022 (UTC)

==英语笔译谢晓莹 Xie Xiaoying 202170081601==

宝玉道：“他们两个也算朋友，也是应当的。”芳官道：“那里又是什么朋友哩？那都是傻想头，他是小生，药官是小旦，往常时，他们扮作两口儿，每日唱戏的时候，都装着那么亲热，一来二去，两个人就装糊涂，倒像真的一样儿。后来两个竟是你疼我，我爱你。药官儿一死，他就哭的死去活来的，到如今不忘，所以每节烧纸。后来补了蕊官，我们见他也是那样，就问他：‘为什么得了新的就把旧的忘了？’他说：‘不是忘了，比如人家男人死了女人，也有再娶的，只是不把死的丢过不提就是有情分了。’你说他是傻不是呢？”

Precious Jade said, “Why not, if they were friends?” Fragrant Official said, “They weren’t just ordinary friends. Ouguan had the fantastic notion that as she used to play young men and Diguan young ladies, and as they were often cast as husband and wife, although it was make-believe they should act the part every day as if they were really in love. So they became so crazy about each other that even offstage they were for ever together. In the end they were so devoted that when Diguan died she nearly cried her heart out, and to this day she’s never forgotten her. That’s why she burns paper money at all the festivals. When Actress Pistil later took Diguan’s place, we found that Ouguan was just as attached to her. ‘Has your new sweetheart made you forget the old one?’ we asked. ‘No, but there’s a very good reason for this,’ she told us. ‘I’m like a widower who marries again. If he doesn’t forget his first wife, he’s still true to her. But if he insists on remaining single all the rest of his life, that’s against the rules of propriety too, and how could his dead wife rest in peace in her grave?‘ Don’t you call that crazy and senseless? It’s really ridiculous!”

Precious Jade said, “Why not, if they were friends?” Fragrant Official replied, “They weren’t just ordinary friends. Ouguan had the fantastic notion that as she used to play young men and Diguan young ladies, and as they were often cast as husband and wife, although it was make-believe they should act the part every day as if they were really in love. So they became so crazy about each other that even offstage they were for ever together. In the end they were so devoted that when Diguan died she nearly cried her heart out, and to this day she’s never forgotten her. That’s why she burns paper money at all the festivals. When Actress Pistil later took Diguan’s place, we found that Ouguan was just as attached to her. ‘Has your new sweetheart made you forget the old one?’ we asked. ‘No, but there’s a very good reason for this,’ she told us. ‘I’m like a widower who marries again. If he doesn’t forget his first wife, he’s still true to her. But if he insists on remaining single all the rest of his life, that’s against the rules of propriety too, and how could his dead wife rest in peace in her grave?‘ Don’t you call that crazy and senseless? It’s really ridiculous!”--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 08:59, 1 June 2022 (UTC)

==英语笔译熊嘉玲 Xiong Jialing 202170081602==

宝玉听了这呆话，独合了他的呆性，不觉又欢又悲，又称奇道绝，拉着芳官嘱咐道：“既如此说，我有一句话嘱咐你，须得你告诉他：以后断不可烧纸，逢时按节，只备一炉香，一心虔诚，就能感应了。我那案上也只设着一炉，我有心事，不论日期，时常焚香；随便新茶新水，就供一盏；或有鲜花鲜果，甚至荤腥素菜都可。只要敬心，不在虚名。以后快命他不可再烧纸！”芳官听了，便答应着；一时吃过粥，便有人回：“老太太回来了。”要知端的，且看下回分解。
◎第五十九回柳叶渚边嗔莺叱燕绛芸轩里召将飞符

However, foolish Precious Jade heard such foolish talk. He exclaimed in wonder, torn between sadness and joy. He took Fragrant Official's hand and urged her, “If that’s how things are, you must tell her something from me. ” “What is it?’”asked Fragrant Official.“In future, she mustn’t burn paper coins. At all future festivals she need only burn some incense in a censer; and if her heart is pure, Diguan’s spirit will know it. There is a censer on my desk. Whenever I miss some dead friend, whatever the date, I burn incense and offer some fresh water or tea, or maybe flowers or fruit, or even meat or vegetables. As long as your heart is pure, Buddha himself will come to the sacrifice. That’s why we say: ‘It’s the intention that counts, not the empty form.’ So go presently and tell her not to burn any more paper money in future.”Fragrant Official promised to do this and then had the rice gruel. Just at that moment someone announced that Their Ladyships were back. To know what happened after, read the next chapter. Chapter 59 Yinger and Chunyan Are Scolded by Willow Bank And Red Rue Studio Sends for Reinforcements

However, foolish Precious Jade heard such foolish talk. He exclaimed in wonder, torn between sadness and joy. He took Fragrant Official's hand and urged her, “If that’s how things are, you must tell her something from me. ” “What is it?’”asked Fragrant Official.“In future, she mustn’t burn paper coins. At all future festivals she need only burn some incense in a censer; and if her heart is pure, Diguan’s spirit will know it. There is a censer on my desk. Whenever I miss some dead friend, whatever the date, I burn incense and offer some fresh water or tea, or maybe flowers or fruit, or even meat or vegetables. As long as your heart is pure, Buddha himself will come to the sacrifice. That’s why we say: ‘It’s the intention that counts, not the empty form.’ So go presently and tell her not to burn any more paper money in future.”Fragrant Official promised to do this and then had the rice gruel. Just at that moment someone announced that Their Ladyships were back. To know what happened after, read the next chapter.
Chapter 59 Yinger and Chunyan Are Scolded by Willow Bank And Red Rue Studio Sends for Reinforcements--[[User:Yang Xinyi|Yang Xinyi]] ([[User talk:Yang Xinyi|talk]]) 09:40, 1 June 2022 (UTC)

==英语笔译杨心怡 Yang Xinyi 202170081604==

话说宝玉闻听贾母等回来，随多添了一件衣服，拄了杖前边来，都见过了。贾母等因每日辛苦，都要早些歇息，一宿无话。次日五更，又往朝中去。离送灵日不远，鸳鸯、琥珀、翡翠、玻璃四人，都忙着打点贾母之物；玉钏、彩云、彩霞皆打点王夫人之物；当面查点与跟随的管事媳妇们。跟随的一共大小六个丫鬟，十个老婆媳妇子，男人不算。连日收拾驮轿器械。鸳鸯与玉钏儿皆不随去，只看屋子。一面先几日预备帐幔铺陈之物，先有四五个媳妇并几个男子领了出来，坐了几辆车绕道，先至下处，铺陈安插等候。
It was said that when Baoyu heard that Mother Jia was waiting for her return, she added an extra piece of clothes, leaned on a cane and came forward, and she had seen it all. Jia Mu and others had to rest early because of their hard work every day, and they were speechless all night. At the fifth watch the next day, we went to the DPRK again. Not far from the day of the funeral, Yuanyang, Amber, Emerald, and Glass were all busy arranging things for Jia Mu; Yuchuan, Caiyun, and Caixia all arranged things for Mrs. Wang; they checked and followed the stewards and daughters-in-law in person. There are a total of six maids, ten wives and daughters-in-law, not counting men. Packing up the sedan chair for days. Yuanyang and Yuchuan'er did not follow, they only looked at the house. On the one hand, they prepared the curtains for a few days. First, four or five daughters-in-law and a few men led them out. They took a few cars to make a detour, and went down to the next place first, where they laid out the arrangements and waited.

==英语笔译杨紫微 Yang Ziwei 202170081605==

临日，贾母带着贾蓉媳妇坐一乘驮轿，王夫人在后，亦坐一乘驮轿；贾珍骑马，率了众家丁围护；又有几辆大车，与婆子丫鬟等坐，并放些随换的衣包等件。是日薛姨妈尤氏率领诸人直送至大门外方回。贾琏恐路上不便，一面打发他父母起身，赶上贾母王夫人驮轿，自己也随后带领家丁押后跟来。荣府内，赖大添派人丁上夜，将两处厅院都关了，一应出入人等皆走西边小角门；日落时，便命关了仪门，不放人出入；园中前后东西角门亦皆关锁，只留王夫人大房之后常系他姊妹出入之门，东边通薛姨妈的角门：这两门因在里院，不必关锁；

On the next day, Grandma Merchant took Prosperity Merchant, her daughter-in-law, to sit in a pack sedan, and Lady King followed who sat in another one. Treasure Merchant rode a horse and led servants for protection. There were several carts for nannies and servant girls, and some clothes and bags to change at any time were also put in it. That day Aunt Marshgrass and Madam You led all people see them out of the gate before coming back. Fearing that the journey might be inconvenient, Romance Merchant sent his parents on their way to catch the sedan chair of Lady King and Grandma Merchant, then he caught up later who followed by servants. Inside Rong House, Big Rely sent more servants to keep watch at night and asked them to close the two halls and courtyards, and all people who came and went through the small corner gate on the west side. At sunset, he ordered to shut down the ceremony door so that no one would go in or out. The front, rear, east and west corner doors of the garden were also locked, except for the door of Lady King's main room which was for her sisters’ use. As for corner doors which opened to the east towards Aunt Marshgrass’s room, they did not need to be locked because they were in the inner garden.

When the day came, Grandma Merchant and Prosperity’s wife took a horse-borne litter, and Lady King followed them behind. Treasure Merchant rode a horse and led servants for protection. There were several big carts for serving-women and young maids which also carried changes of clothing. That day Aunt Marshgrass and Madam You saw them off from outside of the main gate with the rest of serving-women. Fearing that the journey might be inconvenient, Romance Merchant sent his parents on their way and caught up with the litters which Lady King and Grandma Merchant sat, and then followed the escort. In Rong House, Big Rely sent more servants to keep watch at night and asked them to close the two main gates and all people who came and went passed the small corner gate on the west side. At sunset, he ordered to shut down the ceremonial door, allowing no entrance or exit. The front and back slide gates and those to the east and west of the garden were also locked, except for the door of Lady King’s main room which was used by the girls. As for corner doors which opened to the east towards Aunt Marshgrass’s room, they did not need to be locked because they were in the inner garden.--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 12:55, 28 May 2022 (UTC)

==英语笔译张国浩 Zhang Guohao 202170081606==

里面鸳鸯和玉钏儿也将上房关了，自领丫鬟婆子下房去歇；每日林之孝家的带领十来个老婆子上夜，穿堂内又添了许多小厮更打：已安插得十分妥当。一日清晓，宝钗春困已醒，搴帷下榻，微觉轻寒，及启户视之，见园中土润苔青：原来五更时落了几点微雨。于是唤起湘云等人来。一面梳洗，湘云因说两腮作痒，恐又犯了杏斑癣，因问宝钗要些蔷薇硝擦。宝钗道：“前日剩的都给了妹子了。”因说：“颦儿配了许多，我正要要他些来，因今年竟没发痒，就忘了。”因命莺儿去取些来。莺儿应了才去时，蕊官便说：“我同你去，顺便瞧瞧藕官。”

Inside the garden, Mandarin Duck and Jade Bracelet also closed the doors of main apartments, and took some maids from there to stay in the servants’ quarters to have rests. While every night Filial Piety Forest's Wife took some old serving-women stay in the garden to keep watch. All entrance halls were patrolled by pages with clappers. Everything was done with a well-arranged order. On a early spring morning when Precious Hairpin awoke from the spring fatigue, parted the bed-curtains and got up, she found it was a little bit cold. She opened the door and looked outside. The soil in the yard was wet and moss was green. There was also some rain falling down at dawn. She woke up Fragrant-cloud and other people. While they were dressing, Fragrant-cloud said her cheeks were itched. She was afraid that she had the spring rashes again, so she asked Precious Hairpin whether she had rose powder. Precious Hairpin said: “I have given all I had to my sister Precious Strings a few days ago. Mascara Jade has made a lot and I was about to ask her for some. But I forgot this thing because I did not have any itched feelings this spring.” Then she let Maid Oriole go Mascara Jade’s residence to fetch some powder. As Maid Oriole was about to go, Actress Pistil said: “I will go with you together and visit Actress Lotus-root by the way.”

Inside, Mandarin Duck and Jade Bracelet also closed their mistresses’ main apartments, and took the other maids and matrons from there to stay in the servants’ quarters; while every night Filial Piety Forest's Wife brought some dozen old serving-women to keep watch, and all the entrance halls were patrolled by extra pages with clappers. In this way excellent order was maintained. Early one spring morning when Precious Hairpin awoke, parted her bed-curtains and got up, she found it rather chilly. She opened the door and looked out. The soil in the courtyard was moist, the moss on it green, for a light rain had fallen at dawn. She then woke Fragrant-cloud and the others. As they were dressing, Fragrant-cloud remarked that her cheeks itched. She was afraid she had a spring rash again, and would like some rose-nitric powder to apply to it. “I gave all I had left the other day to Precious Strings,” Precious Hairpin told her. “Mascara Jade had a good deal made and I was meaning to ask her for some, but not having felt any itching this spring I forgot.” She ordered Oriole to go and fetch some of this powder. As Oriole was about to leave on this errand, Etamine offered to go with her, as that would give her a chance to see Nenuphar.--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 07:46, 28 May 2022 (UTC)

==英语笔译张姣玲 Zhang Jiaoling 202170081607==

说着一径同莺儿出了蘅芜苑。二人你言我语，一面行走，一面说笑，不觉到了柳叶渚，顺着柳堤走来。因见叶才点碧，丝若垂金，莺儿便笑道：“你会拿这柳条子编东西不会？”蕊官笑道：“编什么东西？”莺儿道：“什么编不得？玩的，使的，都可。等我摘些下来，带着这叶子编一个花篮，采了各色花儿放在里头，才是好玩呢！”说着，且不去取硝，且伸手采了许多嫩条，命蕊官拿着，他却一行走，一行编花篮。随路见花便采一二枝，编出一个玲珑过梁的篮子。枝上自有本来翠叶满布，将花放上，却也别致有趣。
So the two of them set off from Alpinia Park. Chatting as they strolled, the girls soon reached Willow Bank. As they walked along it they saw that the willows, now turning green, seemed hung with golden threads. “Can you weave things out of osiers?” Oriole asked. “What sort of things?” “Oh, anything ‘ little toys or useful objects. Wait till I’ve picked a few twigs with leaves and I’ll make a basket to fill with different flowers. That should be fun.” So instead of fetching the powder, Oriole plucked an armful of tender twigs which she made Etamine carry, and started to weave a basket as on they walked, stopping now and then to pick flowers. The dainty little basket was soon completed. Covered with its own fresh green leaves and filled with flowers, it made a charming and original toy.

So the two of them set off from Alpinia Park. Chatting as they strolled, they soon reached Willow Bank. As they walked along it, they saw that willows, now turning green, seemed hung with golden threads. “Can you weave things out of osiers?” Oriole asked. “What sort of things?” “Oh, anything ‘ little toys or useful objects. Wait till I’ve picked a few twigs with leaves and I’ll make a basket to fill with different flowers. That should be fun.” So instead of fetching the powder, Oriole plucked an armful of tender twigs which she made Etamine carry, and started to weave a basket as on they walked, stopping now and then to pick flowers. The dainty little basket was soon completed. Covered with its own fresh green leaves and filled with flowers, it made a charming and original toy.--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:49, 30 May 2022 (UTC)

==英语笔译张瑞 Zhang Rui 202170081608==

喜得蕊官笑道：“好姐姐，给了我罢！”莺儿道：“这一个咱们送林姑娘，回来咱们再多采些，编几个大家玩。”说着，来至潇湘馆中。黛玉也正晨妆，见了这篮子，便笑说：“这个新鲜花篮是谁编的？”莺儿说：“我编了，送与姑娘玩的。”黛玉接了，笑道：“怪道人人赞你的手巧，这玩意儿却也别致。”一面瞧了，一面便叫紫鹃挂在那里。莺儿又问侯薛姨妈，方和黛玉要硝。黛玉忙命紫鹃去包了一包，递与莺儿。黛玉又说道：“我好了，今日要出去逛逛；你回去说与姐姐，不用过来问候妈了，也不敢劳他过来，我梳了头，同妈都往你那里去吃饭，大家热闹些。”

Actress Pistil smiled and said, "Good sister, give it to me!" Maid Oriole said, "Let's send Mascara Jade this one, and when we come back, we'll pick more and make up a few for everyone to play." She said, and came to the Bamboo Lodge. Mascara Jade was also making up in the morning, and when she saw this basket, she smiled and said, "Who made this fresh flower basket?" Maid Oriole said, "I made it up and sent it to the girl to play with." Mascara Jade took it and smiled, "It's true that everyone praises your skill, and this thing does look chic." As she looked, she told Nightingale to hang it there. Maid Oriole asked Aunt Marshgrass again, then asked Mascara Jade for saltpetre. Mascara Jade order Nightingale to wrap a bag and hand it to Maid Oriole. Mascara Jade said again, "I'm fine, I'm going to go out for a walk today; you go back and say that you and your sister don't have to come over to greet her, and you don't dare to ask her to come over, I combed my hair and go to your place with her to eat, it is more fun."

Actress Pistil smiled and said, "My dear sister, give it to me!" Maid Oriole said, "Let's send this one to Mascara Jade, and when we come back, we'll pick more and make up a few for everyone to play." She said, and came to the Bamboo Lodge. Mascara Jade was also making up in the morning, and when she saw this basket, she smiled and said, "Who made this fresh flower basket?" Maid Oriole said, "I made it up and sent it to you to play with." Mascara Jade took it and smiled, "It's true that everyone praises your skill, and this thing does look chic." As she looked, she told Nightingale to hang it there. Maid Oriole greeted Aunt Marshgrass again, then asked Mascara Jade for saltpetre. Mascara Jade order Nightingale to wrap a bag and hand it to Maid Oriole. Mascara Jade said again, "I'm fine, I'm going out for a walk today; you go back and tell sister that both of you don't have to come over to greet Aunt Marshgrass, and I don't dare to ask her to come over. After I comb my hair, we will go to eat in your room with Aunt Marshgrass, which is more fun."--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 08:42, 30 May 2022 (UTC)

==英语笔译赵宇翔 Zhao Yuxiang 202170081609==

莺儿答应了出来，便到紫鹃房中找蕊官，只见蕊官却与藉官二人正说得高兴，不能相舍，莺儿便笑说：“姑娘也去呢，藕官先同去等着，岂不是好？”紫鹃听见如此说，便也说道：“这话倒很是，他这里淘气的可厌。”一面说，一面便将黛玉的匙箸用一块洋巾包了，交与藕官道：“你先带了这个去，也算一趟差了。”藕官接了，笑嘻嘻同他二人出来，一径顺着柳堤走来。莺儿便又采些柳条，索性坐在山石上编起来；又命蕊官先送了硝去再来。他二人只顾爱看他编，那里舍得去？莺儿只管催，说：“你们再不去，我就不编了。”

Maid Oriole promised and went out to Nightingale's room to find Actress Pistil, only to see that Actress Pistil and Actress Lotus-root were chatting merrily and couldn't be separated. Maid Oriole then smiled and said, "Actress Lotus-root can go with us, too. You go and wait for us there, isn't it a good idea?" Nightingale heard this and said, "So it is. She is so naughty there." She then packed Mascara Jade's spoon and chopsticks with a foreign scarf and handed it to Actress Lotus-root, saying, "Take this with you, it's also a piece of work." Actress Lotus-root took it and went out with Maid Oriole and Actress Pistil, smiling. They walked along the willow bank. Maid Oriole got some wicker and sat on the stone of the rockery to weave the flower basket. She then asked Actress Pistil to send the nitre first. But the two were attracted by her weaving the basket and unwilling to go to finish their work. Maid Oriole urged them to go quickly and said, "I won't do this any more if you don't go."

==英语笔译郑冬琴 Zheng Dongqin 202170081610==

藕官便说：“同你去了，再快回来。”二人方去了。这里莺儿正编，只见何妈的小女春燕走来，笑问：“姐姐编什么呢？”正说着，蕊官藕官也到了，春燕便向藕官道：“前日你到底烧了什么纸？被我姨妈看见了，要告你没告成，倒被宝玉赖了他好些不是，气得他一五一十告诉我妈。你们在外头这二三年了，积了些什么仇恨，如今还不解开？”藕官冷笑道：“有什么仇恨？他们不知足，反怨我们了。在外头这两年，不知赚了我们多少东西。你说说，可有的没的？”
春燕笑道：“他是我的姨妈，也不好向着外人反说他的。
‘I’ll go with you,’ volunteered Actress Lotus-root. ‘Then we can hurry back.’And with that they went off. Presently along came Mother He’s young daughter Spring Swallow, who wanted to know what Maid Oriole was making. Just at that moment the other girls returned.‘What was that paper you were burning the other day when my aunt spotted you?’ Spring Swallow asked Actress Lotus-root. ‘Before she could report you, Precious Jade Merchant gave her such a dressing-down that she went off in a huff and told my mother all about it. What feud did you have with them those few years in the troupe outside the Garden that you’re still at loggerheads?’‘What feud?’ Actress Lotus-root snorted. ‘There’s just no satisfying them they’re for ever nagging at us. Not to mention anything else, goodness knows how much they made the last two years out of our daily food allowance outside ‘ more than enough to feed their own families ‘ in addition to their rake off on purchases. Yet any job we give them, they complain to high heaven. What sort of behaviour is that?’Spring Swallow smiled.‘She’s my aunt, so I can’t run her down to outsiders.

‘I’ll go with you,’ volunteered Actress Lotus-root. ‘Then we can hurry back.’And with that they went off. Presently along came Mother He’s young daughter Spring Swallow, who wanted to know what Maid Oriole was making. Just at that moment the other girls returned.‘What was that paper you were burning the other day when my aunt spotted you?’ Spring Swallow asked Actress Lotus-root. ‘Before she could report you, Precious Jade Merchant gave her such a dressing-down that she went off in a huff and told my mother all about it. What feud did you have with them those few years in the troupe outside the Garden that you’re still at loggerheads?’‘What feud?’ Actress Lotus-root snorted. ‘There’s just no satisfying them they’re for ever nagging at us. Not to mention anything else, goodness knows how much they made the last two years out of our daily food allowance outside ‘ more than enough to feed their own families ‘ in addition to their rake off on purchases. Yet any job we give them, they complain to high heaven. What sort of behaviour is that?’Spring Swallow smiled.‘She’s my aunt, so I can’t run her down to outsiders.--[[User:Zhong Qing|Zhong Qing]] ([[User talk:Zhong Qing|talk]]) 02:15, 1 June 2022 (UTC)

==英语笔译钟青 Zhong Qing 202170081611==

怨不得宝玉说：‘女孩儿未出嫁是颗无价宝珠，出了嫁不知怎么就变出许多不好的毛病来；再老了，更不是珠子，竟是鱼眼睛了！分明一个人，怎么变出三样来？’这话虽是混账话，想起来真不错。别人不知道，只说我妈和姨妈，他老姐儿两个，如今越老了，越把钱看得真了。先是老姐儿两个在家抱怨没个差使进益；幸亏有了这园子，把我挑进来，可巧把我分到怡红院。家里省了我一个人的费用不算外，每月还有四五百钱的余剩，这也还说不够。后来老姐儿两人都派到梨香院去照看他们，藕官认了我姨妈，芳官认了我妈，这几年着实宽绰了。

"But no wonder Precious Jade Merchant says: 'A girl before marriage is a precious pearl; after marriage,she somehow picks up all sorts of bad habits so that the pearl loses its lustre -- it's a dead pearl; and as she grows still older, the pearl changes into a fish-eye. What a metamorphosis!'That's silly talk maybe, still there's something in it. I don't know about other people, but as for my mother and her sister, my aunt, it's true that the older they grow the madder they get for money. First, at home,the two of them groused that they had no fat jobs; then luckily there was this Garden and I happened to be assigned to Happy Red Court; so apart from saving my keep, the family got four or five hundred cash extra a month. But they still said that wasn't enough. Later both were assigned to Pear Fragrance Court to look after the actresses. My aunt had Actress Lotus-root her foster-daughter; my mother, Fragrant Official; so for the last few years they were in clover. "

"But no wonder Precious Jade Merchant says: 'A girl before marriage is a precious pearl; after marriage, she somehow picks up all sorts of bad habits so that the pearl loses its lustre -- it's a dead pearl; and as she grows still older, the pearl changes into a fish-eye. What a metamorphosis!' That's silly talk maybe, still there's something in it. I don't know about other people, but as for my mother and her sister, my aunt, it's true that the older they grow the madder they get for money. First, at home, the two of them groused that they had no fat jobs; then luckily there was this Garden and I happened to be assigned to Happy Red Court; so apart from saving my keep, the family got four or five hundred cash extra a month. But they still said that wasn't enough. Later both were assigned to Pear Fragrance Court to look after the actresses. My aunt had Actress Lotus-root her foster-daughter; my mother, Fragrant Official; so for the last few years they were in clover. "--[[User:Zhou Haoxi|Zhou Haoxi]] ([[User talk:Zhou Haoxi|talk]]) 09:15, 1 June 2022 (UTC)

==英语笔译周皓熙 Zhou Haoxi 202170081612==

如今挪进来，也算撂开手了，还只无厌。你说好笑不好笑？接着我妈和芳官女吵了一场，又要宝玉吹汤，讨个没趣儿。幸亏园里的人多，没人记的清楚谁是谁的亲故；要有人记得，我们一家人，叫人家看着什么意思呢！你这会子又跑了来弄这个。这一带地上的东西，都是我姑妈管着，他一得了这地，每日起早睡晚，自己辛苦了还不算，每日逼着我们来照看，生怕有人遭塌，我又怕误了我的差使；如今我们进来了，老姑嫂两个照看得谨谨慎慎，一根草也不许人乱动。你还掐这些花儿，又折他的嫩树枝子，他们即刻就来，仔细他们抱怨。”

Now that we moved in, we completely gave up. I had no other thoughts. It's so funny. Then my mom had a quarrel with Fragrant Official, asking Precious Jade to chill the soup. Made herself embarrassed. Luckily, there weren't many people in the yard at that time and no one knew clearly the relations. If anyone knew, we were going to be a joke. You came to do this now? See the things on the ground, they are all my aunt's charging. She couldn't do that much. Nearly in the morning and late at night, making herself tired does not count, she even wanted us to be with her so that she doesn't have to worry anyone damaging it. I feared that my work would be impeded. Now I came in, the old ladies were so careful. Don't even allow others to touch a grass. You picked the flowers and fresh branches. They are coming soon and you are doomed."

Now that we moved in, we completely gave up. I had no other thoughts. It's so funny. Then my mom had a quarrel with Fragrant Official, and then she asked Precious Jade to chill the soup. Only to make herself embarrassed. Luckily, there weren't many people in the yard at that time and no one knew clearly the relations. If anyone knew, we were going to be a joke. You came to do this now? See the things on the ground, they are all my aunt's charging. She couldn't do that much. Nearly in the morning and late at night, making herself tired does not count, she even wanted us to be with her so that she doesn't have to worry anyone damaging it. I feared that my work would be impeded. Now I came in, the old ladies were so careful. Don't even allow others to touch a grass. You picked the flowers and fresh branches. They are coming soon and you are doomed."--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 15:15, 31 May 2022 (UTC)

==英语笔译周哲 Zhou Zhe 202170081613==

莺儿道：“别人折掐使不得，独我使得。自从分了地基之后，各房里每日皆有分例的，不用算；单管花草玩意儿，谁管什么，每日谁就把各房里姑娘丫头戴的，必要各色送些折枝的去，另有插瓶的。惟有我们姑娘说了：‘一概不用送，等要什么再和你要。’究竟总没要过一次。我今便掐些，他们也不好意思说的。”一言未了，他姑妈果然拄了拐杖走来。莺儿春燕等忙让坐。那婆子见采了许多嫩柳，又见藕官等采了许多鲜花，心里便不受用；看着莺儿编弄，又不好说什么，便说春燕道：“我叫你来照看照看，你就贪住玩不去了，
"Others may not be allowed to pick what they like, but I am, "retorted Maid Oriole." After the different places were allotted, each household was assigned its share of the produce. Not counting edibles, just take flowers for example. Those in charge have to send some over every day for the young ladies and maids to wear, as well as to put in their vases. My young lady was the only one who told them not to send any. She said she'd ask for what she needed, but in fact she never once has. So how can they scold me for picking a few flowers now?"
While she was still speaking, sure enough, along came Spring Swallow's aunt leaning on her cane. Maid Oriole and Spring Swallow at once urged her to be seated. The sight of all the willow twigs and flowers which Actress Lotus-root and the others had picked vexed the woman, but not liking to say anything against Maid Oriole, who was making a basket, she rounded on her niece.
"I told you to keep an eye on things, but you take that as a chance to play around …

"Others may not be allowed to pick what they like, but I am, "retorted Maid Oriole." After the different places were allotted, each household was assigned its share of the produce. Not counting edibles, just take flowers for example. Those in charge have to send some over every day for the young ladies and maids to wear, as well as to put in their vases. My young lady was the only one who told them not to send any. She said she'd ask for what she needed, but in fact she never once has. So how can they scold me for picking a few flowers now?"
While she was still speaking, sure enough, along came Spring Swallow's aunt leaning on her cane. Maid Oriole and Spring Swallow at once urged her to be seated. The sight of all the willow twigs and flowers which Actress Lotus-root and the others had picked vexed the woman, but not liking to say anything against Maid Oriole, who was making a basket, she rounded on her niece.
"I told you to keep an eye on things, but you take that as a chance to play around …--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 05:08, 31 May 2022 (UTC)

==英语笔译朱丽娟 Zhu Lijuan 202170081614==

倘或叫起你来，你又说我使你了，拿我作隐身草儿，你来乐！”春燕道：“你老人家又使我，又怕，这会子反说我，难道把我劈八瓣子不成？”莺儿笑道：“姑妈，你别信小燕儿的话。这都是他摘下来，烦我给他编，我撵他，他不去。”春燕笑道：“你可少玩儿！你只顾玩儿，他老人家就认真的。”那婆子本是愚夯之辈，兼之年近昏眊，惟利是命，一概情面不管；正心疼肝断，无计可施，听莺儿如此说，便倚老卖老，拿起柱杖向春燕身上击上几下，骂道：“小蹄子，我说着你，你还和我强嘴儿呢！
"l told you not go back to your apartments. When they want you there, you say you've been working for me. Using me as your cover,ch?"
"You order me about yet you're afraid, and now you're scolding me," protested Spring Swallow. "l can't be everywhere at once, can I?"
"Don't you believe her, aunt," chuckled Yinger. "She was the one who picked all these and asked me to make her a basket. When I tried to chase her away, she wouldn't go."
"Don't talk such nonsense!" cried Spring Swallow. “My aunt can't take a joke, she'll believe you."
Indeed, her aunt had been born stupid, and now that age had addled her wits her one interest in life was money: she had no consideration at all for others. Inwardly fuming, she had not known how to retaliate until Yinger made this joke. Now, presuming on her seniority, she raised her cane and struck her niece several blows.
"Little bitch!"she swore. "I'll teach you to talk back!

"I told you not go back to your apartments. When they want you there,you say you've been working for me. Using me as your cover?" "You order me about yet you're afraid, and now you're scolding me,"protested Spring Swallow. "I can't be everywhere at once,can I?" "Don't you believe her, aunt," chuckled Oriole. "She was the one who picked all these and asked me to make her a basket. When I tried to chase her away,she wouldn't go." "Don't talk such nonsense!" cried Spring Swallow. “My aunt can't take a joke,she'll believe you." Indeed,her aunt had been born stupid, and now that age had addled her wits her one interest in life was money: she had no consideration at all for others. Inwardly fuming,she had not known how to retaliate until Yinger made this joke. Now,presuming on her seniority,she raised her cane and struck her niece several blows. "Little bitch!"she swore. "I'll teach you to talk back!--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 13:21, 31 May 2022 (UTC)

==英语口译段小蝶 Duan Xiaodie 202170081615==

你妈恨的牙痒痒，要撕你的肉吃呢，你还和我梆子是的。”打得春燕又愧又急，因哭道：“莺儿姐姐玩话，你就认真打我！我妈为什么恨我？又没烧糊了洗脸水，有什么不是？”莺儿本是玩话，忽见婆子认真动了气，忙上前拉住，笑道：“我才是玩话，你老人家打他，这不是臊我了吗？”那婆子道：“姑娘，你别管我们的事，难道为姑娘在这里不许我们管孩子不成？”莺儿听见这般蠢话，便赌气红了脸，撒了手，冷笑道：“你要管，那一刻管不得？偏我说了一句玩话，就管他了？我看你管去！”说着便坐下，仍编柳篮子。
Your mother's grinding her teeth,itching to tear you to pieces and chew you up. Yet you still answer me back in that pert way!" Hurt and humiliated,Spring Swallow sobbed,"Sister Oriole was only joking,yet you believed her and beat me. Why should my mother be angry? I've not boiled away her water or burned her pan. What have I done wrong?" Maid Oriole,seeing that her teasing had really angered the woman now caught her by the arm. "I was only joking,"she said soothingly. "By beating her you make me feel bad too." "Don't meddle with our affairs miss,"snapped the other. "Can't we punish our own children just because you're here?" This stupid gibe made Yinger flush with anger. She let go of the woman with a scornful laugh,"You can punish her any time you please. Why do it just after I make a joke? All right - go ahead." With that she sat down again and was going on making her basket.--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 08:17, 1 June 2022 (UTC)

==比较文学与跨文化研究 Mahzad 202021080004==

偏又有春燕的娘出来找他，喊道：“你不来舀水，在那里做什么？”那婆子便接声儿道：“你来瞧瞧，你女孩儿连我也不服了，在这里排揎我呢！”那婆子一面走过来，说：“姑奶奶又怎么了？我们丫头眼里没娘罢了，连姑妈也没了不成？”莺儿见他娘来了，只得又说原故。他姑娘那里容人说话，便将石上的花柳与他娘瞧，道：“你瞧瞧，你女孩儿这么大孩子玩的！他领着人糟塌我，我怎么说人？”他娘也正为芳官之气未平，又恨春燕不遂他的心，便走上来打了个耳刮子，骂道：“小娼妇，你能上了几年台盘？你也跟着那起轻薄浪小妇学！怎么就管不得你们了？干的我管不得，你是我自己生出来的，难道也不敢管你不成？
However, Chunyan's mother came out to look for him and shouted: "If you don't come to scoop water, what are you doing there?" The old woman then said: "Come and see, your girl doesn't even agree with me, Arrange for me here!" The old woman came over and said, "What's wrong with my aunt? Our girl doesn't have a mother in her eyes, not even her aunt?" Ying'er saw his mother coming, so she had to say again The reason. When his girl let people talk, she looked at the flowers and willows on the stone with his mother, and said, "Look, your girl is such a big child to play with! He led people to ruin me, how can I say people?" His mother also Just because the Fangguan's anger was still unsatisfactory, and he hated Chunyan for not meeting his heart, he walked up and slapped his ears and scolded: "Little prostitute, how many years can you be on the table? You also follow that frivolous little woman. Learn! Why can't I control you? I can't control what you do, you were born by me.

==外国语言文学 Muhammad Numan 202121080002==

既是你们这起蹄子到得去的地方我到不去，你就死在那里伺侯，又跑出来浪汉子！”一面又抓起柳条子来，直送到他脸上，问道：“这叫做什么，这编的是你娘的什么？”莺儿忙道：“那是我编的，你别‘指桑骂槐’的！”那婆子深妒袭人晴雯一干人，早知道凡房中大些的丫鬟，都比他们有些体统权势，凡见了这一干人，心中又畏又让，未免又气又恨，亦且迁怒于众；复又看见了藕官，又是他姐姐的冤家：四处凑成一股怒气。那春燕啼哭着往怡红院去了。他娘又恐问他为何哭，怕他又说出来，又要受晴雯等的气，不免赶着来喊道：“你回来！我告诉你再去。”春燕那里肯回来，急的他娘跑了去要拉他。春东回头看见，便也往前飞跑。

==英语语言文学 TOURE MARIAM 202021080005==

他娘只顾赶他，不防脚下被青苔滑倒，引的莺儿三个人都反笑了。莺儿赌气将花柳皆掷于河中，自回房去。这里把个婆子心疼的只念佛，又骂：“促狭小蹄子！遭塌了花儿，雷也是要劈的！”自己且掐花与各房送去。却说春燕一直跑入院中，顶头遇见袭人往黛玉处问安去，春燕便一把抱住袭人说：“姑娘救我！我娘又打我呢！”袭人见他娘来了，不免生气，便说道：“三日两头儿，打了干的打亲的，还是卖弄你女孩儿多？还是认真不知王法？”这婆子来了几日，见袭人不言不语，是好性的，便说道：“姑娘，你不知道，别管我们的闲事，都是你们纵的，还管什么？”说着，便又赶着打。

==外国语言文学 UDDIN NIZAM 202121080007==

袭人气的转身进来，见麝月正在海棠下晾手巾，听如此喊闹，便说：“姐姐别管，看他怎样！”一面使眼色与春燕。春燕便会意，便直奔了宝玉去。众人都笑说：“这可是从来没有的事今儿都闹出来了。”麝月向婆子道：“你再略煞一煞气儿，难道这些人的脸面，和你讨一个情还讨不出来不成？”那婆子见他女儿奔到宝玉身边去，又见宝玉拉了春燕的手，说：“你别怕，有我呢！”春燕一行哭，一行将方才莺儿等事都说出来。宝玉越发急起来，说：“你只在这里闹也罢了，怎么连亲戚也都得罪起来！”麝月又向婆子及众人道：

==翻译学 SAGARA SEYDOU 201911080004 ==

“怨不得这嫂子说我们管不着他们的事，我们虽无知，错管了，如今请出一个管得着的人来管一管，嫂子就心服口服，也知道规矩了。”便回头叫小丫头子：“去把平儿给我叫来！平儿不得闲。就把林大娘叫了来。”那小丫头子应了就走。众媳妇上来笑说：“嫂子快求姑娘们叫回那孩子罢。平姑娘来了，可就不好了！”那婆子说道：“凭是那个姑娘来了，也要凭个理，没有见个娘管女孩儿，大家管着娘的！”众人笑道：“你当是那个平姑娘？是二奶奶屋里的平姑娘！他有情么，说你两句；他一翻脸，嫂子，你‘吃不了兜着走’！”说着，只见那个小丫头子回来说：“平姑娘正有事呢，问我做什么，我告诉了他。

20220526 culture

2022-06-02T02:03:08Z

Liang Siting: /* 英语笔译梁思婷 Liang Siting 202170081581 */

Quicklinks:[[Chinese Language and Culture 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Joint_translation_terms]]

[[20220526_culture|culture of session 14 for session 15 May.26]]

'''Assignment 1''': '''Click here''' [[LANG2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is

27 Globalization: The Westernization Movement 54% 黄天琪 Huang Tianqi

31 Globalization: The Eastward Spread of Western Learning 53% 莫雨婷Mo Yuting

'''Assignment 2''': '''Click here''' to answer the questions of the topics below

27 Globalization: The Westernization Movement

31 Globalization: The Eastward Spread of Western Learning

Due before 4:30 pm Jun.2

'''Assignment 3''': Please do the translation below here and correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.

Due before 6:00 pm Jun.1

IN PREPARATION

=Please write your homework directly down here=
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line.

While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.

When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".

Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.

==英语笔译卞王倩 Bian Wangqian 202170081563==

因又笑说道：“几年间，门子也会钻了，由知府推升转了御史，不过几年，升了吏部侍郎，署兵部尚书。为着一件事降了三级。如今又要升了。”冯紫英道：“人世的荣枯，仕途的得失，终属难定。”贾政道：“像雨村算便宜的了。还有我们差不多的人家，就是甄家，从前一样功勋，一样的世袭，一样的起居，我们也是时常往来。不多几年，他们进京来，差人到我这里请安，狠还热闹。一回儿抄了原籍的家财，至今杳无音信。不知他近况若何，心下也着实惦记，看了这样，你想做官的怕不怕？”贾赦道：“咱们家是最没有事的。”

Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The rise and fall of one’s fate and the gain and loss of one’s official career are unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years ago, when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious with his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant didn’t care.

Thank you for your correction work this semester.(*￣︶￣)
（Reply: My enjoyment,sweetie~ (づ￣︶￣)づ）

Master Merchant continued, “During several years of being an official, he has grown to be good at dealing with influential officials. So he was promoted from a magistrate to the Censor. It never stops here. It only took a few years for him to be promoted to Vice President of the Board of the Civil Office and the deputy of Minister of War. Now another promotion is falling on him after a three-rank demotion due to an accident.” “The ups and downs of one’s fate and the gain and loss of one’s official career are both unpredictable,” Feng Ziying commented. “Rain Village can be said to be let off lightly anyway. Take Family Potterymaker for example. This family was once as illustrious as our family in terms of meritorious deeds, hereditary titles and living in clover. We had kept close contact. A few years later when they came into the capital, they asked some families to greet me. Such a busy scenery. But a wave led to the whole family’s being searched all over the house and its property being confiscated, with the family members disappearing without a trace. The latest news about them I fail to get, and the real concern my mind deals with. From this family, you can see whoever will be anxious about his official career and fate,” said Master Merchant. “Our family is the last to worry about this misfortune,” Pardon Merchant replied disapprovingly.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:05, 30 May 2022 (UTC)

==英语笔译曹姣 Cao Jiao 202170081564==

冯紫英道：“果然尊府是不怕的：一则里头有贵妃照应；二则故旧好，亲戚多；三则你家自老太太起，至于少爷们，没有一个刁钻刻薄的。”贾政道：“虽无刁钻刻薄，却没有德行才情。白白的衣租食税，那里当得起？”贾赦道：“咱们不用说这些话，大家吃酒罢。”大家又喝了几杯，摆上饭来。吃毕喝茶。冯家的小厮走来，轻轻的向紫英说了一句。冯紫英便要告辞了。贾赦贾政道：“你说什么？”小厮道：“外面下雪，早已下了梆子了。”贾政叫人看时，已是雪深一寸多了。贾政道：“那两件东西，你收拾好了么？”

“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.

“Of course, your honourable family has nothing to fear,” Purple-hero Feng assured him. “You have Her Highness in the imperial palace to care for you, and a pool of old friends and kinsmen. Besides, none of your family from the old lady down to your young masters is acrimonious or mean.” “That may be so,” said Master Merchant. “But they have no virtue or ability either. How long can they support themselves?”“Don’t talk that,” protested Pardon Merchant. “Let’s have some more drinks.” They drank a few more cups, then rice was served. After they had finished the meal and drunk some tea, Feng’s footman came over to whisper something to him, and he asked permission to leave. Pardon Merchant asked the footman what he had said. “It’s snowing outside, sir, and the first watch has sounded.”The footman answered.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 11:19, 30 May 2022 (UTC)

==英语笔译陈路瑶 Chen Luyao 202170081565==

冯紫英道：“收好了。若尊府要用，价钱还自然让些。”贾政道：“我留神就是了。”冯紫英道：“我再听信罢。天气冷，请罢，别送了。”贾赦贾政便命贾琏送了出去。却说冯紫英去后，贾政叫门上的人来吩咐道：“今儿临安伯那里来请吃酒，知道是什么事？”门上的人道：“奴才曾问过，并没有什么喜庆事，不过南安王府里到了一班小戏子，都说是个名班，伯爷高兴，唱两天戏，请相好的老爷们瞧瞧，热闹热闹。大约不用送礼的。”说着，贾赦过来问道：“明儿二老爷去不去？”贾政道：“承他亲热，怎么好不去的？”

“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.

“Yes,if your honourable family has any use for them, of course we can negotiate the price.” said Feng. “I’ll keep it in mind.”said Master Merchant.“I’ll wait to hear from you. It’s cold,so please stay here.”Master Merchant and Master Merchant told Romance Merchant to see him out. After he had gone, Master Merchant summoned the gateman.“Today the Duke of Lin'an sent invitations to a banquet.Do you know what the occasion is?”he asked.“I asked, sir,” replied the gateman. “It’s no special celebration, but a company of young actors — a company with a fine reputation has come to the Prince of Nanan’s Mansion; And the duke is so pleased with them that he’s putting on two days’ performances for his friends’ enjoyment. It should be very lively. There’s probably no need to send gifts.”Pardon Merchant came over at this point to ask Master Merchant if he would be going the next day.“I think we’d be better to show our appreciation.”Master Merchant replied.--[[User:Cui Xiaofan|Cui Xiaofan]] ([[User talk:Cui Xiaofan|talk]]) 13:14, 28 May 2022 (UTC)

==英语笔译崔晓凡 Cui Xiaofan 202170081566==

说着，门上进来回道：“衙门里书办来请老爷明日上衙门。有堂派的事，必得早些去。”贾政道：“知道了。”说着，只见两个管屯里地租子的家人走来，请了安，磕了头，旁边站着。贾政道：“你们是郝家庄的？”两个答应了一声。贾政也不往下问，竟与贾赦各自说了一回话儿散了。家人等秉着手灯，送过贾赦去。这里贾琏便叫那管租的人道：“说你的。”那人说道：“十月里的租子，奴才已经赶上来了。原是明儿可到。谁知京外拿车，把车上的东西，不由分说，都掀在地下。奴才告诉他，说是府里收租子的车，不是买卖车，他更不管这些。

Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.

Just then the gateman came back to report, “The secretary from your yamen has come to ask you to go there tomorrow, sir, as the minister has some business and will need you earlier than usual.” “Very well.” Then two of the family’s bailiffs came in and paid their respects. After kowtowing they stood there at attention. “Are you two from Hao Village?” Master Merchant asked. “Yes, sir.” Instead of inquiring their business, he chatted with Pardon Merchant She till the latter rose to go and was escorted home by servants with lanterns. Romance Merchant then asked the bailiffs, “Well, what have you come for?” “We collected the rent in kind for the tenth month,” they reported. “It should have arrived here tomorrow, but outside the city our carts were commandeered and, when we protested, all the things on them were dumped on the ground. We told them these weren’t merchants’ carts but were delivering rent to your mansions. Still they paid no attention.--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 12:43, 30 May 2022 (UTC)

==英语笔译邓阳林 Deng Yanglin 202170081567==

奴才叫车夫只管拉着走，几个衙役就把车夫混打了一顿，硬扯了两辆车去了。奴才所以先来回报。求爷打发个人到衙门里去要了来才好。再者，也整治整治这些无法无天的差役才好。爷还不知道呢，更可怜的是那买卖车，客商的东西全不顾，掀下来，赶着就走。那些赶车的但说句话，打的头破血出的。”贾琏听了，骂道：“这个还了得！”立刻写了一个帖儿，叫家人：“拿去向拿车的衙门里要车去，并车上东西。若少了一件，是不依的！快叫周瑞。”周瑞不在家。又叫旺儿。旺儿晌午出去了，还没有回来。贾琏道：“这些忘八羔子，一个都不在家！他们终年家吃粮不管事。”

The slave told the coachman to pull it away, but some government soldiers beat up the coachman and drove off with two carts. The minion returns the favor first. Please send someone to the Yamen for it. Moreover, it is good to punish these lawless servants. Ye still don't know, more pitiful is that the business car, the merchant's things all disregard, lift down, hurried away. Those who drive the wagons say nothing and bleed from the head." Romance Merchant, hearing this, cursed: "This is remarkable!" Immediately she wrote a post, telling her family: "Go to the government office where the cart is taken and ask for the cart and its contents. If one is missing, it will not depend on! Call Zhou Rui quickly." Zhou Rui is not at home. Also known as Wanger. Prosperous went out at noon and did not return. Romance Merchant said, "None of these forgetful kids are at home! They don't care what they eat all year round."

The slave told the coachman to pull it away, but some government soldiers beat up the coachman and drove off with two carts. The minion returns the favor first. Please send someone to the Yamen for it. Moreover, it is good to punish these lawless servants. Ye still don't know, more pitiful is that the business car, the merchant's things all disregard, lift down, hurried away. Those who drive the wagons say nothing and bleed from the head." Romance Merchant, hearing this, cursed: "This is remarkable!" Immediately she wrote a post, telling her family: "Go to the government office where the cart is taken and ask for the cart and its contents. If one is missing, it will not depend on! Call Auspicious Surrounding quickly." Auspicious Surrounding is not at home. Also known as Vigor. Prosperous went out at noon and did not return. Romance Merchant said, "None of these forgetful kids are at home! They don't care what they eat all year round."

==英语笔译高智慧 Gao Zhihui 202170081568==

因吩咐小厮们：“快给我找去。”说着，也回到自己屋里，睡下不提。且说临安伯第二天又打发人来请。贾政告诉贾赦道：“我是衙门里有事。琏儿要在家等候拿车的事情，也不能去。倒是大老爷带宝玉应酬一天也罢了了。”贾赦点头道：“也使得。”贾政遣人去叫宝玉，说“今儿跟大爷到临安伯那里听戏去。”宝玉喜欢的了不得，便换上衣服，带了焙茗、扫红、锄药三个小子，出来见了贾赦，请了安，上了车，来到临安伯府里。门上人回进去，一会子出来说：“老爷请。”

Shouting to his pages to find them both at once, Romance Merchant retired to his apartment for the night. Next morning brought a reminder from the Earl of Linan. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent word to Precious Jade that he was to accompany his uncle to the Earl of Lin-an’s theatre party. Precious Jade was thrilled. He changed, and choosing three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him, came out to pay his morning respects to Jia She. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in. Pardon Merchant led Precious Jade into the main courtyard, which was packed with a noisy throng. They paid their respects to the Earl and exchanged civilities with the other guests before sitting down and joining in the flow of light-hearted conversation. Before long the manager of the troupe came forward with two playbills, an ordinary one and a fancy one in the form of an ivory tablet, and saluting his patrons by dropping one knee to the ground in Manchu-style, announced: ‘Will the gentlemen please select their favourite plays?’

Shouting to his pages to find them at once, Romance Merchant retired to his apartment for the night. Next morning came a reminder from the Earl Temporary Settlement. ‘I shall be busy at the Ministry,’ said Master Merchant to his brother. ‘And Romance will have to stay here to sort out this trouble with the rent-wagons. You had better take Precious Jade with you for the day.’ Pardon Merchant nodded. ‘Very well.’ Master Merchant sent words to Precious Jade that he was to accompany his uncle to the Earl Temporary Settlement’s theatre party. Precious Jade was thrilled with joy. He got himself dressed, chose three of his pages, Tealeaf, Sweep Red and Ploughboy, to go with him,and came out to pay his morning respects to Pardon Merchant. They climbed into their carriages and were soon at the Earl’s palace. A gateman went in to announce their arrival and returned after a brief interval to escort them in.
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 13:55, 28 May 2022 (UTC)

==英语笔译何丽娜 He Lina 202170081569==

于是贾赦带着宝玉走入院内，只见宾客喧阗。贾赦宝玉见了临安伯，又与众宾客都见过了礼，大家坐着，说笑了一回。只见一个掌班的拿着一本戏单，一个牙笏，向上打了一个千儿，说道：“求各位老爷赏戏。”先从尊位点起，挨至贾赦，也点了一出。那人回头见了宝玉，便不向别处去，竟抢步上来，打个千儿道：“求二爷赏两出。”宝玉一见那人，面如傅粉，唇若涂朱；鲜润如出水芙渠，飘扬似临风玉树：原来不是别人，就是蒋玉菡。前日听得他带了小戏儿进京，也没有到自己那里；此时见了，又不好站起来，只得笑道：“你多早晚来的？”

Then Pardon Merchant took Precious Jade into the courtyard which was fraught with the hustle and bustle. After the two paid their respects to Count Temporary Settlement and greeted the other guests, they sat down to talk . Then the one in charge of the troupe with a playlist and a ivory tablet stepped up and fell down on one kneel, saying, "Beg your lords to choose one and enjoy the play." In the order of seniority,they choose the operas. When it came to Pardon Merchant's turn, he also chose one. At that moment, turning around and catching sight of Precious Jade, that person unexpectedly come over to him and fell on one of his kneel, "Beg master to choose one." When Precious Jade saw the man whose face seemed powdered and his lips looked scarlet, it occurred to him that he was Jade Lotus Chiang. The day before yesterday, Precious Jade heard that he had brought a group of young actors with him to Peking, but he did not come to visit him. On such an occasion, Precious Jade could not just stand up to greet him, so he had to smile instead and asked, "When did you come?"

Then Pardon Merchant took Precious Jade into the courtyard which was fraught with the hustle and bustle. After the two paid their respects to Count Temporary Settlement and greeted other guests, they sat down to talk . Then the one in charge of the troupe with a playlist and a ivory tablet stepped up and fell down on one kneel, saying, "Beg your lords to choose one and enjoy the play." In the order of seniority,they choose the operas. When it came to Pardon Merchant's turn, he also chose one. At that moment, turning around and catching sight of Precious Jade, that person unexpectedly come over to him and fell on one of his kneel, "Beg master to choose one." When Precious Jade saw the man whose face seemed powdered and his lips looked scarlet, it occurred to him that he was Jade Lotus Chiang. The day before yesterday, Precious Jade heard that he had brought a group of young actors with him to Peking, but he did not come to visit him. On such an occasion, Precious Jade could not just stand up to greet him, so he had to smile instead and asked, "When did you come?"--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 05:12, 31 May 2022 (UTC)

==英语笔译胡良明 Hu Liangming 202170081570==

蒋玉菡把手在自己身子上一指，笑道：“怎么二爷不知道么？”宝玉因众人在坐，也难说话，只得胡乱点了一出。蒋玉菡去了，便有几个议论道：“此人是谁？”有的说：“他向来是唱小旦的，如今不肯唱小旦，年纪也大了，就在府里掌班。头里也改过小生。他也攒了好几个钱，家里已经有两三个铺子，只是不肯放下本业，原旧领班。”有的说：“想必成了家了。”有的说：“亲还没有定。他倒掌定一个主意，说是人生配偶，关系一生一世的事，不是混闹得的，不论尊卑贵贱，总要配的上他的才能。所以到如今还并没娶亲。”

Jade Lotus Buds put his hand on his body and smiled, "Why don't you know my second master?" Precious Jade couldn't speak because everyone was sitting, so he had to choose randomly. When Jade Lotus Buds went, there were several discussions: "Who is this person?" Some said: "He has always sung Xiaodan, but now he refuses to sing Xiaodan, and he is too old, so he is in charge of the house. He has also changed to Xiaosheng. He has saved a lot of money, and his family already has two or three shops, but he refused to let go of his business, and still worked as the former foreman." Some said,"He must get married." Some said: "The marriage has not yet been decided. He has made up an idea, saying that it is a life spouse, a matter of life, not a mess, no matter how high or low, you must always be worthy of his talents. So there is no such thing as yet."

Jade Lotus Buds put his hand on his body and smiled, "Don't you know my second master?" Precious Jade couldn't speak because everyone was sitting, so he had to choose randomly. When Jade Lotus Buds left, some people discussed: "Who is him?" Some said: "He has always sung Xiaodan, but now he refuses to do so, and he is too old, so he is in charge of the house. He has also performed Xiaosheng. He has saved a lot of money, and already has two or three shops, but he is unwilling to let go of his business, and still worked as the former foreman." Some said, "He must get married." Some replied: "The marriage has not yet been decided. He has made up an idea that the spouse is a matter of life, not a mess, no matter how high or low, you must always be worthy of his talents. So there is no such thing as yet."--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 13:26, 31 May 2022 (UTC)

==英语笔译黄琼 Huang Qiong 202170081571==

宝玉暗忖度道：“不知日后谁家的女孩儿嫁他？要嫁着这样的人材儿，也算是不辜负了。”那时开了戏，也有昆腔，也有高腔，也有弋腔，梆子腔：做得热闹。到了晌午，便摆开桌子吃酒。又看了一回，贾赦便欲起身。临安伯过来留道：“天色尚早。听见说蒋玉菡还有一出《占花魁》，他们顶好的首戏。”宝玉听了，巴不得贾赦不走；于是贾赦又坐了一会。果然蒋玉菡扮着秦小官，伏侍花魁醉后神情，把这一种怜香惜玉的意思，做得极情尽致。以后对饮对唱，缠绵缱绻。宝玉这时不看花魁，只把两支眼睛独射在秦小官身上。

Precious Jade wondered who the lucky girl would be to marry such an intelligent man. Then the performance started with Kun opera, Yi Opera, Gao Opera and Ban Zi operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave.“It’s early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.”Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the woman, but staring at the male role.

Precious Jade wondered who the lucky girl would be to marry such a man of his ability. Then the performance started with Kun opera, High-pitched Tunes, Yi-qiang and Pangtse operas. At noon tables were set out for the banquet, and when they had watched a little longer Pardon Merchant wanted to leave. “It’s still early,” said the duke, coming over to persuade him to stay. “And I’ve heard that Jade Lotus Buds is going to play their best opera — a scene from The Oil-Vendor and the Courtesan.” Precious Jade hearing this was most eager to stay, and so Pardon Merchant resumed his seat. Then Jade Lotus Buds came on in the role of the oil-vendor Qin and gave an excellent performance of how the young man cared for the courtesan when she was drunk, after which the two of them drank and sang together in affectionate intimacy. Precious Jade was not interested in the heroine, but staring at the male role.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 14:58, 29 May 2022 (UTC)

==英语笔译邝雨琪 Kuang Yuqi 202170081572==

更加蒋玉菡声音响亮，口齿清楚，按腔落板，宝玉的神魂都唱了进去了。直等这出戏进场后，更知蒋玉菡极是情种，非寻常戏子可比。因想着：“《乐记》上说的是：‘情动于中，故形于声；声成文，谓之音。’所以知声，知音，知乐，有许多讲究。声音之原，不可不察。诗词一道，但能传情，不能入骨，自后想要讲究讲究音律。”宝玉想出了神，忽见贾赦起身，主人不及相留。宝玉没法，只得跟了回来。到了家中，贾赦自回那边去了。宝玉来见贾政。贾政才下衙门，正向贾琏问起拿车之事。贾琏道：“今儿叫人拿帖儿去，知县不在家。

Precious Jade was quite enraptured by his singing, for Jade Lotus had a resonant voice, clear enunciation and good sense of rhythm. By the end of the performance, he was firmly convinced that Jade Lotus was a romantic, completely unique artist, and not to be compared with the common actors. He thought, "The Book of Music rightly says, 'Stirred feelings find expression in sound, and when the sound follows a pattern we call it music.' So sounds, notes and music take some understanding, and a study has to be made of their origin. Poetry can convey emotions, but it can't thrill us to the marrow. In future I really must make a study of music." His reverie was interrupted by Pardon Merchant rising to leave. As their host could not prevail on him to stay, Precious Jade had no choice but to go back with him. On their return Pardon Merchant went straight to his own home. And Precious Jade, paying his duty call on his father, found him just back from the ministry questioning Romance Merchant about the seizure of their carts. Romance Merchant said, "I sent servants there today with my card, but the local mandarin was out.

==英语笔译黎溢佳 Li Yijia 202170081573==

他的门上说了：‘这是本官不知道的，并无牌票出去拿车，都是那些混帐东西在外头撒野挤讹头。既是老爷府里的，我便立刻叫人去追办，包管明儿连车连东西一并送来。如有半点差迟，再行禀过本官，重重处治。此刻本官不在家，求这里老爷看破些，可以不用本官知道更好。”贾政道：“既无官票，到底是何等样人在那里作怪？”贾琏道：“老爷不知，外头都是这样。想来明儿必定送来的。”贾琏说完下来。宝玉上去见了。贾政问了几句，便叫他往老太太那里去。贾琏因为昨夜叫空了家人，出来传唤，那起人多已伺候齐全。

==英语笔译李思敏 Li Simin 202170081574==

贾琏骂了一顿，叫大管家赖升：“将各行档的花名册子拿来，你去查点查点，写一张谕帖，叫那些人知道。若有并未告假，私自出去，传唤不到，贻误公事的，立刻给我打了撵出去！”赖升连忙答应了几个“是”，出来吩咐了一回，家人各自留意。过不几时，忽见有一个人，头上载着毡帽，身上穿着一身青布衣裳，脚下穿着一双撒鞋，走到门上，向众人作了个揖。众人拿眼上上下下打谅了他一番，便问他：“是那里来的？”那人道：“我自南边甄府中来的。并有家老爷手书一封，求这里的爷们呈上尊老爷。”众人听见他是甄府来的，才站起来让他坐下，道：“你乏了，且坐坐。我们给你回就是了。”

Romance Merchant scolded and asked Advancement, the major housekeeper, "bring me the roster of various lines of business, and you go and check them out, and write an oracle post to let those people know. If anyone goes out without asking for leave and cannot be summoned, he will be beaten and kicked out immediately! "Advancement hurriedly agreed with a few "yes" and came out to give orders, letting servants pay attention to it. After a while, a man came into sight with a felt hat on his head, dressed in blue cloth and a pair of slippers under his feet, he went to the door of the room and made a bow to the crowd. The crowd look at him up and down to and asked, "where did you come from?" The man said, "I'm from the Zhen House in the south. And there is a letter from the master of the Zhen family, Please give the letter to your master. " When they heard that he was from the Zhen House, they stood up and asked him to sit down and said, "you must be tired, sit down, please. We'll give it to our master. "--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 13:36, 28 May 2022 (UTC)

Romance Merchant scolded and asked Advancement, the major housekeeper, "bring me the roster of various lines of business, and you go and check them out, and write an oracle post to let those people know. If anyone goes out without asking for leave and cannot be summoned, he will be beaten and kicked out immediately! "Advancement hurriedly agreed with a few "yes" and came out to give orders, letting servants pay attention to it. After a while, a man came into sight with a felt hat on his head, dressed in blue cloth and a pair of slippers under his feet, he went to the door of the room and made a bow to the crowd. The crowd look at him up and down to and asked, "where did you come from?" The man said, "I'm from the Zhen House in the south. And there is a letter from the master of the Zhen family, Please give the letter to your master. " When they heard that he was from the Zhen House, they stood up and asked him to sit down and said, "you must be tired, sit down, please. We'll give it to our master. "--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 14:24, 1 June 2022 (UTC)

==英语笔译李思源 Li Siyuan 202170081575==

门上一面进来回明贾政，呈上来书。贾政拆书看时，上写着：世交夙好，气谊素敦，遥仰襜帷，不胜依切。弟因菲材获谴，自分万死难偿，幸邀宽宥，待罪边隅。迄今门户雕零，家人星散。所有奴子包勇，向曾使用，虽无奇技，人尚悫实。倘使得备奔走，糊口有资，屋乌之爱，感佩无涯矣！专此奉达，余容再叙。不宣。贾政看完，笑道：“这里正因人多，甄家倒荐人来。又不好却的。”吩咐门上：“叫他见我，且留他住下，因材使用便了。”门上出去，带进人来，见贾政，便磕了三个头，起来道：“家老爷请老爷安。”自己又打个千儿，说：“包勇请老爷安。”

A subordinate walked into the house to report to Master Merchant and presented the letter. He immediately opened the letter and read, "Every generation in our family is very close and has a deep friendship. When I see the eaves of your house from a distance, I feel very kind in my heart. My brother was convicted for breaking the law. When he was sentenced, I thought he would be given a heavy sentence. Fortunately, the law treated him leniently and only sent him to the frontier. Now my family is gradually declining, and there are few members of the family. There are many slaves in my family who have served for many years. Although they do not have any skills, they are Be honest and honest. If you can give them some relief, so that they can survive, I will feel at ease. I express my heartfelt thanks for this. The above is all I have to say, and I will talk about it later. Master Merchant smiled after reading it, "There are already so many people in my family, and now there are so many. The problem is that I have a hard time saying no. "He instructed his servants: "Call the one with the letter to see me, and let him stay." As for his subordinates, I will consider them according to their abilities. The subordinate went out and led him in. The latter kowtowed three times, got up and said, "My master has given you a greeting." "Then he knelt down again and said, "I give you my best wishes." "--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 14:23, 1 June 2022 (UTC)

A doorman walked into the house to report to Master Merchant and presented the letter. He immediately opened the letter and read, "Every generation in our family is very close and has a deep friendship. When I see the eaves of your house from a distance, I feel very kind in my heart. My brother was convicted for breaking the law. When he was sentenced, I thought he would be given a heavy sentence. Fortunately, the law treated him leniently and only sent him to the frontier. Now my family is gradually declining, and there are few members of the family. There are many slaves in my family who have served for many years. Although they do not have any skills, they are Be honest and honest. If you can give them some relief, so that they can survive, I will feel at ease. I express my heartfelt thanks for this. The above is all I have to say, and I will talk about it later." Master Merchant smiled after reading it, "There are already so many people in my family, and now the Truth family also recommend some servants to us. The problem is that I cannot decline his good intention. "He instructed his servants: "Call the one to see me, and let him stay. I will consider them according to their abilities." The doorman went out and led him in. The latter kowtowed three times, got up and said, "My master has given you a greeting." "Then he knelt down again and said, "I give you my best wishes, Sir."--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 14:32, 1 June 2022 (UTC)

==英语笔译李婷 Li Ting 202170081576==

贾政回问了甄老爷的好，便把他上下一瞧，但见包勇身长五尺有零，肩背宽肥，浓眉爆眼，磕额长髯，气色粗黑，垂着手站着。便问道：“你是向来在甄家的，还是住过几年的？”包勇道：“小的向在甄家的。”贾政道：“你如今为什么要出来呢？”包勇道：“小的原不肯出来，只是家爷再四叫小的出来，说是别处你不肯去，这里老爷家里只当原在自己家里一样的，所以小的来的。”贾政道：“你们老爷不该有这事情，弄到这样的田地。”包勇道：“小的本不敢说：我们老爷只是太好了，一味的真心待人，反倒招出事来。”贾政道：“真心是最好的了。”

Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. Bag Valiant said, "I didn’t want to, but my master insisted. He said, ‘You wouldn’t agree to going anywhere else, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."

Master Merchant asked after Master Truth health and looked at Bag Valiant who was standing with his hands hanging down. Just over five feet and broad-shouldered, he had thick eyebrows, protuberant eyes and a low forehead. His face was bearded and swarthy. "Have you been with the Truth family, or have you lived there just for several years?" asked Master Merchant. Bag Valiant said, "I have always been their man, sir." "Why are you coming out now?" asked Master Merchant. "I didn’t want to, " Bag Valiant said,"but my master insisted again and he told me that other place you didn't want to go, but serving the Merchant family will be like serving us.’ So I came, sir." "Your master shouldn't have this thing, reducing him to these straits." said Master Merchant. "If I may make bold to say so, it’s because my master’s too good.” Bag Valiant said. “And he always blindly treat people sincerely, which invite troubles to him." Master Merchant exclaimed, "sincerity is the best."--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 03:40, 29 May 2022 (UTC)Li Ying

==英语笔译李颖 Li Ying 202170081578==

包勇道：“因为太真了，人人都不喜欢，讨人厌烦是有的。”贾政笑了一笑道：“既这样，皇天自然不负他的。”包勇还要说时，贾政又问道：“我听见说你们家的哥儿不是也叫宝玉么？”包勇道：“是。”贾政道：“他还肯向上巴结么？”包勇道：“老爷若问我们哥儿，倒是一段奇事。哥儿的脾气也和我家老爷一个样子，也是一味的诚实，从小儿只管和那些姐妹们在一处顽。老爷太太也狠打过几次，他只是不改。那一年太太进京的时候儿，哥儿大病了一场，已经死了半日，把老爷几乎急死，装裹都预备了。

Bag Valiant said:"Because he was too honest,nobody liked him and he offended some people.Master Merchant laughed:" Well, in that case, the God will give him due deserts."Bag Valiant were plant to reply, Master Merchant continued to say that:"I heard that your younger master's name is Precious Jade, is that true?"Bag Valiant said:" That is right, sir."Master Merchant said:" Is he still willing to flatter on the top?"Bag Valiant said:Your majesty asked me about my younger master, there were something strange about him. His temper is the same as our master's. Both of them were too honest, when he was a kid, he only played with those sisters. My masters also beat him severely,but there's no change in my younger master. That year our mistress came to the capital, younger master fell very ill.He lost his consciousness for so long that his father was frantic and had all the funeral preparations made."

Valiant Bag said:"He is too honest, so nobody likes him and he has offended some people." Master Merchant laughed:" Well, in that case, the God will give him due deserves." When Valiant Bag were plant to reply, Master Merchant continued to say. "I heard that your younger master's name is Precious Jade. Is that true?" he added. Valiant Bag said: "That's right, sir." Master Merchant said:" Is he still willing to flatter the top?" Bag Valiant replied: "If you ask me about my younger master, there is something strange about him. His temper is the same as our master's. Both of them are too honest. When he was a kid, he only played with those sisters. My master and mistress also beat him severely, but there's no change of my younger master. That year when our mistress headed for the capital, my younger master was severely ill. He lost his consciousness for so long that his father was almost worried to dead and had all the funeral preparations made."--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 04:07, 31 May 2022 (UTC)

==英语笔译李媛 Li Yuan 202170081579==

幸喜后来好了，嘴里说道：走到一座牌楼那里，见了一个姑娘，领着他到了一座庙里，见了好些柜子，里头见了好些册子；又到屋里，见了无数女子，说是多变了鬼怪似的，也有变做骷髅儿的；他吓急了，便哭喊起来。老爷知他醒过来了，连忙调治，渐渐的好了。老爷仍叫他在姐妹们一处顽去，他竟改了脾气了：好着时候的玩意儿一概都不要了，惟有念书为事。就有什么人来引诱他，他也全不动心。如今渐渐的能彀帮着老爷料理些家务了。”贾政默然想了一回，道：“你去歇歇去罢。等这里用着你时，自然派你一个行次儿。”包勇答应着，退下来，跟着这里人出去歇息不提。

“Fortunately, he recovered in the end. He talked that he saw a girl at a memorial arch, who led him to a temple, where there were a great number of cabinets with many volumes of books inside. Walking inside, he saw many girls, who became ghosts and skeletons. He was so scared that he yelled and cried. When the Master knew he had woken, he set some doctors to give him a treatment. After that, he became well gradually. The Master then still allowed him to play with his sisters, but his character changed a lot. He threw away all the gadgets that he liked before and focused on books. Also, he would not be tempted to do other things by anyone. Now, he was able to help the Master with some family affairs.” Master Merchant pondered for a while after hearing what he said. “You can leave now. You will have your task when we need you,” Master Merchant said. Courage Bag showed his gratitude and left the room with other servants. His part ended.

==英语笔译李梓婕 Li Zijie 202170081580==

一日贾政早起，刚要上衙门，看见门上那些人在那里交头接耳，好像要使贾政知道的是的，又不好明回，只管咕咕唧唧的说话。贾政叫上来问道：“你们有什么事这么鬼鬼祟祟的？”门上的人回道：“奴才们不敢说。”贾政道：“有什么事不敢说的？”门上的人道：“奴才今儿起来，开门出去，见门上贴着一张白纸，上写着许多不成事体的字。”贾政道：“那里有这样的事！写的是什么？”门上的人道：“是水月庵里的腌臜话。”贾政道：“拿给我瞧。”门上的人道：“奴才本要揭下来，谁知他贴得结实，揭不下来，只得一面抄，一面洗。
One morning,Master Merchant rose early and was setting off to his yamen when he noticed the servants at the gate whispering and muttering among themselves as if they had some news for him which they dared not report outright. He called them over.“What is this hole-and-corner business’?” he demanded.“We hardly dare tell you, sir,” one of them answered.“Why not? Out with it!”“This morning when we got up and opened the gate, we found a sheet of paper pasted on it, covered with scurrilous writing.”“The idea!” exclaimed Master Merchant. “What was it?”“Dirty talk about Water Moon Convent, sir.”“Bring me the paper,” he ordered.“We tried to take it down, but it was glued on too firmly; so we copied it out, then soaked the paper to get it off.

==英语笔译梁思婷 Liang Siting 202170081581==

刚才李德揭了一张给奴才瞧，就是那门上贴的话。奴才们不敢隐瞒。”说着，呈上那帖儿。贾政接来看时，上面写着：“西贝草斤”年纪轻，水月庵里管尼僧。一个男人多少女，窝娼聚赌是陶情。不肖子弟来办事，荣国府内出新闻。贾政看了，气得头昏目晕，赶着叫门上的人不许声张，悄悄叫人往宁荣两府靠近的夹道子墙壁上再去找寻。随即叫人去唤贾琏出来。贾琏即忙赶至。贾政忙问道：“水月庵中寄居的那些女尼女道，向来你也查考查考过没有？”贾琏道：“没有，一向都是芹儿在那里照管。”贾政道：“你知道芹儿照管得来，照管不来？”

Just now Li de got one for me. On it were with the same words on the gate. I dared not to hide anything from you." Saying, he handed over the post. Master Merchant took it and saw it writing, "Xibeicaojin is young, managing nuns and monks in the Water Moon Nunnery. A man with so many women, the place made prostitute and gambling a cultivation. The unfilial came and the Merchant family made a bust." Master Merchant almost passed out by the post. He hurriedly asked the gatekeeper to conceal it and ordered servants to search for the rest of the posts on the wall of the mansion. He then asked someone to bring Romance Merchant. Romance rushed over and Master asked, "Have you investigate on the nuns in the Water Moon Nunnery?" Roamcne replied, "No. Celery is in charge." Master asked, "How do you know that Celery is capable?"

==英语笔译廖诗韵 Liao Shiyun 202170081582==

贾琏道：“老爷既这么说，想来芹儿必有不妥当的地方儿。”贾政叹道：“你瞧瞧这个帖儿写的是什么。”贾琏一看道：“有这样事么。”正说着，只见贾蓉走来，拿着一封书子，写着“二老爷密启”。打开看时，也是无头榜一张，与门上所贴的话相同。贾政道：“快叫赖大带了三四辆车子到水月庵里去，把那些女尼女道士一齐拉回来。不许泄漏，只说里头传唤。”赖大领命去了。且说水月庵中小女尼女道士等，初到庵中，沙弥与道士原系老尼收管，日间教他些经忏。以后元妃不用，也便习学得懒怠了。那些女孩子们年纪渐渐的大了，都也有个知觉了。
Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.

Romance Merchant replied: “Since you said so, Celery must do something wrong." Master Merchant sighed, "Look at this, what crap on it." Romance Merchant looked at it and said, "when did it happen" As he was speaking, Prosperity Merchant came up, holding a letter with the words "Second Master Only." Romance Merchant opened it, which is also a headless post saying the same as the words posted on the door. Master Merchant said, "Quickly ask Big Rely to bring three or four carts to the Water Moon Nunnery and bring those nuns and Daoist monks back together. No one can tell the reason to them. Just tell them this is my summonses. Big Rely took the order and went. As for the nuns and monks in the Water Moon Nunnery, they were originally taken charge and taught with some sutras by old nuns during the day. Later, when the Yuan Concubine did not use them, they became lazy. As the girls grew older, they all became conscious.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:02, 30 May 2022 (UTC)

==英语笔译刘唱 Liu Chang 202170081583==

更兼贾芹也是风流人物，打量芳官等出家，只是小孩子性儿，便去招惹他们。那知芳官竟是真心，不能上手，便把这心肠移到女尼女道士身上。因那小沙弥中有个名叫沁香的，和女道士中有个叫做鹤仙的，长得都甚妖娆，贾芹便和这两个人勾搭上了，闲时便学些丝弦，唱个曲儿。那时正当十月中旬，贾芹给庵中那些人领了月例银子，便想起法儿来，告诉众人道：“我为你们领月钱，不能进城，又只得在这里歇着。怪冷的，怎么样？我今儿带些果子酒，大家吃着乐一夜，好不好？”那些女孩子都高兴，便摆起桌子，连本庵的女尼也叫了来，惟有芳官不来。

Moreover, Celery Merchant was a also a play boy, he saw the nuns including Fagrant Official and flirted with them for the sake of his curiosity.However, Fragrant Official was serious about love affairs so that he could’t get anything from her and just targeted at other nuns and women Taoist priest, There were a little monk named Aroma and a woman Taoist priest named Crane Fairy. They both had a pretty appearance so that Celery Merchant made friends with them. He spent his spare time learning instruments and singing opera. It was the middle of Octorber, and Celery Merchant got the salary fort the people in the convent. Then a thought occurred in his mind. He told the people that:”I got the salary for you so that I can’t get into the town and I have to stay at such a cold place. I brought some fruit wine and we can have a feast tonight, how about it?” The girls were happy about it and set the tables. They even invited the nuns in the convent, however, Fragrant Official refused it.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:01, 30 May 2022 (UTC)

==英语笔译刘乐乐 Liu Lele 202170081584==

贾芹喝了几杯，便说道要行令。沁香等道：“我们都不会，到不如搳拳罢。谁输了喝一杯，岂不爽快？”本庵的女尼道：“这天刚过晌午，混嚷混喝的不像，且先喝几盅，爱散的先散去。谁爱陪芹大爷的，回来晚上尽子喝去，我也不管。”正说着，只见道婆急忙进来说：“快散了罢，府里赖大爷来了。”众女尼忙乱收拾，便叫贾芹躲开。贾芹因多喝了几杯，便道：“我是送月钱来的，怕什么！”话犹未完，已见赖大进来。见这般样子，心里大怒。为的是贾政吩咐不许声张，只得含糊装笑道：“芹大爷也在这里呢么？”贾芹连忙站起来道：“赖大爷，你来作什么？”

After a few drinks, Celery Merchant proposed to play a drinking game. Pleasure Fragrance and the others said that they didn’t know the game so it would be better if they play finger-guess which is easy and fun: losers drink.“it’s inappropriate to drink and game since it’s only past midday. We can drink a little and return. For those who want to game with Mr. Merchant, just come here at night and I would say nothing about it.”A nun objected. As they spoke, a nun rushed in and said, “Stop it right now! Mr.Rely is here.”All the nuns started to clean it up and advised Celery Merchant to hide. “No need to panic. I’m here to deliver you the month allowance.”Celery Merchant bragged since he got loaded. He didn’t finish his words when Big rely came in, who was infuriated at the scene, but had to follow Master Merchant’s instruction to keep it down and so he smiled, “Didn’t expect to see you here, Mr.Celery Merchant. Celery Merchant stood up immediately, “Mr.Rely, what brings you here?”--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 12:35, 29 May 2022 (UTC)

==英语笔译刘双英 Liu Shuangying 202170081585==

赖大说：“大爷在这里更好。快快叫沙弥道士收拾，上车进城，宫里传呢。”贾芹等不知原故，还要细问。赖大说：“天已不早了，快快的，好赶进城。”众女孩子只得一齐上车。赖大骑着大走骡，押着赶进城，不提。却说贾政知道这事，气得衙门也不能上了，独坐在内书房叹气。贾琏也不敢走开。忽见门上的进来禀道：“衙门里今夜该班是张老爷。因张老爷病了，有知会来请老爷补一班。”贾政正等赖大回来要办贾芹，此时又要该班，心里纳闷，也不言语。贾琏走上去说道：“赖大是饭后出去的，水月庵离城二十来里，就赶进城，也得二更天。今日又是老爷的帮班，请老爷只管去。

Big Rely replied:“I’m glad you’re here, sir. Tell these novices to get ready at once to drive to town. They’re wanted in the palace.”This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.

“Pleased to find you here, sir,” said Lai Da, ”We must get the young ladies ready as quickly as possible, and take them back to town. They're wanted at the Palace.” This puzzled them all, but before they could question him the steward continued,“Time presses. Be quick about it, or we may be shut out.”the novices had to mount the carriages then. And Big Rely, riding a big mule, escorted them back to the city.Meanwhile Master Jia, too angry to go to his yamen, sat alone in his study sighing over this scandal, and Romance Merchant felt constrained to stay with him.Then a gateman came in to announce,“his lordship zhang who should be on duty in the yamen this evening is ill, sir, and they would like you to take over for him.”Master Jia was waiting for Big Rely’s return to deal with Celery Merchant. Exasperated at having to go back on duty now, he made no answer. Romance Merchant stepped up to him.“Big Rely left after lunch, and the convent is some twentylifrom town; So even if he hurries he can’t get back till the second watch,”he said.“If you are needed at the yamen, sir, you can go with an easy mind.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 11:20, 30 May 2022 (UTC)

==英语笔译刘婷 Liu Ting 202170081586==

赖大来了，叫他押着，也别声张，等明儿老爷回来再发落。倘或芹儿来了，也不用说明，看他明儿见了老爷怎么样说。”贾政听来有理，只得上班去了。贾琏抽空才要回到自己房中，一面走着，心里抱怨凤姐出的主意，欲要埋怨，因他病着，只得隐忍，慢慢的走着。且说那些下人，一人传十，传到里头，先是平儿知道，即忙告诉凤姐。凤姐因那一夜不好，恹恹的总没精神，正是惦记铁槛寺的事情。听说“外头贴了匿名揭帖”的一句话，吓了一跳，忙问：“贴的是什么？”平儿随口答应，不留神，就错说了，道：“没要紧，是馒头庵里的事情。”

When Lai Da gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Qin comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Jia Zheng left with some reluctance for the Board. As soon as he had gone Jia Lian set off back to his own apartment, brooding as he went on what he was going to say to Xi-feng. He held her to blame for having given Qin this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Xi-feng had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”

When Big Rely gets back, I shall tell him to keep the nuns locked up and not to say anything until you have had an opportunity of settling the affair yourself tomorrow. If Celery comes, I shall say nothing. We shall see how he reacts when you speak to him tomorrow.” It seemed reasonable enough, and Master Merchant left with some reluctance for the Board. As soon as he had gone Romance Merchant set off back to his own apartment, brooding as he went on what he was going to say to Sister Phoenix. He held her to blame for having given Celery this job in the first place. But then he remembered that she was ill and relented. He had better not be too hard on her. He slackened his pace. Meanwhile the news had spread among the servants. It soon reached the ears of Patience, who immediately went to tell her mistress. Sister Phoenix had had a bad night anyway and was feeling very low. Her feeble state intensified her ever-present anxiety about the various misdeeds that lay on her conscience, in particular her unscrupulous dealings at Water-moon Priory. When she learnt of the anonymous poster, she sat up with a jolt and asked Patience:“What did it say?” Patience thoughtlessly replied:“Oh, nothing much. Something to do with the nuns at Water-moon Priory.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 14:50, 30 May 2022 (UTC)

==英语笔译刘瑶 Liu Yao 202170081587==

凤姐本是心虚，听见“馒头庵的事情”，这一唬直唬怔了，一句话没说出来，急火上攻，眼前发晕，咳嗽了一阵，哇的一声，吐出一口血来。平儿慌了，说道：“水月庵里，不过是女沙弥女道士的事，奶奶着什么急？”凤姐听是水月庵，才定了定神，说道：“呸，糊涂东西！到底是水月庵呢，是馒头庵？”平儿笑道：“是我头里错听了，是馒头庵，后来听见不是馒头庵，是水月庵。我刚才也就说溜了嘴，说成馒头庵了。”凤姐道：“我就知道是水月庵。那馒头庵与我什么相干！原是这水月庵是我叫芹儿管的。大约刻扣了月钱。”平儿道：“我听着不像月钱的事，还有些腌臜话呢。”

Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.

Sister Phoenix with her guilty conscience was so consternated by this that she could not speak. She came over dizzy and after a fit of coughing spat out a mouthful of blood. In a fluster Patience corrected herself. “It’s only some problem over those Buddhist and Taoist novices in Water Moon Convent. Why should that upset you so, madam?” “Ai! You fool!” exclaimed Sister Phoenix her relief. “Was it Water Moon Convent or Steamed-Bread Convent? Make up your mind!” “I misheard it the first time, then discovered that it was Water Moon Convent, not Steamed-Bread Convent. Just now, by a slip of the tongue, I gave you the wrong name.” “I knew it must be Water Moon Convent. What have I to do with Steamed-Bread Convent? I did put Qin in charge of that convent. Probably he’s been helping himself to their monthly allowance.” “I didn’t hear talk of that but of some scandal”, Patience replied.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 12:41, 30 May 2022 (UTC)

==英语笔译刘珍 Liu Zhen 202170081588==

凤姐道：“我更不管那个。你二爷那里去了？”平儿说：“听见老爷生气，他不敢走开。我听见事情不好，我吩咐这些人不许吵嚷，不知太太们知道了么。但听见说，老爷叫赖大拿这些女孩子去了。且叫个人前头打听打听。奶奶现在病着，依我竟先别管他们的闲事。”正说着，只见贾琏进来。凤姐欲待问他，见贾琏一脸的怒气，暂且装作不知。贾琏饭没吃完，旺儿来说：“外头请爷呢，赖大回来了。”贾琏道：“芹儿来了没有？”旺儿道：“也来了。”贾琏便道：“你去告诉赖大，说：老爷上班儿去了，把这些个女孩子暂且收在园里，明日等老爷回来，送进宫去。只叫芹儿在内书房等着我。”

"Well, I care even less about that.Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Lai Da to bring all the girls back from the Temple. I'll send someone out to see what's happened.Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance.ia Lian had not finished eating his dinner when Brightie came in.‘Lai Da's back, sir.”“Is Celery with him?”"Yes, sir.”‘Tell Lai Da the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace.Tell Celery to wait for me in the inner library.”

"Well, I care even less about that. Where is Master Lian?" "He's been in ever since he heard that the Master was in a rage," replied Patience. "When I heard what sort of an unpleasant affair it was, I told all the servants to keep quiet about it. I hope their Ladyships haven't heard. The Master has sent Big Lie to bring all the girls back from the Temple. I'll send someone out to see what's happened. Now you settle down, ma'am. You're not well and shouldn't worry your head over such things.”Just at that moment Romance Merchant came in. Sister Phoenix would have liked to ask him for more details, but thought better of it when she saw the look on his face. He was obviously in a bad mood and she would be best advised to feign ignorance. Romance Merchant had not finished eating his dinner when Brightie came in.‘Big Lie's back, sir." "Is Celery with him?" "Yes, sir." "Tell Big Lie the Master has had to go to the Board tonight. He's to put the girls in the Garden for the time being, and tomorrow when the Master gets back we'll see about sending them to the Palace. Tell Celery to wait for me in the inner library."--[[User:Long Hanliang|Long Hanliang]] ([[User talk:Long Hanliang|talk]]) 01:46, 31 May 2022 (UTC)

==英语笔译龙翰良 Long Hanliang 202170081589==

旺儿去了。贾芹走进书房，只见那些下人指指点点不知说什么，看起这个样儿来，不像宫里要人。想着问人，又问不出来。正在心里疑惑，只见贾琏走出来，贾芹便请了安，垂手侍立，说道：“不知道娘娘宫里即刻传那些孩子们做什么？叫侄儿好赶！幸喜侄儿今儿送月钱去，还没有走，便同着赖大来了。二叔想来是知道的。”贾琏道：“我知道什么？你才是明白的呢！”贾芹摸不着头脑儿，也不敢再问。贾琏道：“你干得好事！把老爷都气坏了。”贾芹道：“侄儿没有干什么。庵里月钱是月月给的，孩子们经忏是不忘记的。”

Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.

Then Vigor went off. When ha Celery Merchant went to the study, the way the servants pointed at him and nudged each other made him doubt this talk about a summons to the Palace. He asked what was afoot, but no one would tell him. He was puzzling over this when Romance Merchant came in and, having paid his respects, Celery Merchant stood at attention. “We don’t know what Her Highness wants these girls for,” he said. “I brought them as fast as I could. Luckily I took them their allowance today and was still there, so I came back with Big Lie. I suppose you know all this, uncle. “What do I know? You’re the one in the know,” Romance Merchant rapped out Celery Merchant, though mystified, dared not ask his meaning. “You did a hell of a job!” Romance Merchant fumed. “The master is furious!” “I’ve done nothing wrong, uncle. I take them their allowance every month, and the girls keep up their devotions.” Celery Merchant said.--[[User:Luo Yaolin|Luo Yaolin]] ([[User talk:Luo Yaolin|talk]]) 05:13, 30 May 2022 (UTC)

==英语笔译罗姚林 Luo Yaolin 202170081590==

贾琏见他不知，又是平素常在一处顽笑的，便叹口气道：“打嘴的东西！你各自去瞧瞧罢！”便从靴掖儿里头拿出那个揭帖来，扔与他瞧。贾芹拾来一看，吓的面如土色，说道：“这是谁干的！我并没得罪人，为什么这么坑我？我一月送钱去，只走一趟，并没有这些事。若是老爷回来，打着问我，侄儿便该死了。我母亲知道，更要打死。”说着，见没人在旁边，便跪下去说道：“好叔叔，救我一救儿罢！”说着，只管磕头，满眼流泪。贾琏想道：“老爷最恼这些，要是问准了有这些事，这场气也不小。闹出去也不好听，又长那个贴帖儿的人的志气了。将来咱们的事多着呢。Having noticed that he indeed had no idea about it, and they themselves privately were on speaking terms, Romance Merchant sighed," You bastard.! Take and see it carefully!" as putting out a notice from his shoes and throwing it to Celery Merchant. At the sight of the notice, Celery Merchant said questioningly with his face ashy gray," Who made it? I never gave offence to anybody, why should I be ensnared like this? I merely went there once a month for sending money and never did such things. I would be sunk if the master asked me about it after his back, and the consequence would be even worse if my mom knew it." Seeing no other people around here, Celery Merchant knelt down to implore him,"my dear uncle, please help me, please!" followed kowtowing and tearing constantly. "Master is very vexed with such things and must be extremely angry with this if he knew it's true." Romance Merchant thought to himself, "And the family's reputation would be blemished for the spreading of it, which, on the contrary, the notice maker would be therefore more arrogant. There are many other concerns in the future."

==英语笔译马艳焕 Ma Yanhuan 202170081591==

倒不如趁着老爷上班儿，和赖大商量着，若混过去，就可以没事了。现在没有对证。”想定主意，便说：“你别瞒我，你干的鬼鬼祟祟的事，你打谅我都不知道呢。若要完事，就是老爷打着问你，你一口咬定没有才好。没脸的，起去罢！”叫人去唤赖大。不多时，赖大来了，贾琏便与他商量。赖大说：“这芹大爷本来闹的不像了。奴才今儿到庵里的时候，他们正在那里喝酒呢。帖儿上的话，是一定有的。”贾琏道：“芹儿，你听！赖大还赖你不成？”贾芹此时红涨了脸，一句也不敢言语。还是贾琏拉着赖大，央他：“护庇护庇罢，只说贾芹哥儿在家里找来的。

It would be better to take advantage of the master to go to work and discuss with Big Lie. If you muddle through, you will be all right. There is no counterevidence now. " When he made up his mind, he said, "Don't lie to me. You think I don't know about the furtive things you've done." In the worst-case scenario, if your lordship tortures you, you must insist that you don't have it. Shameless, go away! "He sent someone to call Big Lie. After a while, when Big Lie came, Romance Merchant discussed it with him. Big Lie said, "Uncle Qin didn't look like it anymore." When the lackeys came to the nunnery today, they were drinking there. There must be some words on the post. " Romance Merchant said, " Celery, listen! Can Big Lie still put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and told him, "Please protect him, only say that Celery took it at home."

It would be better to discuss with Big Rely to come up with an excuse to get ride of the trouble while Master is away for work. If you muddle through, you will be all right. Now no one can verify this." When he made up his mind, he said, "Don't you lie to me. You think I don't know about the furtive things you've done? In the worst-case scenario, even if your lordship tortures you, you must insist that you didn’t make it. You the shameless guy, just go away! "He sent someone to call Big Rely. After a while, when he came, Romance Merchant discussed it with him. Then Big Rely said, "Master Celery really did a shameful thing. When I came to the nunnery today, they were drinking there. The things depicted on the post must have happened." Romance Merchant said, " Celery, listen! Can Big Rely put you in slander? " Celery Merchant flushed and dared not say a word. Romance Merchant pulled Big Lie and begged him, "Please protect him, and just say that Celery found it at home."--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 02:50, 30 May 2022 (UTC)

==英语笔译聂薇 Nie Wei 202170081592==

你带了他去，只说没有见我。明日你求老爷，也不用问那些女孩子了。竟是叫了媒人来，领了去，一卖完事。果然娘娘再要的时候儿，咱们再买。”赖大想来，闹也无益，且名声不好，就应了。贾琏叫贾芹：“跟了赖大爷去罢！听着他教你，你就跟着他。”说罢，贾芹又磕了一个头，跟着赖大出去。到了没人的地方儿，又给赖大磕头。赖大说：“我的小爷，你太闹的不像了。不知得罪了谁，闹出这个乱儿。你想想，谁和你不对罢？”贾芹想了一想，忽然想起一个人来，话说赖大带了贾芹出来，一宿无话，静候贾政回来。单是那些女尼女道重进园来，都喜欢的了不得，欲要到各处逛逛，明日预备进宫。

You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one is around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this thing. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and monks went into the park, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.

You just take him away, and don’t tell anyone you two have spoken to me. Tomorrow you go to the Master’s place to ask for his grace, and you don’t need to ask the girls. Just find a matchmaker and take them away. Then you can sell them. In this way, all things are addressed. If the imperial concubine asks for them, we can buy another batch of girls.” After deliberating on this, Big Rely knew that making trouble of this would do nothing good to him, and it’s not good for their reputation, so he agreed to Romance Merchant’s idea. Then Romance Merchant told Celery Merchant, “ Just follow Big Rely. He will tell you how to deal with this.” After this, Celery Merchant kowtowed to him and then followed Big Rely’s way out. When no one was around, he also kowtowed to Big Rely. Then Big Rely said, “ Oh my master, you are really messing up with this affair. Whom have you offended to arouse such a trouble? Just think about it, whom have you been in conflict with?” Celery Merchant thought about it, then someone came into his mind. After being taken out by Big Rely, he had been waiting for Master Merchant to come back without saying anything. When all the nuns and female Buddhist monks went into the garden, they were all so excited and delighted that they wanted to wander around it and get ready to get into the imperial palace the next day.--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 14:58, 28 May 2022 (UTC)

==英语笔译孙丽君 Sun Lijun 202170081593==

不料赖大便吩咐了看院的婆子并小厮看守，惟给了些饮食，却是一步不准走开。那些女孩子摸不着头脑，只得坐着，等到天亮。园里各处的丫头虽都知道拉进女尼们来，预备宫里使唤，却也不能深知原委。到了明日早起，贾政正要下班，因堂上发下两省城工估销册子，立刻要查核，一时不能回家，便叫人回来告诉贾琏说：“赖大回来，你务必查问明白。该如何办就如何办了，不必等我。”贾琏奉命，先替芹儿喜欢，又想道：“若是办得一点影儿都没有，又恐贾政生疑，不如回明二太太，讨个主意办去，便是不合老爷的心，我也不至甚担干系。”

Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those Buddhist nuns. Only provided with some drinks and foods, they were not allowed to step out of this garden. They didn’t have the least idea of what happened, but to stay here till next morning. The girls in the garden knew that those nuns were called in here to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to end the morning court, for he needed to re-check the evaluation booklet on city workers of two provinces at once, he couldn’t go back home for a short while. Thus he just sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just go forward according to the situation.” Receiving orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”

Unexpectedly, Big Rely just ordered some garden keepers and footboys to guard those nuns who were provided with some drinks and foods, but not allowed to step out of that garden. The nuns didn’t have the least idea of what happened and had to stay there till next morning. The girls in the garden knew that those nuns were called in to be ready to serve in the imperial court, though they didn’t realize the real truth of doing so. Till next early morning, Master Merchant was about to knock off, for he needed to re-check the evaluation booklet on city engineering of two provinces at once, he couldn’t go back home for a short while. Thus, he sent someone to inform Romance Merchant, “As soon as Big Rely comes back, you’re supposed to inquire him in full details. And there’s no need to wait for me, you just deal with it according to the situation.” Receiving the orders, Romance Merchant felt psyched for Celery Merchant at first, then he thought to himself, “I’m afraid that Master Merchant would be doubtful if I handle this affair without any traces. How about reporting this to Lady King for a solution? Then it’s none of my business even though it doesn’t suit my lord’s appetite at that time.”--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 12:07, 29 May 2022 (UTC)

==英语笔译仝雨梦 Tong Yumeng 202170081594==

主意定了，进内去见王夫人，陈说：“昨日老爷见了揭帖生气，把芹儿和女尼女道等都叫进府来查办。今日老爷没空问这种不成体统的事，叫我来回太太，该怎么便怎么样。我所以来请示太太，这件事如何办理？”王夫人听了咤异道：“这是怎么说！若是芹儿这么样起来，这还成咱们家的人了么？但只这个贴帖儿的也可恶！这些话可是混嚼说得的么？你到底问了芹儿有这件事没有呢？”贾琏道：“刚才也问过了。太太想，别说他干了没有，就是干了，一个人干了混帐事也肯应承么？但只我想芹儿也不敢行此事：知道那些女孩子都是娘娘一时要叫的，倘或闹出事来，怎么样呢？

With that in mind, Romance Merchant came into Lady King's room and reported to her, "Yesterday, being outraged by that letter, the master instructed that taking Celery Merchant and those Buddhist and Taoist nuns into the mansion to investigate them. Today he is too busy to bother about such a disgraceful matter, and then ordered me to report to you that dealing with it as you wish. So, I'm here to ask you how to cope with it." "Why! It's unreasonable to regard Celery Merchant as one of our family, let alone his disreputable behavior today. Moreover, the one who pasted that letter is detestable! How could they gossip about such things! Have you asked Celery Merchant this matter or not?" Lady King said with astonishment. "I asked him just now. Even if he did that, how could he admit such indecent behavior? Leave alone he might be innocent. Think about it. But I assume that he dared not to do such a thing, knowing the girls would be called by the imperial concubine someday. What will he do if something happens?" replied Romance Merchant.

==英语笔译童略雅 Tong Lueya 202170081595==

依侄儿的主见，要问也不难，若问出来，太太怎么个办法呢？”王夫人道：“如今那些女孩子在那里？”贾琏道：“都在园里锁着呢。”王夫人道：“姑娘们知道不知道？”贾琏道：“大约姑娘们也都知道是预备宫里头的话，外头并没提起别的来。”王夫人道：“狠是。这些东西一刻也是留不得的。头里我原要打发他们去来着，都是你们说留着好，如今不是弄出事来了么？你竟叫赖大那些人带去细细的问他的本家有人没有，将文书查出，花上几十两银子，雇只船，派个妥当人，送到本地，一概连文书发还了，也落得无事。若是为着一两个不好，个个都押着他们还俗，那又太造孽了；

To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort,to where they came from. When they’ve all been manumitted that will be the end of that.If we were to force them all to go back to secular life just because one or two of them have gone to the bad, that would be too heartless.

To my mind, it shouldn’t be hard to find out the truth.But suppose it is true, madam, what will you do?”“Where are those girls now?”“All locked up in the Garden.”“Do the young ladies know about this?”“I expect they’ve all heard of their summons to the Palace. There hasn’t been any other gossip outside.”“That’s good. These creatures mustn’t be kept here a moment longer. I was in favour of packing them off before, but the rest of you insisted on keeping them and now see what’s come of it! Tell Big Rely to take them away and carefully trace their families, if they have any. Then let him get out the bonds of those whose families can be found and draw a few dozen taels to hire a boat and send them back, with a reliable escort, to where they came from. When they’ve all been manumitted that will be the end of that. Even if one or two of them have been up to some mischief, I don't think it would be fair to punish them indiscriminately, by making them all return to lay-life.--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 14:21, 29 May 2022 (UTC)

==英语笔译庹树梅 Tuo Shumei 202170081596==

若在这里发给官媒，虽然我们不要身价，他们弄去卖钱，那里顾人的死活呢？芹儿呢，你便狠狠的说他一顿，除了祭祀喜庆，无事叫他不用到这里来。看仔细碰在老爷气头儿上，那可就吃不了兜着走了。并说与帐房儿里，把这一项钱粮档子销了。还打发个人到水月庵说：老爷的谕：除了上坟烧纸，若有本家爷们到他那里去，不许接待。若再有一点不好风声，连老姑子一并撵出去。”贾琏一一答应了出去，将王夫人的话告诉赖大，说：“是太太主意，叫你这么办去。办完了，告诉我去回太太。你快办去罢。回来老爷来，你也按着太太的话回去。”

And if we made them over to official brokers here, even though we didn't ask for any money they'd still sell them, not caring at all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send word to Water Moon Convent that, on the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.

And if we made them over to officials here, even though we didn't ask for money they'd still sell them, not caring about all whether they lived or died. “As for Qin, you must give him a good talking to. He's not to show his face here anymore, except for sacrifices and celebrations. And he'd better be careful to steer clear of the master if he's in one of his tempers, or else he'll settle Qin's hash! And send words to Water Moon Convent that, according to the master's orders, they're not to receive young gentlemen from our house except when they go to sacrifice at one of the graves there. Another thing: tell the accountants' office to cancel this allowance. If there's any more talk we'll drive away the whole lot, including the old abbess.” Romance Merchant assented “This is how Her Ladyship wants you to handle this business,” he informed him. “When it's done, let me know so that I can report to her.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 10:24, 30 May 2022 (UTC)

==英语笔译王思琪 Wang Siqi 202170081597==

赖大听说，便道：“我们太太真正是个佛心，这班东西着人送回去。既是太太好心，不得不挑个好人。芹哥儿竟交给二爷开发了罢。那个贴帖儿的，奴才想法儿查出来，重重的收拾他才好。”贾琏点头说：“是了。”即刻将贾芹发落。赖大也赶着把女尼等领出，按着主意办去了。晚上贾政回家，贾琏赖大回明贾政。贾政本是省事的人，听了也便撂开手了。独有那些无赖之徒，听得贾府发出二十四个女孩子出来，那个不想？究竟那些人能彀回家不能，未知着落，亦难虚拟。且说紫鹃因黛玉渐好，园中无事，听见女尼等预备宫内使唤，不知何事，便到贾母那边打听打听。

When Lai Da heard this, he said, "Our ladyship is really a Buddha," and this class of things was sent back." Both are too kind to have to pick a good person. Brother Qin actually handed it over to Precious Jade to develop. The one who posted it, the slave thought about finding out, and it was good to clean up after him. Jia Lian nodded and said, "Yes." "Immediately send Jia Qin down." Lai Da also hurried to lead the nuns out and did as he was told. In the evening, Jia Zheng went home, and Jia Lianlai returned to Ming Jia Zheng. Jia Zheng was originally a convenient person, and when he heard it, he opened his hand. Only those rogues, I heard the Jia send out twenty-four girls out, that doesn't want to? In the end, those people can go home and can't, the unknown location, and it is difficult to be virtual. Moreover, it is said that the Purple Crane is getting better because of , and there is nothing to do in the garden, so when he heard the nuns and other nuns preparing for the palace, they did not know what to do, so they went to Lady Wang's house to inquire.

When Big Rely heard this, he said, "Our ladyship is really like a Buddha," and this class of things was sent back." Both are too kind to have to pick a good person. Brother Celery actually handed it over to Precious Jade to develop. The one who posted it, the slave thought about finding out, and it was good to clean up after him. Romance Merchant nodded and said, "Yes." "Immediately send Celery down." Big Rely also hurried to lead the nuns out and did as he was told. In the evening, Politics Merchant went home, and omance Merchant returned to tell him. He was originally a convenient person, and when he heard it, he opened his hand. Only those rogues, I heard the Merchant send out twenty-four girls out, that doesn't want to? In the end, those people can go home and can't, the unknown location, and it is difficult to be virtual. Moreover, it is said that the Purple Crane is getting better because of , and there is nothing to do in the garden, so when he heard the nuns and other nuns preparing for the palace, they did not know what to do, so they went to Lady Wang's house to inquire.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 05:17, 1 June 2022 (UTC)

==英语笔译王亚娟 Wang Yajuan 202170081598==

恰遇着鸳鸯下来闲着，坐下说闲话儿，提起女尼的事，鸳鸯咤异道：“我并没有听见，回来问问二奶奶就知道了。”正说着，只见傅试家两个女人过来请贾母的安，鸳鸯要陪了上去。那两个女人因贾母正睡晌觉，就与鸳鸯说了一声儿，回去了。紫鹃问：“这是谁家差来的？”鸳鸯道：“好讨人嫌！家里有了一个女孩儿，生得好些，便献宝的是的，常常在老太太面前夸他家姑娘长得怎么好，心地怎么好，礼貌上又能，说话儿又简绝，做活计儿手儿又巧，会写会算，尊长上头最孝敬的，就是待下人也是极和平的，来了就编这么一大套，常常说给老太太听。我听着狠烦。

Happen to meet Mandarin Duck’s leisure, they sat chatting. The mention of Buddhist nun surprises Mandarin Duck:“I didn’t hear it and we will know after second grandma come.” Whiling saying, Mandarin Duck planned to welcome two women in Testing Assist’s family coming to visit Grandma Merchant. Because Mother Merchant was sleeping at noon, the two women spoke to the Mandarin Duck and went back. Purple Cuckoo asked, "Whose family sent this?" Mandarin Duck said: "What a nuisance! They praised their beautiful daughter as treasures in the presence of Mother Merchant by boasting her good nature, appearance ,politeness and eloquence. The girl was skillful at writing and calculating, and the most dutiful of her superiors was very peaceful to servants. When she came, she would make up such a talk and often told the old lady. I'm sick of hearing it.

She happened to find Mandarin Duck free too, and sitting down to chat she asked her about the nuns. “This is news to me,” said Mandarin Duck in surprise. “I’ll find out later on from Madam Phoenix.” As they were talking, two serving-women from Test Assist’s family arrived to pay their respects to the Lady Dowager. Mandarin Duck was taking them there when they heard that the old lady was having a nap, so the women delivered their message to her and left. “Where are they from?” asked Nightingale. “They’re perfect pests!”Mandarin Duck told her. “The Assists have a daughter who is not bad-looking, so they keep coming to praise her to the old lady for her good looks, good heart and good manners. They say she’s no chatter-box but a skilled needlewoman, who can write and keep accounts too, most dutiful to her elders and kind to the servants. Each time they come they reel all this off, as if offering the old lady some rare treasure. I can’t bear listening to them!--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 02:39, 29 May 2022 (UTC)

==英语笔译肖冬晴 Xiao Dongqing 202170081599==

这几个老婆子真讨人嫌。我们老太太偏爱听那些个话。老太太也罢了，还有宝玉，素常见了老婆子，便狠厌烦的，偏见了他们家的老婆子便不厌烦，你说奇不奇？前儿还来说：他们姑娘现有多少人家儿来求亲，他们老爷总不肯应，心里只要和咱们这种人家作亲才肯。一回夸奖，一回奉承，把老太太的心都说活了。”紫鹃听了一呆，便假意道：“若老太太喜欢，为什么不就给宝玉定了呢？”鸳鸯正要说出原故，听见上头说：“老太太醒了。”鸳鸯赶着上去，紫鹃只得起身出来。回到园里，一头走，一头想道：“天下莫非只有一个宝玉？你也想他，我也想他。

But although they’re such a nuisance, our old lady loves that kind of talk. She isn’t the only one either. Even Precious Jade who can’t abide most old women doesn’t mind these from the Assist family. Odd, isn’t it? Only the other day they came to say that lots of people are asking for their young lady, but her father won’t give his consent hinting that only a family like ours would be good enough for her. All their praise and flattery are having some effect on the old lady.” Though taken aback, Nightingale asked with a show of indifference, “If she thinks it a good match for Precious Jade, then why not fix it up?” Before Mandarin Duck could explain someone inside called Out, “The old lady’s woken!” Mandarin Duck hurried in then and Nightingale got up to leave. On her way back to the Garden she ruminated, “Is there only one Precious Jade in the world that everybody should want him?

But although they’re such a nuisance, our old lady loves that kind of talk. She isn’t the only one either. Even Precious Jade who can’t abide most old women doesn’t mind these from the Assist family. Odd, isn’t it? Only the other day they came to say that lots of people are asking for their young lady, but her father won’t give his consent hinting that only a family like ours would be good enough for her. All their praise and flattery are having some effect on the old lady.” Though taken aback, Nightingale asked with a show of indifference, “If she thinks it a good match for Precious Jade, then why not fix it up?” Before Mandarin Duck could explain someone inside called Out, “The old lady’s woken!” Mandarin Duck hurried in then and Nightingale got up to leave. On her way back to the Garden she ruminated, “Is there only one Precious Jade in the world that everybody should want him?--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 16:06, 31 May 2022 (UTC)

==英语笔译肖佳莉 Xiao Jiali 202170081600==

我们家的那一位，越发痴心起来了。看他的那个神情儿，是一定在宝玉身上的了。三番五次的病，可不是为着这个是什么！这家里‘金’的‘银’的还闹不清，若添了一个什么傅姑娘，更了不得了。我看宝玉的心也在我们那一位的身上；听着鸳鸯的说话，竟是见一个爱一个的。这不是我们姑娘白操了心了吗？”紫鹃本是想着黛玉，往下一想，连自己也不得主意了，不免掉下泪来。要想叫黛玉不用瞎操心呢，又恐怕他烦恼；若是看着他这样，又可怜见儿的。左思右想，一时烦躁起来，自己啐自己道：

And our young lady's the one who dotes on him most. Whenever I see her sinking into one of her depressions, I can tell it's because of him. That's what has been making her fall ill all the time too. There's confusion enough here already, what with gold unicorns and gold lockets, without foisting another Miss Fu on us too! I think it's our young lady that Precious Jade Merchant fancies; but judging by what Fragrant Official says, he falls in love with every girl he meets. If so, our young lady's eating her heart out for nothing.” From thinking of Mascara Jade Fores she went on to wonder what she herself should do, until she felt quite distracted. Though tempted to advise Mascara Jade Forest to stop caring so much for Precious Jade Merchant, she was afraid this would upset her; yet seeing her like this made her heart bleed. The more she brooded the more anxious she grew.

You can see by the way she behaves that she’s set her heart on him: Whenever I see her sinking into one of her depressions, I can tell it's because of him. That's what has been making her fall ill all the time too. There's confusion enough here already, what with gold unicorns and gold lockets, without foisting another Miss Fu on us too! I think it's our young lady that Precious Jade fancies; but judging by what Fragrant Official says, he falls in love with every girl he meets. If so, our young lady's eating her heart out for nothing.” From thinking of Mascara Jade she went on to wonder what she herself should do, until she felt quite distracted. Though tempted to advise Mascara Jade to stop caring so much for Precious Jade, she was afraid this would upset her; yet seeing her like this made her heart bleed. The more she brooded the more anxious she grew.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 08:55, 1 June 2022 (UTC)

==英语笔译谢晓莹 Xie Xiaoying 202170081601==

“你替人耽什么忧！就是林姑娘真配了宝玉，他的那性情儿也是难伏侍的。宝玉性情虽好，又是贪多嚼不烂的。我倒劝人不必瞎操心，我自己才是瞎操心呢！从今已后，我尽我的心伏侍姑娘，其余的事全不管。”这么一想，心里倒觉清净。回到潇湘馆来，见黛玉独自一人，坐在炕上理从前做过的诗文词稿，抬头见紫鹃来，便问：“你到那里去了？”紫鹃道：“我今儿睄了睄姐妹们去。”黛玉道：“敢是找袭人姐姐去么？”紫鹃道：“我找他做什么？”黛玉一想，这话怎么顺嘴说了出来？反觉不好意思，便啐道：“你找谁与我什么相干！倒茶去罢。”

“Why worry about someone else? Even if she really marries, the way she is it won’t be easy to please her; and Precious Jade, for all he’s good-natured, is too much of a flirt. But here I am hoping she’ll stop worrying yet worrying myself for nothing! From now on I’ll look after her as best I can and not care about anything else.” This conclusion helped to calm her down by the time she reached Bamboo Lodge, where she found Mascara Jade sitting all by herself on the kang sorting out her old poems and essays. She looked up when Nightingale came in. “Where have you been?” she asked. “To call on some other girls.” “Did you see Sister Aroma?” “Why should I go to see her?” Mascara Jade wondered how she had come to blurt out such a question, and in embarrassment she answered curtly, “I don’t care where you go. Fetch me some tea.”

“Why worry about someone else? Even if she really gets married, the way she is it won’t be easy to please her; and Precious Jade, for all he’s good-natured, is too much of a flirt. But here I am hoping she’ll stop worrying yet worrying myself for nothing! From now on I’ll look after her as best I can and not care about anything else.” This conclusion helped to calm her down by the time she reached Bamboo Lodge, where she found Mascara Jade sitting all by herself on the kang sorting out her old poems and essays. She looked up when Nightingale came in. “Where have you been?” she asked. “To call on some other girls.” “Did you see Sister Aroma?” “Why should I go to see her?” Mascara Jade wondered how she had come to blurt out such a question, and in embarrassment she answered curtly, “I don’t care where you go. Fetch me some tea.”--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 09:02, 1 June 2022 (UTC)

==英语笔译熊嘉玲 Xiong Jialing 202170081602==

紫鹃也心里暗笑，出来倒茶。只听见园里的一叠声乱嚷，不知何故。一面倒茶，一面叫人去打听。回来说道：“怡红院里的海棠本来萎了几棵，也没人去浇灌他。昨日宝玉走去瞧，见枝头上好像有了蓇朵儿是的。人都不信，没有理他。忽然今日开得狠好的海棠花，众人咤异，都争着去看，连老太太、太太都哄动了，来瞧花儿呢。所以大奶奶叫人收拾园里败叶枯枝，这些人在那里传唤。”黛玉也听见了，知道老太太来，便更了衣，叫雪雁去打听：“若是老太太来了，即来告诉我。”雪雁去不多时，便跑来说：“老太太、太太好些人都来了，请姑娘就去罢。”

Laughing in her heart, Nightingale went out to prepare the tea and heard a clamour of voices in the Garden. When she poured the tea she sent someone to find out what had happened.The girl sent came back and told her, “Some crab-apple trees in Happy Red Court had withered, and nobody watered them; but yesterday when Precious Jade had a look he said he saw buds on the branches. No one believed him or paid any attention to it. Today, suddenly, they burst into bloom with lovely crab-apple flowers! People were so amazed that they rushed over there to look, It’s caused such a sensation that even the old lady and Her Ladyship are coming to see the flowers. So Madam Zhu’s given orders to have the leaves in the Garden swept up, and they were calling servants just now to do this.”Mascara Jade, overhearing that the old lady was coming, at once changed her clothes and sent Snowgoose out to keep watch.“Tell me as soon as the old lady comes,” she said.It was not long before Snowgoose came running back. “The old lady and the mistress have come with quite a party,” she replied.” You’d better go right away, miss.”

Nightingale smiled inwardly at the outcome of her experiment and went to pour the tea.When she poured the tea she sent someone to find out what had happened.The girl sent came back and told her, “Some crab-apple trees in Happy Red Court had withered, and nobody watered them; but yesterday when Precious Jade had a look he said he saw buds on the branches. No one believed him or paid any attention to it. Today, suddenly, they burst into bloom with lovely crab-apple flowers! People were so amazed that they rushed over there to look, It’s caused such a sensation that even the old lady and Her Ladyship are coming to see the flowers. So Madam Zhu’s given orders to have the leaves in the Garden swept up, and they were calling servants just now to do this.”Mascara Jade, overhearing that the old lady was coming, at once changed her clothes and sent Snowgoose out to keep watch.“Tell me as soon as the old lady comes,” she said.It was not long before Snowgoose came running back. “The old lady and the mistress have come with quite a party,” she replied.” You’d better go right away, miss.”--[[User:Yan Yuan9|Yan Yuan9]] ([[User talk:Yan Yuan9|talk]]) 15:31, 1 June 2022 (UTC)

==英语笔译颜媛 Yan Yuan 202170081603==

黛玉略自照了一照镜子，掠了一掠鬓发，便扶着紫鹃到怡红院来，已见老太太坐在宝玉常卧的榻上。黛玉便说道：“请老太太安。”退后便见了邢王二夫人，回来与李纨、探春、惜春、邢岫烟彼此问了好。只有凤姐因病未来；史湘云因他叔叔调任回京，接了家去；薛宝琴跟他姐姐家去住了；李家姐妹因见园内多事，李婶娘带了在外居住：所以黛玉今日见的只有数人。大家说笑了一回，讲究这花开得古怪。贾母道：“这花儿应在三月里开的，如今虽是十一月，因节气迟，还算十月，应着小阳春的天气，因为和暖，开花也是有的。”王夫人道：“老太太见的多，说得是，也不为奇。”

Dai-yu took a brief look in the mirror, passed a comb quickly through her hair and set off with Nightingale in the direction of Green Delights. She arrived to find Grandmother Jia installed on Bao-yu's day-couch,and after greeting her,and Lady Xing and Lady Wang went on to say hello to Li Wan, Tan-chun, Xi-chun and Xing Xiuyan.She noticed that several people were absent: Xi-feng was ill in bed, Shi Xiang-yun had gone home to see her uncle who was in the capital on transfer, while Bao-qin had stayed at home with Bao-chai, and the two Li sisters, Wen and Qi, had been taken to live elsewhere by their mother, whom recent events had convinced that Prospect Garden was a rather unsuitable environment for her daughters.They were all chatting away, each propounding a different interpretation of the strange phenomenon of the winter-flowering crab-trees. “They usually flower in the third month, I know,” Grandmother Jia was saying. “And we are in the eleventh month now. But then the movable terms in the calendar are rather late this year, so we could say this is more like the tenth month, which is after all sometimes called "Little Spring". With the exceptionally warm weather we have been having, a little blossom is only to be expected.”

==英语笔译杨心怡 Yang Xinyi 202170081604==

邢夫人道：“我听见这花已经萎了一年，怎么这回不应时候儿开了？必有个原故。”李纨笑道：“老太太与太太说得都是。据我的糊涂想头，必是宝玉有喜事来了，此花先来报信。”探春虽不言语，心内想：“此花必非好兆。大凡顺者昌，逆者亡；草木知运，不时而发，必是妖孽。”只不好说出来。独有黛玉听说是喜事，心里触动，便高兴说道：“当初田家有荆树一棵，三个弟兄因分了家，那荆树便枯了；后来感动了他弟兄们，仍旧归在一处，那荆树也就荣了。可知草木也随人的。如今二哥哥认真念书，舅舅喜欢，那棵树也就发了。”贾母王夫人听了喜欢，便说：“林姑娘比方得有理，狠有意思。”
Mrs. Xing said: "I saw that this flower has been withering for a year. Why should it be blooming at this time? There must be a reason." Li Wan smiled and said: "The old lady and the lady said the same thing. According to my confusion When I think about it, it must be a happy event coming to Baoyu, and this flower will come to report first." Although Tanchun did not speak, he thought in his heart: "This flower must not be a good omen. Generally, those who are obedient are prosperous, and those who are disobedient will perish; , it must be a monster." It's hard to say. When Yu Daiyu heard that it was a happy event, she was moved, and she said happily: "In the beginning, there was a thorn tree in the Tian family, and the thorn tree was withered because the three brothers separated; In one place, the wattle tree is also honored. It can be seen that the grass and trees also follow people. Now that the second brother is studying hard, and the uncle likes it, the tree is also grown." Madam Jia Muwang heard that she liked it, and said: "Miss Lin For example, it has to be reasonable and interesting.”

==英语笔译杨紫微 Yang Ziwei 202170081605==

正说着，贾赦、贾政、贾环、贾兰都进来看花。贾赦便说：“据我的主意，把他砍去。必是花妖作怪。”贾政道：“‘见怪不怪，其怪自败。’不用砍他，随他去就是了。”贾母听见，便说：“谁在这里混说？人家有喜事好处，什么怪不怪的！若有好事，你们享去；若是不好，我一个人当去。你们不许混说。”贾政听了，不敢言语，赸赸的同贾赦等走了出来。那贾母高兴，叫人传话到厨房里，快快预备酒席，大家赏花。叫：“宝玉、环儿、兰儿各人做一首诗志喜。林姑娘的病才好，不要他费心；若高兴，给你们改改。”对着李纨道：“你们都陪我喝酒。”李纨答应了“是”便笑对探春笑道：“都是你闹的。”

Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all came in to see the flowers. Pardon Merchant said, "In my opinion, just cut it down. It must be flower demons which make trouble." Master Merchant added: "' If you are inured to the strange, it will not be strange. ' Don't cut it down, just let it be." When Grandma Merchant heard this, she said, "Who is talking nonsense here? There is something auspicious in store for us. If there be good things, you enjoy yourselves; If not, I will go alone. You shouldn’t fool around." Mater Merchant dare not speak when heard this, and he walked out with Pardon Merchant embarrassingly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said in a high voice: “Precious Jade, Ring and Blue, each of you to write a poem to express congratulations. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you." "You'll all drink with me," she said to Silk Plum. Silk Plum replied "yes" and then smiled at Seeking-Spring and said, "It's all your fault."

Just then, Pardon Merchant, Master Merchant, Ring Merchant and Blue Merchant all arrived to see the flowers. Pardon Merchant said, “In my opinion, just cut it down. It must be flower demons which make trouble.” Master Merchant added: “On the contrary, just let them alone. Evil manifestations thrive on such superstition. Just ignore them and they will disappear.” When Grandma Merchant heard this, she said, “Who is talking nonsense here? There is something auspicious in store for us. When there’s good luck, then enjoy it while you can. If not, I will take care of any bad luck. Do not say any other word of such nonsense.” This silenced Master Merchant and he walked out with Pardon Merchant awkwardly. Grandma Merchant was glad and passed on a message to the kitchen that the feast should be prepared quickly and invited all of them to enjoy the flowers. Then she said: “I should like Precious Jade, Ring and Blue, each to write a poem to celebrate this occasion. Miss Forest was recovered from illness recently so that she was free from writing poems. If she is pleased, she will polish it for you.” “You and the others come up and drink some wine with me,” she said to Silk Plum. Silk Plum replied “yes” and then, smiling, turned to Seeking-Spring and said, “This is all your fault.”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 04:40, 29 May 2022 (UTC)

==英语笔译张国浩 Zhang Guohao 202170081606==

探春道：“饶不叫我们做诗，怎么我们闹的？”李纨道：“海棠社不是你起的么？如今那棵海棠也要来入社了。”大家听着，都笑了。一时，摆上酒菜，一面喝着。彼此都要讨老太太的欢喜，大家说些兴头话。宝玉上来斟了酒，便立成了四句诗，写出来念与贾母听，道：海棠何事忽摧隤，今日繁花为底开？应是北堂增寿考，一阳旋复占先梅。贾环也写了来，念道：草木逢春当茁芽，海棠未发候偏差。人间奇事知多少，冬月开花独我家。贾兰恭楷誊正，呈与贾母。贾母命李纨念道：烟凝媚色春前萎，霜浥微红雪后开。莫道此花知识浅，欣荣预佐合欢杯。

Seeking-Spring protested, “What do you mean? We are not allowed to write poems. And what’s my fault?” “Aren’t you the founder of crab-flower club?”, replied Silk Plum. “Now the real crab-flower is going to join in this club too.” Everyone laughed after what Silk Plum had said. Food and wine now were served and they all drank. They tried their best to amuse Grandma Merchant with some humorous conversations. Precious Jade came up to pour himself some wine, then thought for a while and wrote a poem. Then he read it to his grandma. The poem said: I asked the crab-tree why it failed to blossom at the blossom-time, now you bloomed so profusely so long before the spring? The tree said: ‘At this time, it means new birth.’, Glad tidings to the Mistress of this House I bring. Then Ring Merchant also wrote out his poem and began to recite: Plants should begin to grow up in spring, our crab-tree blossomed at a wrong time. Of all the wonders in the world, it is the first time for trees to blossom in winter in our home. Then Cymbidium Merchant made a careful copy of his poem in Kai-shu calligraphy and gave it to Grandma Merchant. Grandma Merchant asked Silk Plum to read it out: Your beauty blighted in spring, but you blossom in winter now. Don not say this tree is not wise, it adds luster to our family prosperity.

“We’ve not even been allowed to write poems,” retorted Seeking-Spring. “So surely this has nothing to do with us?” “Didn’t you start the Begonia Society? Now these crab-apples’ want to join your club too.” At that everybody laughed. Presently wine and dishes were served. And as they drank they all tried to please the old lady by cheerful talk. Precious Jade poured wine for the others, then made tip and wrote out a quatrain which he read to his grandmother. It was as follows: What made the crab-apple wither away? And today why have fresh blossoms come? To foretell a long life for our Old Ancestress It is flowering anew, ahead of the plum. Ring Merchant also wrote and read out this poem: Crab-apples should burgeon in the spring, But ours were bare this year. The world is full of strange phenomena, Yet only here do winter blooms appear. Cymbidium Merchant wrote out his verse neatly and presented it to the old lady, who made Silk Plum read it out as follows: Its misty charm had faded by last spring, But after snow and frost pink blooms unfold. Do not accuse this flower of ignorance— Good fortune at this feast it has foretold.--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 01:55, 29 May 2022 (UTC)

==英语笔译张姣玲 Zhang Jiaoling 202170081607==

贾母听毕，便说：“我不大懂诗，听去倒是兰儿的好，环儿做得不好。都上来吃饭罢。”宝玉看见贾母喜欢，更是兴头，因想起：“晴雯死的那年，海棠死的；今日海棠复荣，我们院内这些人，自然都好，但是晴雯不能像花的死而复生了。”顿觉转喜为悲。忽又想起前日巧姐提凤姐要把五儿补入，或此花为他而开，也未可知。却又转悲为喜，依旧说笑。贾母还坐了半天，然后扶了珍珠回去了，王夫人等跟着过来。只见平儿笑嘻嘻的迎上来，说：“我们奶奶知道老太太在这里赏花，自己不得来，叫奴才来伏侍老太太、太太们。还有两匹红送给宝二爷包裹这花，当作贺礼。”
The old lady said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”

Grandma Merchant said, “I don’t know much about poetry, but I think Lan’s is the best. Huan’s is no good. Now come and eat, everyone.” Precious Jade was pleased to see her in a good mood until it occurred to him, “The crab-apple died at the same time as Sunny Cloud Formation. Now that it’s blossoming again, of course that augurs well for us in this compound, but it can’t bring Sunny Cloud Formation back to life like this flower.” At once his joy turned to sadness, till he remembered Sister Ingenious telling him that Splendid Phoenix would be sending Fivey to take Hongyu’s place. “This flower may be blossoming for her,” he thought, and his spirits rising again he chatted with the rest of them as before. After some time the old lady left, leaning on Zhenzhu’s arm and accompanied by Lady Wang and the others. On their way back Pinger accosted them. “Our mistress heard that the old lady was enjoying the flowers here,” she said with a smile. “As she couldn’t come herself, she’s sent me to help wait on Your Ladyships. Here are two rolls of red silk too, a congratulatory gift for Master Precious Jade to drape over the trees.”--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:37, 30 May 2022 (UTC)

==英语笔译张瑞 Zhang Rui 202170081608==

袭人过来接了，呈与贾母看。贾母笑道：“偏是凤丫头行出点事儿来，叫人看着又体面，又新鲜，狠有趣儿！”袭人笑着向平儿道：“回去替宝二爷给二奶奶道谢：要有喜，大家喜。”贾母听了，笑道：“嗳哟，我还忘了呢！凤丫头虽病着，还是他想得到，送得也巧。”一面说着，众人就随着去了。平儿私与袭人道：“奶奶说，这花开得奇怪，叫你铰块红绸子挂挂，便应在喜事上去了。以后也不必只管当作奇事混说。”袭人点头答应，送了平儿出去不题。且说那日宝玉本来穿着一裹圆的皮袄在家歇息，因见花开，只管出来看一回、赏一回、叹一回、爱一回的，心中无数悲喜离合，都弄到这株花上去了。

Aroma came to pick it up and presented it to Grandma Merchant to see. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come.In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Ping'er out without a question. Moreover,on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart all got to this flower.

Aroma came to pick it up and presented it to Grandma Merchant. Grandma Merchant smiled and said, "It's just that Splendid Phoenix has something to do, and that makes it look decent, fresh, and funny!" Aroma smiled and said to Patience: "Go back and thank Lady Phoenix for Precious Jade: everyone's joy is real joy." Grandma Merchant listened and smiled, "Oh, I forgot!" Although Splendid Phoenix is sick, she still wanted to get it, and it was also a perfection." As she spoke, the crowd went with her. Patience privately talked to Aroma: "Lady Phoenix said that this flower bloomed strangely, and told you to hang a piece of red silk, so happiness would come. In the future, there is no need to just talk about it as a miracle." Aroma nodded in agreement and sent Patience out. Moreover, on that day, Precious Jade was originally wearing a round leather jacket to rest at home, because he saw the flowers blooming, he just came out to see for a while, appreciated it for a while, sighed for a while, and loved it for a while, and countless sorrows and joys in his heart were intrigued by this flower.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 08:05, 30 May 2022 (UTC)

==英语笔译赵宇翔 Zhao Yuxiang 202170081609==

忽然听说贾母要来，便去换了一件狐腋箭袖，罩一件玄狐腿外褂，出来迎接贾母。匆匆穿换，未将”通灵宝玉“挂上。及至后来贾母去了，仍旧换衣。袭人见宝玉脖子上没有挂着，便问：“那块玉呢？”宝玉道：“才刚忙乱换衣，摘下来放在炕桌上，我没有带。”袭人回看桌上，并没有玉，便向各处找寻，踪影全无，吓得袭人满身冷汗。宝玉道：“不用着急，少不得在屋里的。问他们就知道了。”袭人当作麝月等藏起吓他顽，便向麝月等笑着说道：“小蹄子们！顽呢，到底有个顽法。把这件东西藏在那里了？别真弄丢了，那可就大家活不成了。”

Suddenly Precious Jade heard that Grandma Merchant was coming. He went to change a Jianxiu(a kind of clothes with tight sleeves) made of fox's armpit hair and put on a garment made of the hair from black fox's legs, then he went out to welcome Grandma Merchant. He was in such a hurry to change his clothes that he forgot to wear his jade pendant of "Tong Ling Bao Yu". When Grandma Merchant left and Precious Jade went to change clothes, Aroma found that and asked him, "Where is that jade pendant?" Precious Jade answered, "I was hurrying to change my clothes. And I didn't wear it since I took it off and put it on the table." Aroma then found that the jade pendant was not on the table and looked around the room. The jade pendant was still missing, which scared Aroma to be in cold sweat. Precious Jade said, "Don't be anxious, it must stay somewhere in the room. You can ask the others." Aroma thought that it was Dusk Moon and other maids who hid the jade pendant to play tricks on her. She said to them, laughing, "You stupid girls! Are you playing the treasure haunting game? Where do you hide the jade pendant? If you really lose it, we all will be punished!"

==英语笔译郑冬琴 Zheng Dongqin 202170081610==

麝月等都正色道：“这是那里的话？顽是顽，笑是笑，这个事非同儿戏，你可别混说！你自己昏了心了，想想罢，想想搁在那里了？这会子又混赖人了。”袭人见他这般光景，不像是顽话，便着急道：“皇天菩萨，小祖宗！到底你摆在那里去了？”宝玉道：“我记得明明放在炕桌上的，你们到底找啊。”袭人麝月秋纹等也不敢叫人知道，大家偷偷儿的各处搜寻。闹了大半天，毫无影响，甚至翻箱倒笼，实在没处去找，便疑到方才这些人进来，不知谁捡了去了。袭人说道：“进来的，谁不知道这玉是性命是的东西呢？谁敢捡了去呢！你们好歹先别声张，快到各处问去。“What are you talking about?” they answered seriously. “Joking is all very well, but this is no joking matter. Don’t talk nonsense. You must be crazy! Better think back to where you put it instead of accusing us.”“Heavens!” cried Aroma anxiously, seeing them so much in earnest. “Where exactly did you put it, Master Precious Jade Merchant?”“I remember quite clearly putting it on that table,” he assured her. “Make a good search for it.”Not daring to let outsiders know, Aroma, Musk Deer Month, Autumn Vein and the other girls quietly searched the whole place. They hunted around for hours, even turning out cases and crates — but all in vain. When the jade was nowhere to be found, they wondered if one of their visitors that day could have taken it.But Aroma said, “All of them know how precious this jade is. Who’d dare take it? You mustn’t, for goodness’ sake, let word of this get out, but go and make inquiries at different households.

==英语笔译钟青 Zhong Qing 202170081611==

若有姐妹们捡着吓我们顽呢，你们给他磕头，要了回来；若是小丫头偷了去，问出来，也不回上头，不论把什么送给他换了出来，都使得的。这可不是小事，真要丢了这个，比丢了宝二爷的还利害呢。”麝月秋纹刚要往外走，袭人又赶出来嘱咐道：“头里在这里吃饭的倒别先问去。找不成，再惹出些风波来，更不好了。”麝月等依言，分头各处追问。人人不晓，个个惊疑。麝月等回来，俱目瞪口呆，面面相窥，宝玉也吓怔了，袭人急的只是干哭。找是没处找，回又不敢回：怡红院里的人吓得个个像木雕泥塑一般。大家正在发呆，只见各处知道的都来了。

==英语笔译周皓熙 Zhou Haoxi 202170081612==

探春叫把园门关上，先命个老婆子带着两个丫头，再往各处去寻去；一面又叫告诉众人：“若谁找出来，重重的赏银。”大家头宗要脱干系，二宗听见重赏，不顾命的混找了一遍，甚至于茅厮里都找到。谁知那块玉竟像绣花针儿一般，找了一天，总无影响。李纨急了，说：“这件事不是顽的，我要说句无礼的话了。”众人道：“什么呢？”李纨道：“事情到了这里，也顾不得了。现在园里，除了宝玉都是女人。要求各位姐姐、妹妹、姑娘都要叫跟来的丫头脱了衣服，大家搜一搜。若没有，再叫丫头们去搜那些老婆子并粗使的丫头。”

Seeing-Spring asked servants to close the yard gate. She then asked an old female servant to bring two girl servants to search around. At the same time, she told the rest, "A bonus for anyone who find it." Everyone wanted to prove their innocence and also wanted the bonus. Therefore, all were searching for the jade. Even the toilets were searched. However, it was seen nowhere after one day. Silk Plum was worried, saying, "It is no joke. I am going to be rude." Everyone was confused. She continued, "As for now, I think there is no other options. Now, except Precious Jade, everyone in the yard is female. So I beg every one of you to take off your clothes and let's search it again. If still no result, then I'll ask girl servants to search the old lady servants and manual servants."

Seeing-Spring asked servants to close the yard gate. She then asked an old female servant to bring two maids to search around. At the same time, she told the others, "A bonus for anyone who find it." Everyone wanted to prove their innocence and also wanted the bonus. Therefore, all were searching for the jade. Even the toilets were searched. However, it was seen nowhere after one day. Silk Plum was worried, saying, "It is no joke. I am going to say something rude." Everyone was confused. She continued, "As for now, I think there is no other options. Now, except Precious Jade, everyone in the yard is female. So I beg every one of you to take off your clothes and let's search it again. If still no result, then I'll ask girl servants to search the old lady servants and manual servants."--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 15:14, 31 May 2022 (UTC)

==英语笔译周哲 Zhou Zhe 202170081613==

大家说道：“这话也说的有理。现在人多手乱，鱼龙混杂，到是这么一来，你们也洗洗清。”探春独不言语。那些丫头们也都愿意洗净自己。先是平儿起。平儿说道：“打我先搜起。”于是各人自己解怀。李纨一气儿混搜。探春嗔着李纨道：“大嫂子，你也学那起不成材料的样子来了。那个人既偷了去还肯藏在身上？况且这件东西，在家里是宝，到了外头不知道的是废物，偷他做什么？我想来必是有人使促狭。”众人听说，又见环儿不在这里，昨儿是他满屋里乱跑，都疑到他身上，只是不肯说出来。
"That's an idea, "they agreed." With such a crowd of us here we're a mixed lot, and this would be a way to clear ourselves."
Only Seeking Spring made no comment.
As the maids also wanted to clear themselves of suspicion, Pinger volunteered to be the first to be searched. Then the others stripped too, and Li Wan searched them in turn.
"Sister-in-law!?"snapped Seeking Spring. "Where did you learn to behave in this scandalous way? If anyone stole it she wouldn't keep it on her, would she? Besides, this jade may be treasured here but to outsiders not in the know it's quite useless, so why should anyone steal it? I'm sure that someone is up to monkey tricks."
When they heard this and noticed Huan's absence— though earlier on he had been running all over the place— they suspected him but were unwilling to say so.

"That's an idea, "they agreed." With such a crowd of us here we're a mixed lot, and this would be a way to clear ourselves."
Only Seeking Spring made no comment.
As the maids also wanted to clear themselves of suspicion, Pinger volunteered to be the first to be searched. Then the others stripped too, and Li Wan searched them in turn.
"Sister-in-law!?"snapped Seeking Spring. "Where did you learn to behave in this scandalous way? If anyone stole it she wouldn't keep it on her, would she? Besides, this jade may be treasured here but to outsiders not in the know it's quite useless, so why should anyone steal it? I'm sure that someone is up to monkey tricks."
When they heard this and noticed Huan's absence— though earlier on he had been running all over the place— they suspected him but were unwilling to say so.--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 04:54, 31 May 2022 (UTC)

==英语笔译朱丽娟 Zhu Lijuan 202170081614==

探春又道：“使促狭的只有环儿。你们叫个人去悄悄的叫了他来，背地里哄着他，叫他拿出来，然后吓着他，叫他不要声张。这就完了。”大家点头称是。李纨便向平儿道：“这件事还是得你去才弄得明白。”平儿答应，就赶着去了。不多时，同了环儿来了。众人假意装出没事的样子，叫人沏了碗茶，搁在里间屋里。众人故意搭赸走开，原叫平儿哄他。平儿便笑着向环儿道：“你二哥哥的玉丢了，你瞧见了没有？”贾环便急得紫涨了脸，瞪着眼，说道：“人家丢了东西，你怎么又叫我来查问疑我，我是犯过案的贼么？”
"Huan's the only one who'd play such a trick," Seeking Spring continued. "Send somebody to fetch him quietly and persuade him to return it; then give him a scare to make him keep his mouth shut, and that will be that."
The others nodded approval.
Silk Plum told Patience, "You're the only one who can get the truth out of him.”
Patience agreed to try and hurried off, coming back before long with Ring Merchant. The rest pretended that nothing was amiss and told maids to serve him tea in the inner room. Then they excused themselves, leaving him to Patience.
“Your Precious Jade has lost his jade, she told him with a smile. "Have you seen it?"
Ring Merchant flushed scarlet and glared.
"When he loses something, why suspect me?" he protested. "Am I aconvicted thief?"

"Ring's the only one who'd play such a trick,"Seeking Spring continued. "Send somebody to fetch him quietly and persuade him to return it; then give him a scare to make him keep his mouth shut,and that will be that." The others nodded approval. Silk Plum told Patience,"You're the only one who can get the truth out of him."
Patience agreed to try and hurried off,coming back before long with Ring Merchant. The rest pretended that nothing was amiss and told maids to serve him tea in the inner room. Then they excused themselves,leaving him to Patience. "Your brother has lost his jade,she told him with a smile. "Have you seen it?"Ring Merchant flushed scarlet and glared. "When he loses something, why suspect me?"he protested. "Am I a convicted thief?"--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 13:30, 31 May 2022 (UTC)

==英语口译段小蝶 Duan Xiaodie 202170081615==

平儿见这样子，到不敢再问，便又陪笑道：“不是这么说。怕三爷要拿了去吓他们，所以白问问瞧见了没有，好叫他们找。”贾环道：“他的玉在他身上，看见不看见该问他，怎么问我？捧着他的人多着咧！得了什么不来问我，丢了东西就来问我！”说着，起身就走。众人不好拦他。这里宝玉倒急了，说道：“都是这劳什子闹事！我也不要他了，你们也不用闹了。环儿一去，必是嚷得满院里都知道了，这可不是闹事了么？”袭人等急得又哭道：“小祖宗，你看这玉丢了没要紧；若是上头知道了，我们这些人就要粉身碎骨了！”说着，便嚎啕大哭起来。
She explained with a smile.“I thought you might have taken it to scare them; that's why I simply asked if you'd seen it or not to help them find it." "He was the one wearing the jade so he's the one you should ask instead of me. You all make so much of him! When there's something good going,you don't ask me to share it; but when anythings lost,I'm the one you ask about it!" He got up and marched out and they could not stop him. "All this trouble's due to that silly thing! " burst out Precious Jade. "I don't want it,so you needn't make such a fuss. When Ring gets back,he's bound to tell everyone and raise a fearful rumpus." Weeping in desperation,Aroma said,"You may not care that the jade's lost,Little Ancestor,but if this comes to the mistresses'ears,it'll be the death of us!" She broke down and sobbed.

==英语口译方楚晗 Fang Chuhan 202170081616==

众人更加伤感，明知此事掩饰不来，只得要商议定了话，回来好回贾母诸人。宝玉道：“你们竟也不用商议，硬说我砸了就完了。”平儿道：“我的爷，好轻巧话儿！上头要问为什么砸的呢？他们也是个死啊！倘或要起砸破的碴儿来，那又怎么样呢？”宝玉道：“不然，便说我前日出门丢了。”众人一想，这句话倒还混得过去，但只这两天又没上学，又没往别处去。宝玉道：“怎么没有？大前儿还到南安王府里听戏去了呢。便说那日丢的。”探春道：“那也不妥。既是前儿丢的，为什么当日不来回。”

It soon became clear to them all that things could not be hushed up for much longer. They would have to agree on a story to tell Grandmother Jia and the other ladies. ‘That’s easy,’ said Bao-yu. ‘Just tell them I smashed it myself.’‘No no! That’s no good!’ said Patience. ‘Can’t you see?They’ll want to know why you smashed it, and then things will look just as black for Aroma and the others. And besides, what if they want to see the pieces?’ ‘Well then, say I lost it on a trip to town.’ There was a moment’s silence as they all pondered this suggestion. ‘We might possibly have got away with that,’ said someone at last. ‘But during the past few days you haven’t been to school, and you haven’t been out anywhere either.’‘Yes I have,’ Bao-yu corrected them. ‘A few days ago I went to the Earl of Lin-an’s to watch the plays. You can say I lost it then.’‘No, that won’t do,’ said Tan-chun. ‘If you lost it as long ago as that, they’ll want to know why it hasn’t been reported till now.’

It soon became clear to them all that things could not be hushed up for much longer. They would have to agree on a story to tell Grandmother Jia and the other ladies. ‘That’s easy,’ said Bao-yu. ‘Just tell them I smashed it myself.’‘No no! That doesn't work!’ said Patience. ‘Can’t you understand? They’ll want to know why you smashed it, and then things will look just as black for Aroma and the others. And besides, what if they want to see the pieces?’‘Well then, say I lost it on a trip to town.’ There was a moment’s silence as they all pondered this suggestion. ‘We might possibly have got away with that,’ said someone at last. ‘But during the past few days you haven’t been to school, and you haven’t been out anywhere either.’‘Yes I have,’ Bao-yu corrected them. ‘A few days ago I went to the Earl of Lin-an’s to watch the plays. You can say I lost it then.’‘No, that won’t do,’ said Tan-chun. ‘If you lost it as long ago as that, they’ll want to know why it hasn’t been reported till now.’
--[[User:Hu Wenwen|Hu Wenwen]] ([[User talk:Hu Wenwen|talk]]) 14:40, 1 June 2022 (UTC)

==英语口译胡雯雯 Hu Wenwen 202170081617==

众人正在胡思乱想要装点撒谎，只听得赵姨娘的声儿，哭着喊着走来，说：“你们丢了东西，自己不找，怎么叫人背地里拷问环儿！我把环儿带了来，索性交给你们这一起洑上水的。该杀该剐，随你们罢。”说着，将环儿一推说：“你是个贼，快快的招罢！”气得环儿也哭喊起来。李纨正要劝解，丫头来说：“太太来了。”袭人等此时无地可容。宝玉等赶忙出来迎接。赵姨娘暂且也不敢作声，跟了出来。王夫人见众人都有惊惶之色，才信方才听见的话，便道：“那块玉真丢了么？”众人都不敢作声。

They were still busy discussing the relative merits of these various fictions when suddenly they heard the voice of Aunt Zhao, cursing and wailing her way towards them.‘If you lose something, why can’t you look for it yourselves, instead of sneaking up and blaming my boy? Well, here he is! Take him! Sacrifice him if you think it will do you any good! Kill him! Hack him to pieces! Do what you like with him!’ She propelled Jia Huan into the room, c’rying:‘Thief! Hurry up and confess your crime!’This brought loud and angry protestations from Huan. Li Wan was just bracing herself to intervene and make the peace when a maid came rushing in and announced:‘Her Ladyship is here!’Aroma and the maids could see that a confrontation was now inevitable. Bao-yu and the girls went out at once to receive Lady Wang. Aunt Zhao’s wrath subsided for a moment and she followed them out. From the startled look on their faces Lady Wang could see that what she had heard must be true.‘Is it really lost?’ she cried. No one dared reply.

They were still busy discussing the relative merits of these various fictions when suddenly they heard the voice of Aunt
Zhao, cursing and wailing her way towards them. ‘If you lose something, why can’t you look for it
yourselves, instead of sneaking up and blaming my boy? Well, here he is! Take him! Sacrifice him if you think it will do you any good! Kill him! Hack him to pieces! Do what you like with him!’ She propelled Jia Huan into the room, crying: ‘Thief! Hurry up and confess your crime!’ This brought loud and angry protestations from Huan. Silk Plum was just bracing herself to intervene and make the peace when a maid came rushing in and announced: ‘Her Ladyship is here!’
Aroma and the maids could see that a confrontation was now inevitable. Precious Jade and the girls went out at once to receive Lady Wang. Aunt Zhao’s wrath subsided for a moment and she followed them out. From the startled look on their faces Lady Wang could see that what she had heard must be true. ‘Is it really lost?’ she cried. No one dared reply.--[[User:Huang Tianqi|Huang Tianqi]] ([[User talk:Huang Tianqi|talk]]) 14:20, 1 June 2022 (UTC)

==英语口译黄天琪 Huang Tianqi 202170081618==

王夫人走进屋里坐下，便叫袭人，慌得袭人连忙跪下，含泪要禀。王夫人道：“你起来，快快叫人细细找去，一忙乱倒不好了。”袭人哽咽难言。宝玉生恐袭人直告诉出来，便说道：“太太，这事不与袭人相干，是我前日到南安王府那里听戏在路上丢了。”王夫人道：“为什么那日不找？”宝玉道：“我怕他们知道，没有告诉他们。我叫焙茗等在外头各处找过的。”王夫人道：“胡说！如今脱换衣服，不是袭人他们伏侍的么？大凡哥儿出门回来，手巾荷包短了，还要问个明白，何况这块玉不见了，便不问的么？”宝玉无言可答。

Lady Wang walked in, sat down and called Aroma forward. Aroma fell trembling to her knees. In a choked voice she murmured ‘Yes.’ ‘Well, get up!’ said Lady Wang. ‘We must have a thorough search made. Come on, this helpless attitude will never do.’ Aroma was sobbing and could not say a word. Precious Jade finally spoke up, fearful that she might blurt out the truth. ‘Mother, this has nothing to do with Aroma. I lost it the other day on my way back from seeing the plays at the Earl of Lin-an’s.’ ‘Then why didn’t you look for it at the time?’ ‘I didn’t want anyone to know. I just told Tealeaf to look for it everywhere along the street.’ ‘Nonsense! You know perfectly well that Aroma or one of your other maids would have noticed. That’s their job. They are always with you when you change. Whenever you come in from a party or any kind of excursion, if one of your handkerchiefs is missing, or a little purse, they’re bound to ask you where it’s gone do you really think that they would allow something as irreplaceable as your jade to disappear, and not say a word?’ Precious Jade was stumped for an answer.

==英语口译李丹 Li Dan 202170081620==

赵姨娘听见，便得意了，忙接过口道：“外头丢了东西，也赖环儿……”话未说完，被王夫人喝道：“这里说这个，你且说那些没要紧的话！”赵姨娘便不敢言语了。还是李纨探春从实的告诉了王夫人一遍。王夫人也急得泪如雨下，索性要回明贾母，去问邢夫人那边跟来的这些人去。凤姐病中，也听见宝玉失玉，知道王夫人过来，料躲不住，便扶了丰儿来到园里。正值王夫人起身要走，凤姐娇怯怯的说：“请太太安。”宝玉等过来问了凤姐好。王夫人因说道：“你也听见了么？这可不是奇事吗？刚才眼错不见就丢了，再找不着。

==英语口译李立飞 Li Lifei 202170081621==

你去想想：打老太太那边丫头起，至你们平儿，谁的手不稳，谁的心促狭；我要回了老太太，认真的查出来才好。不然，是断了宝玉的命根子了。”凤姐回道：“咱们家人多手杂，自古说的，‘知人知面不知心’，那里保得住谁是好的？但是一吵嚷，已经都知道了，偷玉的人，若叫太太查出来，明知是死无葬身之地，他着了急，反要毁坏了灭口，那时可怎么处呢？据我的糊涂想头，只说宝玉本不爱他，撂丢了，也没有什么要紧，只要大家严密些，别叫老太太老爷知道；这么说了，暗暗的派人去各处察访，哄骗出来，那时玉也可得，罪名也好定：不知太太心里怎么样？”

==英语口译莫雨婷 Mo Yuting 202170081622==

王夫人迟了半日，才说道：“你这话虽也有理，但只是老爷跟前怎么瞒的过呢？”便叫环儿过来道：“你二哥哥的玉丢了，白问了你一句，怎么你就乱嚷？若是嚷破了，人家把那个毁坏了，我看你活得活不得！”贾环吓得哭道：“我再不敢嚷了。”赵姨娘听了，那里还敢言语。王夫人便吩咐众人道：“想来自然有没找到的地方儿。好端端的在家里的，还怕他飞到那里去不成？只是不许声张。限袭人三天内给我找出来。要是三天找不着，只怕也瞒不住，大家那就不用过安静日子了。”说着，便叫凤姐儿跟到邢夫人那边，商议踩缉不题。

After a long pause Lady Wang replied:"It’s all very well, but will we ever succeed in keeping this from Sir Zheng?" She called Jia Huan to her. "It was very silly of you to go shouting your head off about Bao-yu’s jade, just because they asked you about it. If the thief has heard and destroys the jade, you will pay for it with your life!" "I promise never to mention it again!" wailed Jia Huan in terror. This time Aunt Zhao held her tongue. "There must be some places left where you haven’t looked," Lady Wang continued, addressing the assembled maids. "It must be somewhere here. It’s hardly going to fly away, is it? But when you look, be as quiet as possible. Aroma, I give you three days to find it. If we still haven’t found it by then, we shan’t be able to keep it from Her Old Ladyship and Sir Zheng any longer. And everyone knows what that will mean!" Bidding Xi-feng accompany her, Lady Wang set off for Lady Xing’s apartment, for further consultations on how to apprehend the thief.

After a long pause Lady Wang replied:"It’s all very well, but will we ever succeed in keeping this from Sir Zheng?" She called Jia Huan to her. "It was very silly of you to go shouting your head off about Bao-yu’s jade, just because they asked you about it. If the thief has heard and destroys the jade, you will pay for it with your life!" "I promise never to mention it again!" wailed Jia Huan in terror. This time Aunt Zhao held her tongue. "There must be some places left where you haven’t looked," Lady Wang continued, addressing the assembled maids. "It must be somewhere here. It’s hardly going to fly away, is it? But when you look, be as quiet as possible. Aroma, I give you three days to find it. If we still haven’t found it by then, we shan’t be able to keep it from Her Old Ladyship and Sir Zheng any longer. And everyone knows what that will mean!" Bidding Xi-feng accompany her, Lady Wang set off for Lady Xing’s apartment, for further consultations on how to apprehend the thief.--[[User:Peng Huixuan|Peng Huixuan]] ([[User talk:Peng Huixuan|talk]]) 08:43, 1 June 2022 (UTC)

==英语口译彭慧璇 Peng Huixuan 202170081623==

这里李纨等纷纷议论，便传唤看园子的一干人来，叫把园门锁上，快传林之孝家的来，悄悄儿的告诉了他，叫他：“吩咐前后门上，三天之内，不论男女下人，从里头可以走动，要出时，一概去不许放出。只说里头丢了东西，待这件东西有了着落，然后放人出来。”林之孝家的答应了“是”，因说：“前儿奴才家里也丢了一件不要紧的东西，林之孝必要明白，上街去找了一个测字的。那人叫做什么刘铁嘴，测了一个字，说的狠明白，回来依旧一找，便找着了。”袭人听见，便央及林家的道：“好林奶奶！出去快求林大爷替我们问问去。”那林之孝家的答应着出去了。

Li Wan and the others continued to debate what to do. They sent for the various domestics in charge of the Garden and gave orders for the gates to be securely locked. Steward Lin’s wife was also summoned and given confidential instructions. ‘Tell the servants on both gates that absolutely no one is to be allowed out of the Garden for the next three days. We can allow freedom of movement within the Garden, but no one must leave. Say that something has been lost and that no one can go out until it’s found.’ ‘Yes, Mrs Zhu,’ said Lin’s wife. ‘Excuse me, ma’am,’ she went on, ‘but we lost something at home the other day - nothing of any value of course, but my husband was determined to find it, and he went and consulted one of those word-diviners that set themselves up at street corners. Iron Mouth Liu I think this one’s name was. His reading was very clear. My husband followed his instructions, and found the missing item straight away.’ When Aroma heard this she begged her to help them. ‘Oh, Mrs Lin! Please go and ask your husband to consult this man for us!’ ‘Indeed I will. Straight away. Lin’s wife bustled off. Xing Xiu-yan now had a suggestion to make.

Li Wan and the others continued to debate what to do. They sent for the various domestics in charge of the Garden and gave orders for the gates to be securely locked. Steward Lin’s wife was also summoned and given confidential instructions. ‘Tell the servants on both gates that absolutely no one is to be allowed out of the Garden for the next three days. We can allow freedom of movement within the Garden, but no one must leave. Say that something has been lost and that no one can go out until it’s found.’ ‘Yes, Mrs Zhu,’ said Lin’s wife. ‘Excuse me, ma’am,’ she went on, ‘but we lost something at home the other day - nothing of any value of course, but my husband was determined to find it, and he went and consulted one of those word-diviners that set themselves up at street corners. Iron Mouth Liu I think this one’s name was. His reading was very clear. My husband followed his instructions, and found the missing item straight away.’ When Aroma heard this she begged her to help them. ‘Oh, Mrs Lin! Please go and ask your husband to consult this man for us!’ ‘Indeed I will. Straight away. Lin’s wife bustled off. Xing Xiu-yan now had a suggestion to make.--[[User:Shi Youjie|Shi Youjie]] ([[User talk:Shi Youjie|talk]]) 08:45, 1 June 2022 (UTC)

==英语口译时友洁 Shi Youjie 202170081624==

邢岫烟道：“若说那外头测字打卦的，是不中用的。我在南边闻妙玉能扶乩，何不烦他问一问？况且我听见说，这块玉原有仙机，想来问得出来。”众人都咤异道：“咱们常见的，从没有听他说起。”麝月便忙问岫烟道：“想来别人求他是不肯的，好姑娘，我给姑娘磕个头，求姑娘就去，若问出来了，我一辈子总不忘你的恩！”说着，赶忙就要磕下头去，岫烟连忙拦住。黛玉等也都怂恿着岫烟速往栊翠庵去。一面林之孝家的进来说道：“姑娘们大喜！林之孝测了字回来，说这玉是丢不了的，将来横竖有人送还来的。”众人听了，也都半信半疑。惟有袭人麝月喜欢的了不得。
‘If you ask me, those word-diviners and fortune-tellers you find on street corners are all charlatans. But when I knew Adamantina, in the South, before she came to live here, I heard of her gift for the planchette. Why don’t we ask her to hold a séance for us? Didn’t .Bao-yu’s jade have a mysterious origin
anyway? It would surely lend itself to that sort of approach.’ The others seemed greatly surprised to hear this, and reflected that in all the time they had known her, Adamantma had never once mentioned such a gift. Musk earnestly beseeched Xiu-yan: ‘Oh, Miss! I don’t think she would agree to do it for
anyone but you! Please, please, will you ask her for us? I’ll kotow to you - if she finds the answer, I’ll be indebted to you for a lifetime!’She was about to perform a kotow, but Xiu-yan raised her from the ground. Dai-yu and the others added their entreaties to Musk’s, and Xiu-yan left with all speed for Green Bower Hermitage. No sooner had she gone, than Steward Lin’s wife returned from her mission. ‘Ladies!’ she announced with great jubilation. ‘I bring good news! My husband has been to see the man~ and he says the jade is sure to turn up. Someone will definitely bring it back.’ She had yet to convince her audience however - except for Aroma and Musk, who were ready to grasp at the slightest hope.

"If you ask me, those word-diviners and fortune-tellers you find on street corners are all charlatans. But when I knew Adamantina, in the South, before she came to live here, I heard of her gift for the planchette. Why don’t we ask her to hold a séance for us? Didn’t. Bao Yu’s jade has a mysterious origin
anyway? It would surely lend itself to that sort of approach." The others seemed greatly surprised to hear this, and reflected that in all the time they had known her, Adamantma had never once mentioned such a gift. Musk earnestly beseeched Xiu Yan: "Oh, Miss! I don’t think she would agree to do it for
anyone but you! Please, please, will you ask her for us? I’ll kotow to you - if she finds the answer, I’ll be indebted to you for a lifetime!" She was about to perform a kotow, but Xiu Yan raised her from the ground. Dai-yu and the others added their entreaties to Musk’s, and Xiu-yan left with all speed for Green Bower Hermitage. No sooner had she gone, than Steward Lin’s wife returned from her mission. "Ladies!" she announced with great jubilation. "I bring good news! My husband has been to see the man and he says the jade is sure to turn up. Someone will definitely bring it back." She had yet to convince her audience, however - except for Aroma and Musk, who were ready to grasp at the slightest hope.--[[User:Wu Jiahui|Wu Jiahui]] ([[User talk:Wu Jiahui|talk]]) 08:51, 1 June 2022 (UTC)

==英语口译伍佳惠 Wu Jiahui 202170081625==

探春便问：“测的是什么字？”林之孝家的道：“他的话多，奴才也学不上来，记得是拈了个赏人东西的‘赏’字。那刘铁嘴也不问，便说：‘丢了东西不是？’“李纨道：“这就算好。”林之孝家的道：“他还说：‘“赏”字上头一个“小”字，底下一个“口”字，这件东西，狠可嘴里放得，必是个珠子宝石。’”众人听了，夸赞道：“真是神仙！往下怎么说？”林之孝家的道：“他说：‘底下“贝”字拆开，不成一个“见”字，可不是“不见”了？’因上头拆了‘当’字，叫快到当铺里找去。‘“赏”字加一“人”字，可不是“偿”字？只要找着当铺就有人，有了人便赎了来，可不是偿还了吗。’”

“What character did he analyze?” Seeking-Spring Merchant asked. “He said a lot, but it is too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was Shang meaning ‘gift.’ Then, without asking any question, Iron Mouth Liu said, “You’ve lost something, I take it.” “A good guess!” Silk Plum exclaimed. Filial Piety Forest's Wife continued, “He said the upper part of the character is the xiao for ‘small’ with the Kou for ‘mouth’ below. Therefore, the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of Jian meaning ‘see’, so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn’, we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to Shang, it gives Chang meaning to ‘redeem’. So once we hit on the right pawn shop, we’ll find whoever pawned it and then we can redeem it.”

“What character did he analyze?” Seeking-Spring Merchant asked. “He said a whole lot, too much for me to repeat,” answered Filial Piety Forest's Wife. “I remember that the character he picked was shang meaning ‘gift.’ Then, without asking any questions, that Iron Mouth Liu said, ‘You’ve lost something, I take it. “A good guess!” exclaimed Silk Plum. Filial Piety Forest's Wife continued, “Then he said the upper part of the character is the xiao for ‘small’ with the kou for ‘mouth’ below; so the thing should be small enough to put in the mouth and must be some sort of jewel.” “That’s really miraculous!” they cried. “What else did he say?” “The lower half of the character was a stroke or two short of jian meaning ‘see,’ so the object must have disappeared from sight. And as the top half was the same as in dang for ‘pawn,’ we should look for the missing object in a pawnshop. When we add ren, a ‘man,’ to shang, it gives chang meaning to ‘redeem.’ So once we hit on the right pawn¬shop, we’ll find whoever pawned it and then we can redeem it.”--[[User:Xia Jing|Xia Jing]] ([[User talk:Xia Jing|talk]]) 10:12, 28 May 2022 (UTC)

==英语口译夏晶 Xia Jing 202170081626==

众人道：“既这么着，就先往左近找起。横竖几个当铺都找遍了，少不得就有了。咱们有了东西，再问人就容易了。”李纨道：“只要东西，那怕不问人都使得。林嫂子，烦你就把测字的话快去告诉二奶奶，回了太太，先叫太太放心。就叫二奶奶快派人查去。”林家的答应了便走。众人略安了一点儿神，呆呆的等岫烟回来。正呆等，只见跟宝玉的焙茗在门外招手儿，叫小丫头子快出来。那小丫头赶忙的出去了。焙茗便说道：“你快进去告诉我们二爷和里头太太、奶奶、姑娘们，天大喜事。”那小丫头子道：“你快说罢，怎么这么累赘？”

“In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”

Revision: “In that case,”said the others, “let’s first look near by. If we search the neighbourhood pawnshops we’re bound to find it. Once we have the jade, it’ll be easy to question the thief.” “Provided we get the jade back, it doesn’t matter whether we question the thief or not,” was Silk Plum’s opinion. “Please go right away, Mrs. Forest, to tell Madam Lian what the fortune-teller says, and report it to Her Ladyship too so that she can stop worrying. Then ask Madam Lian to send men to investigate.” Filial Piety Forest's Wife went off on this errand. Feeling a little more reassured, they were waiting blankly for Cave Cloud Marshgrass’s return when they saw Precious Jade’s page Beiming beckoning outside the door to a young maid. The girl at once went out. “Wonderful news!” he told her. “Hurry up and tell our Master Bao and all the ladies inside.” “Tell me what it is, quick!” she retorted. “Don’t drag it out.”--[[User:Xiang Shiqi|Xiang Shiqi]] ([[User talk:Xiang Shiqi|talk]]) 03:18, 30 May 2022 (UTC)

==英语口译向师琦 Xiang Shiqi 202170081627==

焙茗笑着拍手道：“我告诉姑娘，姑娘进去回了，咱们两个人都得赏钱呢！你打量什么，宝二爷的那块玉呀，我得了准信来了。” 话说焙茗在门口和小丫头子说宝玉的玉有了，那小丫头急忙回来告诉宝玉。众人听了，都推着宝玉出去问他。众人在廊下听着。宝玉也觉放心，便走到门口，问道：“你那里得了？快拿来。”焙茗道：“拿是拿不来的，还得托人做保去呢。”宝玉道：“你快说是怎么得的，我好叫人取去。”焙茗道：“我在外头，知道林爷爷去测字，我就跟了去。我听见说在当铺里找，我没等他说完，便跑到几个当铺里去。我比给他们瞧，有一家便说‘有’。
Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page, and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked:“Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”“Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.

Beiming clapped his hands, chuckling. “When I’ve told you, miss, and you go in and pass on the news, we’ll both of us get tipped. Can you guess what’s happened? I’ve got definite news about Master Bao’s jade.” After hearing from Beiming that the jade had been found, the young maid hurried in to report this to Baoyu. The others all urged him to go out to question his page and stepped into the corridor themselves to listen. Feeling reassured, Baoyu went to the door and asked: “Where did you find it? Bring it here at once.” “I can’t do that,” said Beiming, “till we’ve found a guarantor.”Tell me where it is then, and I’ll send someone to get it.” “When I learned outside that Mr. Lin was going to consult a fortuneteller, I followed him. Then, hearing that it could be found in a pawnshop, without waiting for him to finish I rushed over to several pawnshops and gave them a description of the jade, and one shop said they’d got it.--[[User:Xiang Wang|Xiang Wang]] ([[User talk:Xiang Wang|talk]]) 15:46, 30 May 2022 (UTC)

==英语口译向望 Xiang Wang 202170081628==

我说：‘给我罢。’那铺子里要票子。我说：‘当多少钱？’他说：‘三百钱的也有，五百钱的也有。前儿有一个人拿这么一块玉，当了三百钱去；今儿又有人也拿了一块玉，当了五百钱去。’”宝玉不等说完，便道：“你快拿三百五百钱去取了来，我们挑着看是不是。”里头袭人便啐道：“二爷不用理他！我小时候儿听见我哥哥常说，有些人卖那些小玉儿，没钱用，便去当。想来是家家当铺里有的。”众人正在听得咤异，被袭人一说，想了一想，倒大家笑起来，说：“快叫二爷进来罢，不用理那糊涂东西了。他说的那些玉，想来不是正经东西。”宝玉正笑着，只见岫烟来了。

When I asked for it, though, they wanted the pawn-ticket. ‘How much was it hocked for?’ I asked. They said, ‘We give from three hundred to five hundred cash. The other day someone brought in a jade like that and pawned it for three hundred. Today another man came with a piece and pawned it for five hundred.”’Baoyu cut him short with the order, “Go at once, taking money to redeem both; then we’ll see whether one is the right piece or not.”“Don’t listen to him, Master Bao!” scoffed Xiren from inside. “When I was small my brother often told me that hawkers of small pieces of jade pawn them when they need cash. Every single pawnshop must have some.”The others had been surprised by Beiming’s report. Now, thinking over Xiren’s comment, they laughed.“Tell Master Bao to come in,” they cried. “Pay no attention to that simpleton. The jade he’s talking about can’t be the right one.”Baoyu was laughing too when Xiuyan came back.

==英语口译徐舞 Xu Wu 202170081629==

原来岫烟走到栊翠庵，见了妙玉，不及闲话，便求妙玉扶乩。妙玉冷笑几声，说道：“我与姑娘来往，为的是姑娘不是势利场中的人。今日怎么听了那里的谣言，过来缠我？况且我并不晓得什么叫‘扶乩’。”说着，将要不理。岫烟懊悔此来：知他脾气是这么着的，“一时我已说出，不好白回去。”又不好与他质证他会扶乩的话，只得陪着笑将袭人等性命关系的话说了一遍。见妙玉略有活动，便起身拜了几拜。妙玉叹道：“何必为人作嫁？但是我进京以来，素无人知，今日你来破例，恐将来缠绕不休。”

==英语口译张静芝 Zhang Jingzhi 202170081630==

岫烟道：“我也一时不忍。知你必是慈悲的。便是将来他人求你，愿不愿在你，谁敢相强？”妙玉笑了一笑，叫道婆焚香，在箱子里找出沙盘乩架，书了符，命岫烟行礼祝告毕，起来同妙玉扶着乩。不多时，只见那仙乩疾书道：噫！来无迹，去无踪，青埂峰下倚古松。欲追寻，山万重，入我门来一笑逢。书毕，停了乩。岫烟便问：“请是何仙？”妙玉道：“请的是拐仙。”岫烟录了出来，请教妙玉解识。妙玉道：“这个可不能，连我也不懂。你快拿去，他们的聪明人多着哩。”岫烟只得回来。进入院中，各人都问：“怎么样了？”

==日语笔译曹梦然 Cao Mengran 202170081632==

岫烟不及细说，便将所录乩语递与李纨，众姊妹及宝玉争看，都解的是：“一时要找是找不着的，然而丢是丢不了的，不知几时不找便出来了。但是青埂峰不知在那里？”李纨道：“这是仙机隐语。咱们家里那里跑出青埂峰来？必是谁怕查出，撂在有松树的山子石底下，也未可定。独是‘入我门来’这句，到底是入谁的门呢？”黛玉道：“不知请的是谁？”岫烟道：“拐仙。”探春道：“若是仙家的门，便难入了。”袭人心里着忙，便捕风捉影的混找，没一块石底下不找到，只是没有。回到院中，宝玉也不问有无，只管傻笑。

Xiuyan went back, and as soon as she entered the courtyard the others all wanted to know how she had fared. Without giving them the details, she handed Silk Plum the oracle she had transcribed. The girls and Precious Jade crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking. “But where is this Blue Ridge Peak?” they asked. “That must be some divine riddle,” said Silk Plum. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?” Mascara Jade remarked, “I wonder whom she invoked.” “Saint Li the Cripple,” Xiuyan told her. “If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed seeking-spring. Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Precious Jade smiled foolishly instead of asking whether she had found it

Xiuyan went back, and as soon as she entered the courtyard the oth¬ers all wanted to know how she had fared. Without giving them the de¬tails, she handed Li Wan the oracle she had transcribed. The girls and Baoyu crowded round to read it and took it to mean that the jade could not be found quickly, but it would turn up some time when they were not looking.
“But where is this Blue Ridge Peak?” they asked.
“That must be some divine riddle,” said Li Wan. “We’ve no such peak here, have we? I expect the thief has thrown it under some rockery with pine trees on it, for fear of detection. But it says ‘entering my gate’— whose gate would that be?”
Daiyu remarked, “I wonder whom she invoked.”
“Saint Li the Cripple,” Xiuyan told her.
“If it’s an immortal’s gate, that won’t be easy to enter!” exclaimed Tanchun.
Xiren hunted frantically round, clutching at shadows and searching under each rock, but there was no trace of the jade. When she came back, Baoyu smiled foolishly instead of asking whether she had found it.--[[User:Hu Mengqi|Hu Mengqi]] ([[User talk:Hu Mengqi|talk]]) 12:37, 29 May 2022 (UTC)

==日语笔译胡梦琪 Hu Mengqi 202170081633==

麝月着急道：“小祖宗！你到底是那里丢的？说明了，我们就是受罪，也在明处啊。”宝玉笑道：“我说外头丢的，你们又不依。你如今问我，我知道么？”李纨探春道：“今儿从早起闹起，已到三更来的天了。你瞧林妹妹已经掌不住，各自去了。我们也该歇歇儿了，明儿再闹罢。”说着，大家散去。宝玉即便睡下。可怜袭人等哭一回，想一回，一夜无眠，暂且不题。且说黛玉先自回去，想起“金”“石”的旧话来，反自喜欢；心里说道：“和尚道士的话真个信不得。果真‘金’‘玉’有缘，宝玉如何能把这玉丢了呢？或者因我之事，拆散他们的‘金玉’，也未可知。”

“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin’s already left — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night, unable to sleep.
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.

“Little Ancestor!” cried Musk Deer Month in desperation. “Where exactly did you lose it? If you tell us, even if we suffer for it, we shall have something to go on.”
“When I said I lost it outside, you wouldn’t have it,” he reminded her. “Now how can I answer your question?”
Li Wan and Seeking-Spring interposed, “We’ve been in a flurry ever since this morning, and now it’s nearly midnight. Look, Cousin Lin was already leave — she couldn’t last out any longer. We ought to get some rest too: we’ll have our hands full tomorrow.”
They all dispersed then, and Precious Jade went to bed. But poor Aroma and the other maids wept and racked their brains all night and unable to sleep.
When Mascara Jade, having gone home first, recalled all the earlier talk about gold and jade she told herself with inward satisfaction, “Monks and priests can’t be believed, and that’s a fact. If a match between the gold and the jade was predestined, how could Precious Jade lose the jade? Maybe it’s be¬cause of me that this match between gold and jade has been broken up.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 14:38, 29 May 2022 (UTC)

==日语笔译张白鹭 Zhang Bailu 202170081634==

想了半天，更觉安心，把这一天的劳乏，竟不理会，重新倒看起书来。紫鹃倒觉身倦，连催黛玉睡下。黛玉虽躺下，又想到海棠花上，说“这块玉原是胎里带来的，非比寻常之物，来去自有关系。若是这花主好事呢，不该失了这玉呀。看来此花开的不祥，莫非他有不吉之事？”不觉又伤起心来。又转想到喜事上头，此花又似应开，此玉又似应失；如此一悲一喜，直想到五更方睡着。次日，王夫人等早派人到当铺里去查问，凤姐暗中设法找寻。一连闹了几天，总无下落。还喜贾母贾政未知。袭人等每日提心吊胆。宝玉也好几天不上学，只是怔怔的，不言不语，没心没绪的。

Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.

Consoled by these reflections, she forgot the fatigues of the day and started reading again, till Purple Gauze who was worn out urged her to sleep. But although she lay down her thoughts turned to the crab-apple trees. “He was born with that jade; it’s no ordinary stone,” she mused. “So its disappearance must have some significance. If the blossoming of the crab-apples was a good omen, he shouldn’t have lost the jade. It looks as if the blossoming was an ill omen and he’s in for a spell of bad luck.” Her spirits sank again till she thought of her marriage, when it seemed right for the trees to have blossomed and for the jade to be lost. In this way, sad and happy by turns, she did not fall asleep till dawn.Early the next day, Lady King sent to make inquiries at various pawnshops, and Splendid Phoenix King also had a search made in secret. This went on for several days, but to no effect. Luckily the Grandma Merchant and Master Merchant did not know this. Aroma and the other maids were on tenterhooks every day, while Precious Jade Merchant stayed away from school looking dazed and dejected.--[[User:Liu Anli|Liu Anli]] ([[User talk:Liu Anli|talk]]) 14:35, 29 May 2022 (UTC)

==朝鲜语笔译刘安莉 Liu Anli 202170081635==

王夫人只知他因失玉而起，也不大着意。那日正在纳闷，忽见贾琏进来请安，嘻嘻的笑道：“今日听得军机贾雨村打发人来告诉二老爷，说：‘舅太爷升了内阁大学士，奉旨来京，已定明年正月二十日宣麻，有三百里的文书去了。’想舅太爷昼夜趱行，半个多月就要到了。侄儿特来回太太知道。”王夫人听说，便欢喜非常。正想娘家人少，薛姨妈家又衰败了；兄弟又在外任，照应不着。今日忽听兄弟拜相回京，王家荣耀，将来宝玉都有倚靠。便把失玉的心又略放开些了，天天专望兄弟来京。忽一天，贾政进来，满脸泪痕，喘吁吁的说道：

His mother did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam.
Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now as Grand Secretary would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival.
Then one day Master Merchant burst in, tears streaming down his cheeks.

Lady King did not take this to heart, attributing it to the loss of his jade.She was brooding one day when, abruptly, Romance Merchant came in to pay his respects.Beaming, he announced, “I’ve just heard that Rainvillage Merchant has sent word to the Second Master that your honourable brother has been promoted to the post of Grand Secretary and summoned to the capital. His appointment is to be proclaimed on the twentieth of the first month next year, and a dispatch has been sent to his post three hundred ii away. I expect he’s on his way now, travelling day and night, and will be here in little more than a fortnight. So I’ve come specially to report this to you, madam. Lady Wang was overjoyed. She had been regretting that so few of her family were left and Aunt Marshgrass’s family had declined, while her brother serving in the provinces could not look after them. His return to the capital now and it would exalt the Wang family and give Precious Jade Merchant someone to rely on in future. She stopped worrying so much about the loss of the jade, looking forward every day to her brother’s arrival. Then one day Master Merchant burst in, tears streaming down his cheeks.--[[User:Wang Sijia|Wang Sijia]] ([[User talk:Wang Sijia|talk]]) 03:18, 30 May 2022 (UTC)

<nowiki></nowiki>==朝鲜语笔译王思佳 Wang Sijia 202170081636==

“你快去禀知老太太，即刻进宫！不用多人的，是你伏侍进去。因娘娘忽得暴病，现在太监在外立等。他说：‘太医院已经奏明痰厥，不能医治。’”王夫人听说，便大哭起来。贾政道：“这不是哭的时候，快快去请老太太。说得宽缓些，不要吓坏了老人家。”贾政说着，出来吩咐家人伺候。王夫人收了泪，去请贾母，只说元妃有病，进去请安。贾母念佛道：“怎么又病了？前番吓的我了不得，后来又打听错了。这回情愿再错了也罢。”王夫人一面回答，一面催鸳鸯等开箱取衣饰穿戴起来。王夫人赶着回到自己房中也穿戴好了，过来伺候。一时出厅，上轿进宫不题。

"Go to the old lady and enter the palace at once!" It doesn't take many people, it's you who ambush in. Because Princess Merchant suddenly fell ill violently, the eunuch is now waiting outside. He said: 'The hospital has made it clear that it cannot be cured.' When Lady King heard this, she burst into tears. Master Merchant said, "This is not the time to cry, go and ask the old lady quickly." Speak more gently, don't frighten the old man. Master Merchant said, and came out to order his family to serve. Lady King collected her tears and went to ask Grandma Merchant, only to say that Princess Merchant was ill and went in to ask for peace. Grandma Merchant chanted the Buddha, "Why are you sick again?" I was terrified of it before, and then I was wrong. This time I'm willing to be wrong. Lady King replied while urging mandarin ducks to open the box and take clothes and put them on. Lady King hurried back to her room and dressed herself, and came to serve. When I went out of the hall for a while, I went to the palace and entered the palace without a title.

"Go to the old lady and enter the palace at once!" It doesn't take many people, it's you who ambush in. Because Princess Merchant suddenly fell ill violently, the eunuch is now waiting outside. He said: 'The Taiyuan hospital has made it clear that it cannot be cured.' When Lady King heard this, she burst into tears. Master Merchant said, "This is not the time to cry, go and ask the old lady quickly." Speak more gently, don't frighten the old man. Master Merchant said, and came out to order his family to serve. Lady King collected her tears and went to ask Grandma Merchant, only to say that Princess Merchant was ill and went in to ask for peace. Grandma Merchant chanted the Buddha, "Why are you sick again?" I was terrified of it before, and then I was wrong. This time I'm willing to be wrong. Lady King replied while urging mandarin ducks to open the box and take clothes and put them on. Lady King hurried back to her room and dressed herself, and came to serve. When I went out of the hall for a while, I went to the palace and entered the palace without a title--[[User:Xu Gai|Xu Gai]] ([[User talk:Xu Gai|talk]]) 12:22, 31 May 2022 (UTC)

==朝鲜语笔译徐盖 Xu Gai 202170081638==

且说元春自选了凤藻宫后，圣眷隆重，身体发福，未免举动费力。每日起居劳乏，时发痰疾。因前日侍宴回宫，偶沾寒气，勾起旧病。不料此回甚属利害，竟至痰气壅塞，四肢厥冷。一面奏明，即召太医调治。岂知汤药不进，连用通关之剂，并不见效。内官忧虑，奏请预办后事，所以传旨命贾氏椒房进见。贾母王夫人遵旨进宫，见元妃痰塞口涎，不能言语。见了贾母，只有悲泣之状，却少眼泪。贾母进前请安，奏些宽慰的话。少时贾政等职名递进，宫嫔传奏，元妃目不能顾，渐渐脸色改变。内宫太监即要奏闻，恐派各妃看视，椒房姻戚未便久羁，请在外宫伺候。

Let's say that since the election of the fengzao palace, the holy family members have been ceremonious and have gained weight. It's hard to move. Daily life fatigue, sometimes phlegm disease. I came back to the palace from the banquet the day before yesterday, and I got cold and started an old illness. Unexpectedly, this time it was very dangerous. It was so bad that the phlegm was blocked and the limbs were cold. On the other hand, the doctor will be called for treatment. I didn't know that the soup and medicine were not available. Even the customs clearance agent was not effective. The internal officer was worried, so he ordered Jia's pepper room to see him. Grandma merchant entered the palace according to his order. When he saw that congubine yuan was salivating and unable to speak. When I met grandma merchant, I was only sad but had few tears. Grandma merchant goes in to say hello and say a few words of comfort. When he was young, the title of master merchant was gradually advanced, and the palace concubines played, but the eyes of concubine yuan could not care, and his face gradually changed. The eunuch in the inner palace is about to hear about it. He is afraid that he will send his concubines to watch him. The marriage of pepper house has been detained for a long time. Please serve him in the outer palace.

==朝鲜语笔译徐文慧 Xu Wenhui 202170081639==

贾母王夫人怎忍便离，无奈国家制度，只得下来，又不敢啼哭，惟有心内悲感。朝门内官员有信。不多时，只见太监出来，立传钦天监。贾母便知不好，尚未敢动。稍刻，小太监传谕出来，说：“贾娘娘薨逝。”是年甲寅年十二月十八日立春；元妃薨日，是十二月十九日，已交卯年寅月，存年四十三岁。贾母含悲起身，只得出宫上轿回家。贾政等亦已得信，一路悲戚。到家中，邢夫人、李纨、凤姐、宝玉等出厅，分东西迎着贾母，请了安，并贾政王夫人请安，大家哭泣不题。次日早起，凡有品级的，按贵妃丧礼进内请安哭临。

Grandma Merchant and Lady King could not bear to leave, but had no choice but to come down from the state system. She did not dare to cry, but she felt sad inside. The official inside the door has a letter. Before long, the eunuch came out to preach The Imperial Board of Astronomy. Grandma Merchant knew it was not good and had not dared to move. A moment later, the little eunuch sent an oracle, saying: "Empress died." It is December 18, the beginning of spring; Concubine Yuan died and died on December 19. He was forty-three years old. Grandma Merchant sad up, only the palace on the sedan home. Master Merchant and so on have also got the letter, all the way sad. When they got home, Lady City, Silk Plum, Splendid Phoenix King, Precious Jade Merchant went out to greet Grandma Merchant with their belongings and pay their respects to Master Merchant and Lady King. Early the next morning, all who have grade, according to the funeral ceremony of the imperial concubine into the room to ask for peace and cry.

==比较文学与跨文化研究 Mahzad Heydarian 202021080004==

贾政又是工部，虽按照仪注办理，未免堂上又要周旋他些，同事又要请教他，所以两头更忙，非比从前太后与周妃的丧事了。但元妃并无所出，惟谥曰贤淑贵妃。此是王家制度，不必多赘。只讲贾府中男女，天天进宫，忙的了不得。幸喜凤姐儿近日身子好些，还得出来照应家事；又要预备王子腾进京，接风贺喜。凤姐胞兄王仁，知道叔叔入了内阁，仍带家眷来京。凤姐心里喜欢，便有些心病，有这些娘家的人，也便撂开，所以身子倒觉比前好了些。王夫人看见凤姐照旧办事，又把担子卸了一半；又眼见兄弟来京，诸事放心，倒觉安静些。

Master Merchant is also in the Ministry of Works. Although it was handled by the ceremonies, it was necessary to deal with him in the court, and his colleagues had to ask him for advice, so the two sides were busier, not compared with the funeral of the Queen Mother and Concubine Zhou in the past. But Concubine Yuan did not come out, but she was given the posthumous title of Concubine Xianshu. This is the royal family system, so there is no need to repeat it. It only talks about men and women in Merchant's house, who go to the palace every day and are very busy. Fortunately, Sister Phoenix is in better health recently, and she has to come out to take care of the housework. She also has to prepare Soar King to come to Beijing to welcome the wind and congratulate her. Sister Phoenix's elder brother Wang Ren brought his family to Beijing when he knew that his uncle had joined the cabinet. Sister Phoenix liked it in her heart, and she felt a little sick. She also gave up with these family members, so her body felt better than before. Lady King saw that Sister Phoenix was doing things as usual, and half of the burden was unloaded; and when she saw her brother come to Beijing, everything was relieved, and she felt quieter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:26, 30 May 2022 (UTC)

==外国语言文学 Akira 202121080009==

独有宝玉原是无职之人，又不念书，代儒学里知他家里有事，也不来管他；贾政正忙，自然没有空儿查他：想来宝玉趁此机会竟可与姊妹们天天畅乐。不料他自失了玉后，终日懒怠走动，说话也糊涂了。并贾母等出门回来，有人叫他去请安，便去；没人叫他，他也不动。袭人等怀着鬼胎，又不敢去招惹他，恐他生气。每天茶饭，端到面前便吃，不来也不要。袭人看这光景，不像是有气，竟像是有病的。袭人偷着空儿到潇湘馆告诉紫鹃，说是：“二爷这么着，求姑娘给他开导开导。”

Unique Precious Jade was a jobless person and didn't study. Confucianism knew that he had something to do at home, so he didn't care about him; Master Merchant was busy and naturally didn't have time to check him: I wanted to come to Precious Jade to take this opportunity to meet him. Sisters are happy every day. Unexpectedly, after he lost his jade, he walked around lazy all day, and his speech was confused. And when Grandma Merchant came back from going out, someone called him to greet him, so he went; no one called him, and he didn't move. Aroma and others were pregnant, but they didn't dare to provoke him, for fear that he would get angry. Everyday tea and rice, bring it to the front and eat it, don't come if you don't come. Aroma looked at this scene, and it didn't look like she was angry, but she looked like she was sick. Aroma stole the air to Bamboo Lodge and told Nightingale, saying, "Second Master is like this, I beg the girl to enlighten him."

==英语语言文学 Mariam Tourse 2020GBJ002301==

紫鹃虽即告诉黛玉，只因黛玉想着亲事上头，一定是自己了，如今见了他，反觉不好意思，“若是他来呢，原是小时在一处的，也难不理他；若说我去找他，断断使不得。”所以黛玉不肯过来。袭人又背地里去告诉探春。那知探春心里明明知道海棠开得怪异，“宝玉”失的更奇，接连着元妃姐姐薨逝，谅家道不祥，日日愁闷，那有心肠去劝宝玉？况兄妹们男女有别，只好过来一两次，宝玉又终是懒懒的，所以也不大常来。宝钗也知失玉。因薛姨妈那日应了宝玉的亲事，回去便告诉了宝钗。薛姨妈还说：“虽是你姨妈说了，我还没有应准，说等你哥哥回来再定。你愿意不愿意？”

20220602 homework

2022-06-02T02:02:24Z

Liang Siting: /* 英语笔译梁思婷 Liang Siting 202170081581 */

Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]

IN PREPARATION

=Please write your homework directly down here=
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line.

While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.

When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".

Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.

==英语笔译卞王倩 Bian Wangqian 202170081563==

虽是玩话，细想来倒也有些意思。我想宝琴虽有了人家，我虽无人可给，难道一句话也不说？我想你宝兄弟，老太太那样疼他，他又生得那样，若要外头说去，老太太断不中意，不如把你林妹妹定与他，岂不四角俱全？”黛玉先还怔怔的，后来见说到自己身上，便啐了宝钗一口，红了脸，拉着宝钗笑道：“我只打你！为什么招出姨妈这些老没正经的话来？”宝钗笑道：“这可奇了！妈妈说你，为什么打我？”紫鹃忙跑来笑道：“姨太太既有这主意，为什么不和太太说去？”

A joke as it was, the old lady should have this intention, I suppose. Although I can select no one except Precious Strings, who has been engaged, how can’t I help with Precious Jade’s marriage? As for this issue, our old lady is so doting on her grandson, such a handsome man, so it’s expected that she will definitely not be satisfied with a girl from an unfamiliar family as her granddaughter-in-law. Your Sister Forest seems to be a better choice than any others. Isn’t it a perfect match, is it? ” At first, Mascara Jade was absent-minded at the topic, and then realized the topic had come to her, so the blushed girl pretended to spit at Precious Hairpin and pushed her, “I’ll knock your head off! You just entice your mother to make such ridiculous remarks!” “It indeed amazes me! Mom gossiped about you! And why you beat me!”Precious Hairpin joked. Nightingale also came to join them, “Now that Lady Marshgrass has this idea, you shall talk it to Grandma Merchant.”

Thank you for your correction work this semester! (*￣︶￣)

（reply: My enjoyment, sweet girl~）

A joke as it was, the old lady should have this intention, I suppose. Although I can select no one except Precious Strings, who has been engaged, how can I pass over Precious Jade’s marriage? As for this issue, our old lady has been so doting on her grandson, such a handsome man, so it’s expected that she will definitely not be satisfied with a girl from an unfamiliar family as her granddaughter-in-law. Your Sister Forest seems to be a better choice than any others. Isn’t it a perfect match, is it? ” At first, Mascara Jade was absent-minded at the topic, and then realized the topic had come to her, so the blushed girl pretended to spit at Precious Hairpin and pulled her arm, “I’ll knock your head off! You just entice your mother to make such ridiculous remarks!” “It indeed amazes me! It's Mom that gossiped about you! And why you beat me!”Precious Hairpin joked. Nightingale also came to join them, “Now that Lady Marshgrass has this idea, you shall talk it to Grandma Merchant.”--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:44, 29 May 2022 (UTC)

==英语笔译曹姣 Cao Jiao 202170081564==

薛姨妈笑道：“你这孩子急什么！想必催着姑娘出了阁，你也要早些寻一个小女婿去了。”紫鹃也红了脸，笑道：“姨太太真个倚老卖老的！”说着便转身去了。黛玉先骂：“又与你这蹄子什么相干！”后来见了这样，也笑道：“阿弥陀佛！该，该，该！也臊了一鼻子灰去了！”薛姨妈母女及婆子丫鬟都笑起来。一语未了，忽见湘云走来，手里拿着一张当票，口内笑道：“这是什么账篇子？”黛玉瞧了，不认得。地下婆子们都笑道：“这可是一件好东西！这个乖不是
白教的。”

"What are you hurry for, child?" teased Aunt Marshgrass. "I reckon the sooner your mistress is married off, the sooner you can find yourself a young husband." Nightingale flushed to turn back, "You’re taking advantage of one's seniority, your Ladyship!" Then she went away. "What business does it have with you?" scolded Mascara Forest, and then laughed too at her discomfiture. "Amitabha! She deserves it!" Aunt Marshgrass, Precious Hairpin and all the present joined the laughter. At that moment, Fragrant Cloud came in, with a pawn ticket in her hand. "What’s this bill for?" she asked smilingly. Mascara Forest took a look but did not know what it was. "It’s something marvelous," the married servants laughed. "But we won’t teach you for nothing."

"What are you hurry for, child?" teased Aunt Marshgrass. "I reckon the sooner your mistress is married off, the sooner you can find yourself a young husband." Nightingale flushed to turn back, "You’re taking advantage of one's seniority, your Ladyship!" Then she went away. "What business does it have with you?" scolded Mascara Forest, and then laughed too at her discomfiture. "Amitabha! She deserves it!" Aunt Marshgrass, Precious Hairpin and all the present joined the laughter. At that moment, Fragrant Cloud came in, with a pawn ticket in her hand. "What’s this bill for?" she asked smilingly. Mascara Forest took a look but did not know what it was. "It’s something marvelous," the married servants laughed. "But we won’t teach you for nothing."--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 11:16, 30 May 2022 (UTC)

==英语笔译陈路瑶 Chen Luyao 202170081565==

宝钗忙一把接了看时，正是岫烟才说的当票子，忙折了起来。薛姨妈忙说：“那必定是那个妈妈的当票子失落了，回来急的他们找。那里得的？”湘云道：“什么‘当票子’？”众人笑道：“真真是个呆子，连个票子也不知道！”薛姨妈叹道：“怨不得他，真真是侯门千金，而且又小，那里知道这个？那里去有这个？便是家下人有这个，他如何得见？别笑他是呆子，若给你们家的姑娘看了，也都成了呆子。”众婆子笑道：“林姑娘方才也不认得。别说姑娘们。就如宝玉，倒是外头常走出去的，只怕也还没见过呢。”

Precious Hairpin took it from Fragrant-cloud and found that it was the pawn Tadpole had mentioned. She hastily folded it up.‘It must be a pawn ticket some old nurse has lost,’ said Aunt Marshgrass. ‘She’ll be frantic when she can’t find it.’‘A pawn ticket? What’s that?’ asked Fragrant-cloud.Everybody laughed.‘You idiot! You doesn’t even know what a pawn ticket is.’‘That’s quite natural,’ remarked Aunt Marshgrass. ‘As the daughter of a noble house, and still young, how could she know of such things? Where would she have seen one? Even if some one in their household had one, she wouldn’t set eyes on it. So don’t you go calling her an idiot. If you showed your young mistresses this, that would make them all idiots,too.’‘Just now Sister Fores didn’t know it either,’ agreed the women. ‘And not only the young ladies. We’d be surprised if Precious Jade doesn't know what it is, though he often goes outside.’
Precious Hairpin took it from Fragrant-cloud and found that it was the pawn Tadpole had mentioned. She hastily folded it up.‘It must be a pawn ticket some old nurse has lost,’ said Aunt Marshgrass. ‘She’ll be frantic when she can’t find it.’‘A pawn ticket? What’s that?’ asked Fragrant-cloud.Everybody laughed.‘You idiot! You doesn’t even know what a pawn ticket is.’‘That’s quite natural,’ remarked Aunt Marshgrass. ‘As the daughter of a noble house, and still young, how could she know of such things? Where would she have seen one? Even if some one in their household had one, she wouldn’t set eyes on it. So don’t you go calling her an idiot. If you showed your young mistresses this, that would make them all idiots,too.’‘Just now Sister Fores didn’t know it either,’ agreed the women. ‘And not only the young ladies. We’d be surprised if Precious Jade doesn't know what it is, though he often goes outside.’--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 12:58, 30 May 2022 (UTC)

==英语笔译邓阳林 Deng Yanglin 202170081567==

薛姨妈忙将原故讲明。湘云黛玉二人听了，方笑道：“这人也太会想钱了！姨妈家当铺也有这个不成？”众人笑道：“这更呆了！‘天下老鸹一般黑’，岂有两样的。”薛姨妈因又问：“是那里拾的？”湘云方欲说时，宝钗忙说：“是一张死了没用的，不知是那年勾了账的。香菱拿着哄他们玩的。”薛姨妈听了此话是真，也就不问了。一时人来回：“那府里大奶奶过来请姨太太说话呢。”薛姨妈起身去了。这里屋内无人时，宝钗方问湘云：“何处拾的？”湘云笑道：“我见你令弟媳的丫头篆儿悄悄的递与莺儿。

Aunt Marshgrass quickly explained the reason. When the two of them heard this, Fang laughed and said, "This man is so good at thinking about money! My aunt's pawnshop has that too?" The crowd laughed: "This is more foolish! There is nothing different about the pot calling the kettle black. Aunt Marshgrass asked again, "Where did you pick it up?" When Fragrant-cloud History was about to say something, Precious Hairpin Marshgrass replied, "It's a dead one. I don't know if it was written that year. Wiselotus Potterymaker is holding it to coax them." Aunt Marshgrass heard this to be true and asked no more questions. At that time a person back and forth: "that mansion big grandma come to ask a concubine to talk." Aunt Marshgrass got up and went. When there was no one in the room, Precious Hairpin Marshgrass asked Fragrant-cloud History, "Where did you pick it up?" Fragrant-cloud History said with a smile, "I saw you make your sister-in-law's wench whisper to Maid Oriole.

Aunt Marshgrass quickly explained the reason. When the two of them heard this, they laughed and said, "This man loves money too much! Aunt, is your family shop the same, aunt?" The crowd laughed: "This is more foolish! All crows are black the world over. "Aunt Marshgrass asked again, "Where did you pick it up?" When Fragrant-cloud History was about to say something, Precious Hairpin Marshgrass hurried to reply, "It's a ticket that has expired. I don't know when it was canceled. Wiselotus Potterymaker must have given it to coax them." Aunt Marshgrass thought it true and asked no more questions. At that time a person reported, "The mistress in the other mansion invite Madam Marshgrass to have a talk." Aunt Marshgrass got up and went. When there was no one in the room, Precious Hairpin Marshgrass asked Fragrant-cloud History, "Where did you pick it up?" Fragrant-cloud History said with a smile, "I saw your future sister-in-law’s maid Seal slip it to Warbler."
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 12:04, 1 June 2022 (UTC)

==英语笔译何丽娜 He Lina 202170081569==

莺儿便随手夹在书里，只当我没看见。我等他们出去了，我偷着看，竟不认得。知道你们都在这里，所以拿来大家认认。”黛玉忙问：“怎么他也当衣裳不成？既当了，怎么又给你去？”宝钗见问，不好隐瞒他两个，便将方才之事，都告诉了他二人。黛玉便说：“兔死狐悲，物伤其类”，不免也要感叹起来了。史湘云听了，便动了气，说：“等我问着二姐姐去！我骂那起老婆子丫头一顿，给你们出气，何如？”说着，便要走出去，宝钗忙一把拉住，笑道：“你又发疯了，还不给我坐着呢！”

"Warbler then clipped it in the book, and thought I did not notice. After they went out, I took a peep at it but did not know what it is. I knew you were all here, so I brought it for everyone to recognize." Mascara Jade asked , "Did she pawn her clothes too? And if so, why should she give the ticket to you?" Knowing it is not good to hide the truth, then Precious Hairpin told them what had happened. Mascara Jade then said, "It's like the fox is sad at the death of a hare and all beings grieve for their fellow beings." And she can not help but also sigh up. However,Fragrant-cloud became angry and said, "Wait till I go to ask the second sister! What if I scolded the old woman to vent your anger on them?" Precious Hairpin quickly stopped her and said with a smile, "You are crazy again. Hurry to sit down here!"

"Warbler then clipped it in the book, and thought I did not notice. After they went out, I took a peep at it but did not know what it is. I knew you were all here, so I brought it for everyone to recognize." Mascara Jade asked , "Did she pawn her clothes too? And if so, why should she give it to you?" Knowing it is not good to hide the truth, then Precious Hairpin told them what had happened. Mascara Jade then said, "It's like the fox is sad at the death of a hare and all beings grieve for their fellow beings." And she can not help but also sigh up. However,Fragrant-cloud became angry and said, "Wait till I go to ask the second sister! What if I scolded the old woman to vent your anger on them?" Precious Hairpin quickly stopped her and said with a smile, "You are crazy again. Hurry to sit down here!"--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 05:26, 31 May 2022 (UTC)

==英语笔译胡良明 Hu Liangming 202170081570==

黛玉笑道：“你要是个男人，出去打一个抱不平儿。你又充什么荆轲、聂政？真真好笑。”湘云道：“既不叫我问他去，明日也把他接到咱们院里一处住去，岂不是好？”宝钗笑道：“明日再商量。”说着，人报：“三姑娘四姑娘来了。”三人听说，忙掩了口，不提此事。要知端的，且听下回分解。
◎第五十八回杏子阴假凤泣虚凰茜纱窗真情揆痴理
话说他三人因见探春等进来，忙将此话掩住不提。探春等问候过，大家说笑了一会方散。谁知上回所表的那位老太妃已薨，凡诰命等皆入朝随班，按爵守制；

Mascara Jade said with a smile, "If you were a man, go out and fight for justice. What are you calling Jing Ke and Nie Zheng for? It's really funny." Fragrant-cloud said, "If you don't ask me to ask him, I'll pick him up tomorrow. Wouldn’t it be good for us to live in one place in the courtyard?” Precious Hairpin smiled and said, “We’ll discuss it tomorrow.” Then the people reported, “The third girl and fourth girl come here.” Knowing this, they shut their mouth and said nothing. To know the truth, and listen to the next decomposition.
◎The fifty-eighth chapter Xingzi Yin fake phoenix weeping illusory phoenix Qian screen window is true and idiotic. It was said that the three of them were waiting to come in because of seeing Seeking-Spring so they hurriedly covered up this remark. After Seeking-Spring and other greetings, everyone joked and laughed for a while before dispersing. Who would have known that the old concubine who was listed last time had passed away, and all the appointments, etc., would enter the court and follow the class, and be held by the rank;

Mascara Jade said with a quizzical smile, "If you were a real man, go out and fight for justice. What are you calling Jing Ke and Nie Zheng for? It's really funny." Fragrant-cloud said, "If you don't ask me to ask him, I'll pick him up tomorrow. Wouldn’t it be good for us to give him a room to live in in the courtyard?” Precious Hairpin smiled and said, “We’ll discuss it tomorrow.” Then the people reported, “The third girl and fourth girl are coming.” Knowing this, they ended their conversation. To know the truth, listen to the next decomposition.
◎The fifty-eighth chapter Xingzi Yin fake phoenix weeping illusory phoenix Qian screen window is true and idiotic. It was said that the three of them were waiting to come in because of seeing Seeking-Spring so they hurriedly covered up this remark. After Seeking-Spring and her greetings, everyone joked and laughed for a while before dispersing. Who would have known that the old concubine who was listed last time had passed away, and all the appointments, etc., would enter the court and follow the class, and be held by the rank;--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 13:34, 31 May 2022 (UTC)

==英语笔译黄琼 Huang Qiong 202170081571==

敕谕天下，凡有爵之家，一年内不得筵宴音乐，庶民皆三月不得婚姻。贾母婆媳祖孙等俱每日入朝随祭，至未正以后方回。在大偏宫二十一日后，方请灵入先陵，地名孝慈县。这陵离都来往得十来日之功，如今请灵至此，还要停放数日，方入地宫，故得一月光景。宁府贾珍夫妻二人，也少不得是要去的。两府无人，因此大家计议，家中无主，便报了“尤氏产育”，将他腾挪出来，协理荣宁两处事件。因托了薛姨妈在园内照管他姊妹丫鬟。薛姨妈只得也挪进园来。

It announced that Nobles throughout the empire were forbidden feasting and music for a year, while common people were prohibited from marrying for three months.
Grandma Merchant with her daughter-in-law as well as grandchildren of the family had to go to court every morning and offered the sacrifice, not returning until around two p.m. After twenty-one days of lying in state in the Great Inner Court of the Side Palace, the coffin would be conveyed to the Imperial Mausoleum in the county called Filial Kindness; and as this was some ten days journey from the capital, the coffin would have to wait there for several days before it could be interred in the underground palace, the whole proceedings would occupy nearly one month. Treasure Merchant and his wife should both have assisted at these obsequies; but as that would have left no one at home, after much discussion they decided to beg leave from the court for Madam Outstanding on the plea that she was with the child so that she could take over the supervision of the two mansions. Aunt Marshgrass, having been prevailed upon to take care of the girls and maids in the Garden, now had to move in there too.

It announced that Nobles throughout the empire were forbidden feasting and music for a year, while common people were prohibited from marrying for three months. Grandma Merchant with her daughter-in-law as well as grandchildren of the family had to go to court every morning and offered the sacrifice, not returning until around two in the afternoon. After twenty-one days of lying in state in the Great Inner Court of the Side Palace, the coffin would be conveyed to the Imperial Mausoleum in the county called Filial Kindness; and as this was some ten days journey from the capital, the coffin would have to wait there for several days before it could be interred in the underground palace, the whole proceedings would occupy nearly one month. Treasure Merchant and his wife of the Ning Mansion should both have assisted at these obsequies; but as that would have left no one at home, after much discussion they decided to beg leave from the court for Madam Outstanding on the plea that she was with child, so that she could take over the supervision of the two mansions. Aunt Marshgrass, having been prevailed upon to take care of the girls and maids in the Garden, now had to move in there too.--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 15:11, 29 May 2022 (UTC)

==英语笔译邝雨琪 Kuang Yuqi 202170081572==

因宝钗处有湘云香菱，李纨处目今李婶母虽去，然有时来住，三五日不定，贾母又将宝琴送与他去照管；迎春处有岫烟；探春因家务冗杂，且不时有赵姨娘与贾环来嘈聒，甚不方便，惜春处房屋狭小，况贾母又千叮咛万嘱咐托他照管林黛玉，薛姨妈素习也最怜爱他的，今既巧遇这事，便挪至潇湘馆来和黛玉同房，一应药饵饮食，十分经心。黛玉感戴不尽，以后便亦如宝钗之称呼，连宝钗前亦直以“姐姐”呼之，宝琴前直以“妹妹”呼之，俨似同胞共出，较诸人更似亲切。贾母见如此，也十分喜悦放心。

Precious Hairpin already had Fragrant-cloud and Wiselotus Potterymaker living with her; Silk Plum, although her aunt and her aunt's two daughters were not staying with her, received visits from them every few days, and she had been entrusted with Precious Strings as well by the Grandma Merchant; Spring Pleasure was sharing with Cloud Marshgrass; Seeking-Spring's apartments were not convenient either, as she was fully occupied with household affairs and the trouble caused by Concubine Walk and Ring Merchant; and Cherishing Spring's place was limited. Besides, as the old lady had asked Aunt Marshgrass to take special care of Mascara Jade Forest, for whom she herself felt the deepest sympathy. Under the circumstances she naturally moved into Bamboo Lodge where she shared Mascara Jade's room and kept a strict eye on the girl's medicines. Mascara Jade was more grateful for this than words can tell, She began to treat Aunt Marshgrass as her own mother and Precious Hairpin and Precious Strings as her sisters, feeling closer to them than to all the other girls. Grandma Merchant was very relieved and happy to observe this condition.

==英语笔译黎溢佳 Li Yijia 202170081573==

薛姨妈只不过照管他姊妹，禁约得丫鬟辈；一应家中大小事务也不肯多口。尤氏虽天天过来，也不过应名点卯，亦不肯乱作威福，且他家内上下，也只剩他一个料理；再者，每日还要照管贾母王夫人的下处一应所需饮馔铺设之物：所以也甚操劳。当下荣宁两处主人既如此不暇，并两处执事人等，或有跟随着入朝的，或有朝外照理下处事务的，又有先踩踏下处的，也都各各忙乱。因此两处下人无了正经头绪，也都偷安，或乘隙结党，与权暂执事者窃弄威福。荣府只留得赖大并几个管家照管外务。

==英语笔译李思敏 Li Simin 202170081574==

这赖大手下常用几个人已去，虽另委人，都是些生的，只觉不顺手。且他们无知，或赚骗无节，或呈告无据，或举荐无因，种种不善，在在生事，也难备述。又见各官宦家，凡养优伶男女者，一概蠲免遣发，尤氏等便议定，待王夫人回家回明，也欲遣发十二个女孩子。又说：“这些人原是买的，如今虽不学唱，尽可留着使唤，只令其教习们自去也罢了。”王夫人因说：“这学戏的倒比不得使唤的，他们也是好人家的女儿，因无能，卖了做这事，装丑弄鬼的几年，如今有这机会，不如给他们几两银子盘费，各自去罢。

Big Rely's trusted servants had gone somewhere else, although he had appointed others, he was not familiar with them so he felt that it was not going well. Moreover, they were ignorant, dishonest, reported without evidence, or recommended for no reason. All in all, they have so many inadequacies, too much to account. As all the official families had dismissed all the actors and actresses raised in their house, Madam Outstanding and others agreed that they also wanted to lay off twelve maids when Lady King came back home. She added, "These people were bought from traffickers at first, but now, although they don't learn to sing, we can keep them and let serving women teach them to do household work ."Lady King said, "there is no comparison between these servants and actors who are also the daughters of good families, they were sold to learn performing for their families' deficit financial condition. Having been acting in opera for several years, they have this opportunity to do something else now, it's better to give them a few taels of silver and let them go somewhere else."--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 12:53, 28 May 2022 (UTC)

Big Rely's trusted servants had gone somewhere else, although he had appointed others, he was not familiar with them so he felt that it was not going well. Moreover, they were ignorant, dishonest, reported without evidence, or recommended for no reason. Generally speaking, they have so many inadequacies, too much to account. As all the official families had dismissed all the actors and actresses raised in their house, Madam Outstanding and others agreed that they also wanted to lay off twelve maids when Lady King came back home. She added, "These people were bought from traffickers at first, but now, although they don't learn to sing, we can keep them and let serving women teach them to do household work ."Lady King said, "there is no comparison between these servants and actors who are also the daughters of good families, they were sold to learn performing for their families' deficit financial condition. Having been acting in opera for several years, they have this opportunity to do something else now, it's better to give them a few taels of silver and let them go somewhere else."--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 01:34, 31 May 2022 (UTC)

==英语笔译李思源 Li Siyuan 202170081575==

当日祖宗手里都是有这例的。咱们如今损阴坏德，而且还小器。如今虽有几个老的还在，那是他们各有原故，不肯回去的，所以才留下使唤的，大了配了我们家里小厮们了。”尤氏道：“如今我们也去问他十二个，有愿意回去的，就带了信儿，叫他父母来亲自来领回去，给他们几两银子盘缠，方妥；倘若不叫上他的亲人来，只怕有混帐人冒名领出去，又转卖了，岂不辜负了这恩典？若有不愿意回去的，就留下。”王夫人笑道：“这话妥当。”尤氏等遣人告诉了凤姐儿，一面说与总理房中，每教习给银八两，令其自便。

There is a precedent for this in the time of our ancestors. Now we have become immoral and mean. Now there are still a few old servants left, have their own difficulties. Let the older pair with the younger." "Now let's ask the servants what they think of it," said Outstanding. "If any of them want to go home, let them write to their parents and ask them to take them home. And gave them a few taels of silver for their journey home. If there are no relatives to take them, it is likely that a fraudster will take their place, lead them out and then sell them again. Then all the good work we've done has gone down the drain. Those who don't want to go home, let them stay." Lady King smiled and said, "It's good to do that." Outstanding called servant notice Splendid Phoenix King, and then told the accountant about it. Each servant was given eight ounces of silver to decide for themselves.

There is a precedent for this in the time of our ancestors. Now we have become immoral and mean. Now there are still a few old servants left, because they have their own difficulties. Let the older pair with the younger." "Now let's ask these twelve girls about their thoughts," said Madam Outstanding. "If any of them want to go home, then let them write to their parents and ask them to take them home, with giving them a few taels of silver for their journey home. If there are no relatives to take them, it is likely that a fraudster will take their place, and sell them out again. Then all the good work we've done has gone down the drain. Those who don't want to go home can be kept." Lady King smiled and said, "It's good to do that." Madam Outstanding ordered a servant to inform Sister Phoenix, and then told the accountant about it. Each instructor was given an eight-tael gratuity with free permission to leave.--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 13:08, 28 May 2022 (UTC)

==英语笔译李婷 Li Ting 202170081576==

凡梨香院一应物件，查清记册收明，派人上夜。将十二个女孩子叫来，当面细问，倒有一多半不愿意回家的：也有说父母虽有，他只以卖我们姊妹为事，这一去还被他卖了；也有父母已亡，或被叔伯兄弟所卖的；也有说无人可投的；也有说恋恩不舍的。所愿去者止四五人。王夫人听了，只得留下。将去者四五人皆令其干娘领回家去，单等他亲父母来领；将不愿去者，分散在园中使唤。贾母便留下文官自使，将正旦芳官指与宝玉，将小旦蕊官送了宝钗，将小生藕官指与了黛玉，将大花面葵官送了湘云，将小花面豆官送了宝琴，将老外艾官指与了探春，尤氏便讨了老旦茄官去。

Everything in Pear Fragrance Court was inventoried and put away, and some servants were appointed to guard the place at night. Twelve girls were called for and questioned, and more than half of them did not want to go home. Others said that their parents only sold their daughters for money, and if they went back they would be sold again. Some said their parents were dead and they were sold by their brothers or uncles. But others said there was no one to depend; there were also those who said they didn’t want to leave this kind family which had been so good to them. There were only four or five people who wished to go. When Lady King heard this she had to keep them. The few who chose to leave were instructed to stay with their foster-mothers until their own parents should come for them; and she allocated those people who stayed there to work in the Garden. Grandma Merchant then left Literal Official, and allocated Fragrant Official who played the part of young ladies to Precious Jade, Actress Pistil who played pert maids to Precious Hairpin, Actress Lotus-root who played young gentlemen to Mascara Jade, Sunflower who played the chief warriors to Fragrant-cloud, Bean who played lesser warriors to Precious Strings, Chinese Mugwort who played old men to Seeking-Spring. Madam Outstanding then took Entertainer whose role was old women.

Everything in Pear Fragrance Court was inventoried and put away, and some servants were appointed to guard the place at night. Twelve girls were called for and questioned carefully by the way of facing each other, and more than half of them did not want to go home. Others said that even though their parents weren't poor ,they still sold their daughters for money, and if they went back they would be sold again. Some said their parents were dead and they were sold by their brothers or uncles. But others said there was no one to depend; there were also those who said they didn’t want to leave this kind family which had been so good to them. There were only four or five people who wished to leave. When Lady King heard this she had to keep them. The few who chose to leave were instructed to stay with their foster-mothers until their own parents should come for them; and she allocated those people who stayed there to work in the Garden. Grandma Merchant then left Literal Official, and allocated Fragrant Official who played the part of young ladies to Precious Jade, Actress Pistil who played pert maids to Precious Hairpin, Actress Lotus-root who played young gentlemen to Mascara Jade, Sunflower who played the chief warriors to Fragrant-cloud, Bean who played lesser warriors to Precious Strings, Chinese Mugwort who played old men to Seeking-Spring. Madam Outstanding then took Entertainer whose role was old women.--[[User:Li Ying|Li Ying]] ([[User talk:Li Ying|talk]]) 03:14, 29 May 2022 (UTC)Li Ying

==英语笔译李颖 Li Ying 202170081578==

当下各得其所，就如那倦鸟出笼，每日园中游戏。众人皆知他们不能针黹，不惯使用，皆不大责备。其中或有一二个知事的，愁将来无应时之技，亦将本技丢开，便学起针黹纺绩女工诸务。一日正是朝中大祭，贾母等五更便去了，下处用些点心小食，然后入朝。早膳已毕，方退至下处歇息，用过早饭，略歇片刻，复入朝待中晚二祭，方出至下处歇息。用过晚饭方回家。可巧这下处乃是一个大官的家庙，乃比丘尼焚修，房舍极多极净，东西二院，荣府便赁了东院；北静王府便赁了西院。

Once places had been found of them, they were like the uncaged bird enjoying the fresh air, did nothing all day but wander about happily in the garden.Everyone knows they aren't able to cook and sew, so they don't blame them." It is true that one or two of them had the good sense to see that the future would be bleak for them without a craft, now that their theatrical training had been discontinued, and who applied themselves to learning domestic skills like sewing and spinning; but they were the exception. It is time for the great sacrifice at the court.The Granny Merchant prepared to went to the court, she ate some deserts at about 4 a.m in the morning and then proceed to the court.After breakfast, she returned home to rest for a while. Then she had participated in the second sacrifice held at moon or night. As the ceremony finished ,she had time to rest. By chance，the hostel，the family temple of a high official，had nuns in residence and scores of cells all of which were scrupulous clean.There are two mansions respectively located in the west and east. The Ring Mansions party had the use of the east courtyard, the Prince of Beijing's household that of the west.

Once places had been found for them, they were like the uncaged bird enjoying the fresh air, ad did nothing all day but wander about happily in the Garden. Everyone knew they weren't able to and used to cooking and sewing, so they did't blame them. It was true that one or two of them had the good sense to see that the future would be bleak for them without a craft. Now that their theatrical training had been discontinued, they applied themselves to learning domestic skills like sewing and spinning. One day, it was the time for the great sacrifice at the court. The Grandma Merchant prepared to the court at about 4 o'clock in the morning, ate some deserts in the place for rest, and then proceeded to the court. After breakfast, she returned the former place to have a rest for a while and have breakfast. Then she participated in the second sacrifice held at moon and night. As the ceremony finished ,she had time to rest, and she could went home after dinner. By chance，the hostel，the family temple of a high official，had nuns in residence and scores of cells all of which were scrupulously clean. There were two mansions respectively located in the west and east. The Ring Mansions party had the use of the east courtyard, while the Prince of Beijing's household was that of the west.--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 15:59, 31 May 2022 (UTC)

==英语笔译李媛 Li Yuan 202170081579==

太妃少妃每日宴息，见贾母等在东院，彼此同出同入，都有照应。外面细事不消细述。且说大观园内，因贾母王夫人天天不在家内，又送灵去一月方回，各丫鬟婆子，皆有闲空，多在园中游玩，更又将梨香院内伏侍的众婆子一概撤回，并散在园内听使，更觉园内人多了几十个。因文官等一干人，或心性高傲，或倚势凌下，或拣衣挑食，或口角锋芒，大概不安分守己者多，因此众婆子含怨，只是口中不敢与他们分争；如今散了学，大家趁了愿；也有丢开手的；也有心地狭窄犹怀旧怨的，因将众人皆分在各房名下，不敢来厮侵。

The two ladies would see Grandma Merchant in the banquet held in the east of the Garden each day, and they were together all the time to be there for each other. There was no need to talk about the outside thins. In the Garden, when Grandma Merchant and Lady King were away from home for the funeral affairs and would come back a month later, all the maids and women servants were free from work and had fun in the Garden. What’s more, all the women servants of the Peer Fragrance Court were called back and then sent to serve around the Garden. Then, there were more dozens of people in the Garden. Literal Official and other girls were arrogant, likely to throw weight on others, fastidious about food and clothing, and likely to speak harsh words. That is to say, they were not inclined to be obedient. Hence, other women servants complained about their behaviors, but they dared not to argue with them. Now, they would be relieved after the closing of the opera club. Some of them were open to it, while others were too mean to let the former thing go. Therefore, they were arranged to serve different places, so they dared not to fight with each other.

==英语笔译梁思婷 Liang Siting 202170081581==

可巧这日乃是清明之日，贾琏已备下年例祭祀，带领贾环、贾琮、贾兰三人去往铁槛寺祭柩烧纸；宁府贾蓉也同族中人各办祭祀前往。因宝玉病未大愈，故不曾去得。饭后发倦，袭人因说：“天气甚好，你且出去逛逛，省的丢下粥碗就睡，存在心里。”宝玉听说，只得拄了一支杖，靸着鞋，步出院来。因近日将园中分与众婆子料理，各司各业，皆在忙时：也有修竹的，也有??树的，也有栽花的，也有种豆的，池中间又有驾娘们行着船夹泥的，种藕的。湘云、香菱、宝琴与些丫鬟等都坐在山石上瞧他们取乐。宝玉也慢慢行来。

Coincidentally, this day was the Ching Ming Festival. Romance had prepared ritual feast and sacrifice. He led Ring, Zong, Cymbidium to Tiekansi Temple to make sacrifice. Prosperity Merchant also led his family to prepare for the festival. As Precious Jade hadn't completely recovered, he didn't go with them. After lunch, he was sleepy. Aroma thus said, "The day is good. You should go out for a walk so that you won't sleep after eating." Hearing this, Precious Jade walked out with a stick, shuffling to the yard. Due to the festival, the yard was being taken care of by female merchants. They were all busy with their duties. Some was pruning the bamboo, some the tree and some the flowers and beans. The lake were girls dredging or picking lotus roots on boats. Fragrant-cloud, Wiselotus, Precious String and some girl servants were sitting on the artificial hills and looking at the people working. Precious approached them slowly.

==英语笔译廖诗韵 Liao Shiyun 202170081582==

湘云见了他来，忙笑说：“快把这船打出去！他们是接林妹妹的。”众人都笑起来。宝玉红了脸，也笑道：“人家的病，谁是好意的，你也形容着取笑儿。”湘云笑道：“病也比人家另一样，原招笑儿，反说起人来。”说着，宝玉便也坐下，看着众人忙乱了一回。湘云因说：“这里有风，石头上又冷，坐坐去罢。”宝玉也正要去瞧黛玉，起身拄拐，辞了他们，从沁芳桥一带堤上走来。只见柳垂金线，桃吐丹霞，山石之后，一株大杏树，花已全落，叶稠阴翠，上面已结了豆子大小的许多小杏。

Fragrant-cloud saw him coming, and said with a smile, "Quickly launch this ship! They were to pick up Sister Forest. The crowd laughed. Precious Jade blushed and laughed: "her illness, who is well-intentioned, you also describe it as making fun of it." Fragrant-cloud laughed: "The illness, the same as people, is interesting. Don’t blame me." With that, Precious Jade also sat down and watched the busy crowd. Fragrant-cloud said, "It is windy and cold on the stone, don’t stay here too long." Precious Jade was also about to go to see Mascara Jade, so he got up on crutches, resigned from them, and walked from the embankment around Qinfang Bridge. On the road, he saw the willow weeping, peach blossoms. After the mountain stone, he saw a large apricot tree, whose flowers have all fallen and leaves are thick and shady. Many bean-sized apricots have been formed on it.

Fragrant-cloud saw him coming, and said with a smile, "Quickly launch this ship! They were to pick up Sister Forest. The crowd laughed. Precious Jade blushed and laughed: "her illness, who is well-intentioned, you also describe it as making fun of it." Fragrant-cloud laughed: "The illness, the same as people, is interesting. Don’t blame me." With that, Precious Jade also sat down and watched the busy crowd. Fragrant-cloud said, "It is windy and cold on the stone, don’t stay here too long." Precious Jade was also about to go to see Mascara Jade, so he got up on crutches, resigned from them, and walked from the embankment around Qinfang Bridge. On the road, he saw the willow weeping, peach blossoms. After the mountain stone, he saw a large apricot tree, whose flowers have all fallen and leaves are thick and shady. Many bean-sized apricots have been formed on it.--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 04:03, 30 May 2022 (UTC)

==英语笔译刘唱 Liu Chang 202170081583==

宝玉因想道：“能病了几天，竟把杏花辜负了！不觉到‘绿叶成荫子满枝’了！”因此仰望杏子不舍。又想起邢岫烟已择了夫婿一事：虽说男女大事，不可不行，但未免又少了一个好女儿，不过二年，便也要“绿叶成荫子满枝”了；再过几日，这杏树子落枝空，再几年，岫烟也不免乌发如银，红颜似缟了。因此，不免伤心，只管对杏叹息。正悲叹时，忽有一个雀儿飞来，落于枝上乱啼。宝玉又发了呆性了，心下想道：“这雀儿必定是杏花正开时他曾来过，今见无花空有叶，故也乱啼。这声韵必是啼哭之声，可恨公冶长不在眼前，不能问他。

Precious Jade then thought:"The illness got in the way of watching apricot blossom! Now it's full of leaves!" That made him fell disrupting. Then he thought about the marriage of Cave Cloud City: Thought it's necessary for people to marry someone, however, the family of City still has to see off their good girl. No more than two years, she will have kids; A few days later, the apricot tree would wither and a few years later, the hair of Cave Cloud would turn into grey, and she will get old. That's what made Precious Jade sad, and he just heaved sigh in front of the apricot tree. Meanwhile, here flied a sparrow. it landed on the branch, singing around. Precious Jade then dived into deep thought again:"This sparrow must come when the apricot blossomed, now it sees that there are no flowers so it can't stop making noise. That must be crying. it's a pity that GongYechang is not here, or i can ask him about it.

Precious Jade then thought:"The illness prevented him from watching apricot blossom! Now it's full of leaves!" That made him fell disrupting. Then he thought about the marriage of Cave Cloud City: Though she will get married sooner or later, the world has to see off their good girl. No more than two years, she will have kids; A few days later, the apricot tree would wither and a few years later, the hair of Cave Cloud would turn into grey, and she will get old. That's what made Precious Jade sad, and he just heaved sigh in front of the apricot tree. Meanwhile, here flied a sparrow. it landed on the branch, singing around. Precious Jade then dived into deep thought again:"This sparrow must come when the apricot blossomed, now it sees that there are no flowers so it can't stop making noise. That must be crying. it's a pity that GongYechang is not here, or I can ask him about it.--[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:31, 28 May 2022 (UTC)

==英语笔译刘乐乐 Liu Lele 202170081584==

但不知明年再发时，这个雀儿可还记得飞到这里来与杏花一会不能？”正自胡思间，忽见一股火光，从山石那边发出，将雀儿惊飞。宝玉吃了一惊，又听外边有人喊道：“藕官，你要死！怎么弄些纸钱进来烧？我回奶奶们去，仔细你的肉！”宝玉听了，益发疑惑起来，忙转过山石看时，只见藕官满面泪痕，蹲在那里，手内还拿着火，守着些纸钱灰作悲。宝玉忙问道：“你与谁烧纸钱？快不要在这里烧！你或是为父母兄弟，你告诉我名姓，外头去叫小厮们，打了包袱写上名姓去烧。”藕官见了宝玉，只不做一声，宝玉数问不答。

He wonder if the bird will remember next year when it blossoms again.His fantasy was interrupted by a sudden burst of flames on the other side of the rockery, and the bird flew away in terror. Precious Jade was as startled as the bird. A brief burst of flames was followed by an angry shout.Lotus-root, you little rascal, how dare you burn paper offerings in the garden! I'll report you right away. You'll be whipped, my girl. Precious Jade wonder what happened in the end, hurried around to the other side of the rockery to investigate. With tears streaming down his face, Lotus-root squatted on the ground, holding a hot pan that had just burst into flames, and looked sadly at a pile of charred and smoking gold paper money.Who? He asked her. You know, you really shouldn't burn it here. I think it must be for one of your parents -- or your brother, perhaps? Tell me this man's name, and I'll tell my men to go out and buy you a decent bun and write your name on it. When seeing it was Precious Jade, she pressed her lips tightly, and no matter how he asked, she just would not speak. --[[User:Liu Lele|Liu Lele]] ([[User talk:Liu Lele|talk]]) 13:26, 28 May 2022 (UTC)

==英语笔译刘双英 Liu Shuangying 202170081585==

忽见一个婆子恶狠狠的走来拉藕官，口内说道：“我已经回了奶奶们，奶奶们气得了不得！”藕官听了，终是孩气，怕辱没了没脸，便不肯去。婆子道：“我说你们别太兴头过余了，如今还比得你们在外头乱闹呢！这是尺寸地方儿。”指着宝玉道：“连我们的爷还守规矩呢，你是什么阿物儿，跑来胡闹！怕也不中用，跟我快走罢！”宝玉忙道：“他并没烧纸钱，原是林妹妹叫他来烧那烂字纸的，你没看真，反错告了他。”藕官正没了主意，见了宝玉，也正添了畏惧；

Then up came an irate matron to drag her away.“I’ve reported this to the mistresses.They’re very angry!” she scolded.Nenuphar,being only a child,hung back for fear of being put to shame.“I always said you were riding for a fall,”stormed the woman.“You can’t fool around here the way you did outside.You have to watch your step.”pointing at Preciou Jade she continued,“Even our young master has to observe the rules.Who do you think you are to fool around here? It’s no use being afraid.Come along with me.”“She wasn’t burning paper coins but waste paper for Mascara Jade Forest,”put in Preciou Jade quickly.“You didn’t see clearly and accused her wrongly.”Nenuphar had been at a loss,and Preciou Jade’s appearance had frightened her even more;

Just then the woman he had heard shouting came hurrying back, an evil expression of triumph on her face, and seized hold of the girl. “Well, I've reported you to the young mistresses,” she said, “and they're very, very angry.” she scolded.Nenuphar,being only a child,hung back for fear of being put to shame.“I always said you were riding for a fall,”stormed the woman.“You can’t fool around here the way you did outside.You have to watch your step.”pointing at Preciou Jade she continued,“Even our young master has to observe the rules.Who do you think you are to fool around here? It’s no use being afraid.Come along with me.”“She wasn’t burning paper coins but waste paper for Mascara Jade Forest,”put in Preciou Jade quickly.“You didn’t see clearly and accused her wrongly.”Nenuphar had been at a loss,and Preciou Jade’s appearance had frightened her even more;--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 11:33, 30 May 2022 (UTC)

==英语笔译刘婷 Liu Ting 202170081586==

忽听他反替遮饰，心内转忧成喜，也便硬着口说道：“你狠看真是纸钱了么？我烧的是林姑娘写坏了的字纸。”那婆子便弯腰向纸灰中拣那不曾化尽的遗纸在手内，说道：“你还嘴硬？有证又有凭。只和你厅上讲去。”说着，拉了袖子，拽着要走。宝玉忙拉藕官，又用拄杖隔开那婆子的手，说道：“你只管拿了回去。实告诉你，我昨夜做了一梦，梦见杏花神和我要一挂白钱，不可叫本房人烧，另叫生人替烧，我的病就好得快了。所以我请了白钱，巴巴的烦他来替我烧了。我今日才能起来，偏你又看见了。

She could hardly believe her ears when she heard him covering up for her. Her fear gave way to a surprised delight and she plucked up courage to defend herself. “Yes, what makes you so sure it was spirit money?” “Miss Lin spoiled some paper when writing. That's what I've been burning.” But the woman was unimpressed. Stooping down, she picked out one or two of the unconsumed fragments from the ashes. “Don't argue with me! Here's evidence! You'll have to come with me to the jobs room and explain yourself to them there.” She caught hold of the girl's sleeve to drag her off. But Bao-yu held her by the other sleeve and struck at the woman's hand with his walking-stick until she let go. “I'll tell you the truth. Last night I dreamed that the spirit of the apricot tree came to ask me for a string of white paper money, saying that if it was burns for me by a stranger, not by anyone in my apartments, my sickness would be cured faster. And now, after I've been to the trouble of getting the stuff and finding this girl to make the offering for me, it's all wasted, because you saw her doing it.”

She could hardly believe her ears when she heard him covering up for her. Her fear gave way to a surprised delight and she plucked up courage to defend herself. “Yes, what makes you so sure it was spirit money?” “Miss Lin spoiled some paper when writing. That's what I've been burning.” But the woman was unimpressed. Stooping down, she picked out one or two of the unconsumed fragments from the ashes. “Don't argue with me! Here's evidence! You'll have to come with me to the jobs room and explain yourself to them there.” She caught hold of the girl's sleeve to drag her off. But Precious Jade held her by the other sleeve and struck at the woman's hand with his walking-stick until she let go. “I'll tell you the truth. Last night I dreamed that the spirit of the apricot tree came to ask me for a string of white paper money, saying that if it was burns for me by a stranger, not by anyone in my apartments, my sickness would be cured faster. And now, after I've been to the trouble of getting the stuff and finding this girl to make the offering for me, it's all wasted, because you saw her doing it.”--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 14:32, 30 May 2022 (UTC)

==英语笔译刘瑶 Liu Yao 202170081587==

这会子又不好了，都是你冲了！还要告他去？藕官，你只管见他们去，就照依这话说。”藕官听了，越得主意，反拉着要走。那婆子忙丢下纸钱，陪笑央告宝玉，说道：“我原不知道，若回太太，我这人岂不完了？”宝玉道：“你也不许再回，我便不说。”婆子道：“我已经回了，原叫我带他。只好说他被林姑娘叫去了。”宝玉点头应允。婆子自去。这里宝玉细问藉官：“为谁烧纸？必非父母兄弟，定有私自的情理。”藕官因方才护庇之情，心中感激，知他是自己一流人物，况再难隐瞒，便含泪说道：

But now, by butting in like this, you’ve gone and spoiled everything. And do you still mean to report her? Go with her, Actress Lotus-root, and tell them what I’ve just said. When the old lady comes back, I’ll report her for deliberately spoiling my sacrifice so as to make me die early.” Emboldened by this, Actress Lotus-root started tugging the woman away. The latter hastily dropped the paper money.“How was I to know?” she asked Precious Jade meekly. “If you tell the old lady, Second Master, it will be the end of me! I’ll go and tell the mistresses that I made a mistake—it was you burning sacrificial paper.” “Don’t say anything about it and I won’t tell her,” he promised. “But I’ve already reported it, and they ordered me to take her there. How can I say nothing? All right, I’ll tell them Miss Lin sent for her.” Precious Jade thought for a while then nodded, and the woman went away. Then he asked again: “Whom was the offering for? I’m sure it can’t have been for your own people, as in that case you’d have asked others to burn it for you. There must be a story behind it.” Actress Lotus-root, grateful for his championship, began to feel that they were kindred spirits. Tears sprang to her eyes.

But now, by butting in like this, you’ve gone and spoiled everything. And do you still mean to report her? Go with her, Actress Lotus-root, and tell them what I’ve just said. When the old lady comes back, I’ll report her for deliberately spoiling my sacrifice so as to make me die early.” Emboldened by this, Actress Lotus-root started tugging the woman away. The latter hastily dropped the paper money.“How was I to know?” she asked Precious Jade meekly. “If you tell the old lady, Second Master, it will be the end of me! I’ll go and tell the mistresses that I made a mistake—it was you burning sacrificial paper.” “Don’t say anything about it and I won’t tell her,” he promised. “But I’ve already reported it, and they ordered me to take her there. How can I say nothing? All right, I’ll tell them Miss Lin sent for her.” Precious Jade thought for a while then nodded, and the woman went away. Then he asked again: “Whom was the offering for? I’m sure it can’t have been for your own people, as in that case you’d have asked others to burn it for you. There must be a story behind it.” Actress Lotus-root, grateful for his championship, began to feel that they were kindred spirits. Tears sprang to her eyes.--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 12:32, 30 May 2022 (UTC)

==英语笔译刘珍 Liu Zhen 202170081588==

“我这事，除了你屋里的芳官合宝姑娘的蕊官，并没第三个人知道。今日忽然被你撞见，这意思，少不得也告诉了你，只不许再对一人言讲。”又哭道：“我也不便和你面说，你只回去，背人悄悄问芳官就知道了。”说毕，怏怏而去。宝玉听了，心下纳闷，只得踱到潇湘馆瞧黛玉，越发瘦得可怜，问起来，比往日大好了些。黛玉见他也比先大瘦了，想起往日之事，不免流下泪来，些微谈了一谈，便催宝玉去歇息调养。宝玉只得回来。因惦记着要问芳官原委，偏有湘云香菱来了，正和袭人芳官一处说笑，不好叫他，恐人又盘诘，只得耐着。

"Besides myself there are only two other people in the world who know about this: Fragrant Official in your room and Etamine in Miss Bao's.After what happened today, I think I shall have to let you be a third; but you must promise never to speak about it to anyone else.”She slipped away then, leaving him full of curiosity. Precious Jade was very puzzled as he went on to Bamboo Lodge.He found Mascara Jade looking more pathetically frail than ever, although she insisted that her health was much better.She saw that he too was much thinner, and could not help shedding tears at the thought of the reason. After a brief chat she urged him to go back and rest,He left reluctantly, not knowing quite where to go.he was anxious to ask Parfumee about Nenuphar's secret, but Fragrant-cloud and Caltrop had just arrived and were engaged in lively conversation with her and Aroma in the adjoining room. Fearing that if he called her to him the others might ask questions, he resolved to be patient.

==英语笔译马艳焕 Ma Yanhuan 202170081591==

一时芳官又跟了他干娘去洗头，他干娘偏又先叫他亲女儿洗过才叫芳官洗。芳官见了这般，便说他偏心：“把你女儿的剩水给我洗。我一个月的月钱都是你拿着，沾我的光不算，反倒给我剩东剩西的！”他干娘羞愧变成恼，便骂他：“不识抬举的东西！怪不得人人都说戏子没一个好缠的，凭你什么好的，入了这一行，都学坏了。这一点子小崽子，也挑幺挑六，咸嘴淡舌，咬群的骡子似的！”娘儿两个吵起来。袭人忙打发人去说：“少乱嚷！瞅着老太太不在家，一个个连句安静话也都不说了。”
At this time, Fragrant Official followed his godmother to wash his hair, and his adopted mother asked her own daughter to wash before Fragrant Official washed.
When Fragrant Official saw this, he said that she was partial: "You actually let me wash my hair with your daughter's leftover water. You take all my money every month, which takes advantage of me, but give me what's leftover! " His mother turned from shame to annoyance, so she scolded him: "Unappreciative guy！" No wonder everyone says that there is no one actor who is easy to be entangled with. Since you who had been a kind child entered this profession, you became a bad one. You little jerk should be choosy and wag your jaw like a rogue mule." They quarreled. Aroma hurriedly sent someone to say, "Don't shout! Seeing that Grandma Merchant was not at home, you didn't even keep quiet. "

At that time, Fragrant Official followed his foster mother to wash her hair, but her foster mother asked her own daughter to wash before Fragrant Official. Then she accused her of being partial: " You actually let me wash my hair with your daughter's leftover water. You take all my money every month. You are taking advantage of me, but you always give me what's leftover!" Her mother turned from shame to annoyance, so she scolded her: " Unappreciative guy! No wonder everyone says that there is no one actor who is easy to be entangled with. No matter how good you are, as long as you entered this profession, you will definitely become a bad one. You little jerk should be choosy and wag your jaw like a rogue mule." Then they had a big quarrel. Aroma hurriedly sent someone to say, " Don't shout! Seeing that Grandma Merchant was not at home, you didn't even keep quiet now. "--[[User:Nie Wei|Nie Wei]] ([[User talk:Nie Wei|talk]]) 13:54, 28 May 2022 (UTC)

==英语笔译聂薇 Nie Wei 202170081592==

晴雯因说：“这是芳官不省事，不知狂的什么？也不过是会两出戏，倒像杀了贼王、擒过反叛来的！”袭人道：“‘一个巴掌拍不响’，老的也太不公些，小的也太可恶些。”宝玉道：“怨不得芳官！自古说：‘物不平则鸣’。他少亲少眷的在这里，没人照看；赚了他的钱。又作践他，如何怪得！”又向袭人说：“他到底一月多少钱？以后不如你收了过来照管他，岂不省事？”袭人道：“我要照看他，那里不照看了？又要他那几个钱才照看他？没的招人骂去了。”

Then Sunny Cloud said, “ Fragrant Official is to blame for arousing this trouble. How could she be so arrogant? All that she knows is how to act in a couple of plays, but why did she act like she has ever killed a thief or crushed the rebellion?” But Aroma refuted, “ As the old saying goes, ‘It takes two to make a quarrel’. Her mother was too unfair to her, while she was too detestable.” Then Precious Jade said, “ We should not blame her. Injustice provokes outcry. She is alone here, without any relatives or anyone taking care of her. Now that her foster mother took away her money, but ill-treated her, how can we blame her for acting like this？” He continued to speak to Aroma, “ How much money does she get every month? Why don’t you get her money and take care of her from now on? Won’t it save much trouble?” But Aroma said, “ I’m taking care of her all the time. When did I miss my job? What’s the point of doing this with taking her money away? It will do nothing good to me except for courting others’ curse.”

Then Sunny Cloud Formation said, “ Fragrant Official is to blame for arousing this trouble. How could she be so arrogant? All that she knows is how to perform in a couple of plays, but why did she act like she has ever killed a thief or crushed the rebellion?” But Aroma refuted, “ As the old saying goes, ‘It takes two to make a quarrel’. Her mother treated her unfairly, while she was too detestable.” Then Precious Jade said, “ We should not blame her. Injustice provokes outcry. She is alone here, without any relatives or anyone taking care of her. Now that her foster mother took away her money, but ill-treated her, how can we blame her for acting like this？” He continued to speak to Aroma, “ How much money does she get every month? Why don’t you get her money and take care of her from now on? Won’t it save much trouble?” But Aroma said, “ I’m taking care of her all the time. When did I miss my job? What’s the point of doing this with taking her money away? It will do nothing good to me except for courting others’ curse.”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 14:51, 28 May 2022 (UTC)

==英语笔译孙丽君 Sun Lijun 202170081593==

说着，便起身至那屋里，取了一瓶花露油、鸡蛋、香皂、头绳之类，叫了一个婆子来：“送给芳官去，叫他另要水自洗，不要吵闹了。”他干娘越发羞愧，便说芳官“没良心！只说我克扣你的钱！”便向他身上拍了几下，芳官便哭起来。宝玉便走出来，袭人忙劝：“做什么？我去说他。”晴雯忙先过来，指他干娘说道：“你这么大年纪，太不懂事！你不给他好好的洗，我们才给他东西。你自己不臊，还有脸打他！他要是还在学里学艺，你也敢打他不成？”那婆子便说：“‘一日叫娘，终身是母。’他排揎我，我就打得！”

While speaking, Aroma stood up and headed for that room to fetch back a bottle of essential oil extracted from floral water, some eggs, toilet soap, sheadlines alike. Then she found a granny and ordered, “Just bring those stuff to Fragrant Official, tell him to have a bath with clean water and stop kicking up a row.” Becoming terribly ashamed, his adopted mother just said to Fragrant Official, “You brute! All you can say is I short-charge you!” While speaking, she patted Fragrant Official a few times, inviting his crying out. Therefore, Precious Jade just came out, and Aroma just stopped him, “What are you doing? Let me exhort him.” Hurriedly rushing there at once, Sunny Cloud Formation pointed to Fragrant Official’s adopted mother and said, “Well then, you’ve come to such an old age, and you still don’t know how to behave properly! We’ve just offered something for him and you don’t help with his bathing well. Even you don’t feel bashful to beat him! If he stills learns an artistic skill now, don’t you dare hit him?” That woman just replied, “As a common saying goes, ‘Once you call me mother, then I’ll be your mother for the whole life.’ If he yells at me, then I can beat him.”

While speaking, Aroma stood up and headed for that room to fetch back a bottle of floral water, some eggs, toilet soaps, hair bands alike. Then she found a granny and ordered, “Just bring those stuff to Fragrant Official, and tell her to get some water to wash her hair and stop kicking up a row.” Becoming terribly ashamed, her adopted mother just said to Fragrant Official, “You brute! All you can do is to tell others that I pocket your wages!” While speaking, she patted Fragrant Official a few times, inviting his crying out. Therefore, Precious Jade just came out, and Aroma stopped him in a rush, “What are you doing? Let me exhort her.” Hurriedly rushing there at once, Sunny Cloud Formation pointed to Fragrant Official’s adopted mother and said, “Well then, you’ve come to such an old age, and you still don’t know how to behave properly! As you don’t wash her hair well, so we just offered something for her. You're not ashamed of yourself but have the nerve to beat her! If she still learns an artistic skill now, don’t you dare hit her?” That woman just replied, “As a common saying goes, ‘Once you call me mother, then I’ll be your mother for the whole life.’ If she yells at me, then I can beat her.”--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 06:44, 30 May 2022 (UTC)

==英语笔译仝雨梦 Tong Yumeng 202170081594==

袭人唤麝月道：“我不会和人拌嘴，晴雯性太急，你快过去震吓他两句。”麝月听了，忙过来说道：“你且别嚷。我且问你：别说我们这一处，你看满园子里，谁在主子屋里教导过女儿的？就是你的亲女儿，既经分了房，有了主子，自有主子打骂；再者，大些的姑娘姐姐们也可以打得骂得，谁许你老子娘又半中间管起闲事来了！都这样管，又要叫他们跟着我们学什么？越老越没了规矩！你见前日坠儿的妈来吵，你如今也来跟他学！你们放心，因连日这个病那个病，再老太太又不得闲，所以我也没有去回。

Listening to that, Aroma asked Musk Deer Month for help: "I'm clumsy in quarreling with others, and Sunny Cloud Formation has an impatient disposition. Now you go there and frighten her with your words." Hearing that, Musk Deer Month came here in a rush and said, "Hold on a second. Let me ask you: In the Grand View Garden, have you ever seen anyone lecturing their daughter in the master's house? Let alone in our house. Even if Fragrant Official is your own daughter, she has been assigned to a master who will naturally beat her if she makes mistakes; besides, the older sisters and girls in this house are also eligible to do so, in this way, who allowed you to meddle in this business? If all people act like you, how can these little girls learn from us? The older you get, the less rules you have! Witnessing Lassock Drop's mother wrangling here few days ago, so you followed her example today! Trust me, I haven't reported this matter since the ladies fell ill in succession and Grandma Merchant was so busy.

Aroma told Musk, “I’m no good at arguing, and Sunny Cloud Formation’s too hot-tempered. Why don’t you go and give her a good scare?”Hearing that, Musk Deer Month came here in a rush and said, "Hold on a second. Let me ask you: In the Grand View Garden, have you ever seen anyone lecturing their daughter in the master's house? Let alone in our house. Even if Fragrant Official is your own daughter, she has been assigned to a master who will naturally beat her if she makes mistakes; besides, the older sisters and girls in this house are also eligible to do so, in this way, who allowed you to meddle in this business? If all people act like you, how can these little girls learn from us? The older you get, the less rules you have! Witnessing Lassock Drop's mother wrangling here few days ago, so you followed her example today! Trust me, I haven't reported this matter since the ladies fell ill in succession and Grandma Merchant was so busy.--[[User:Tong Lüeya|Tong Lüeya]] ([[User talk:Tong Lüeya|talk]]) 11:36, 29 May 2022 (UTC)

==英语笔译童略雅 Tong Lueya 202170081595==

等两日咱们去痛回一回，大家把这威风煞一煞儿才好呢！况且宝玉才好了些，连我们也不敢说话，你反打得人狼号鬼叫的！上头出了几日门，你们就无法无天的，眼珠子里就没了人了。再两天，你们就该打我们了。他不要你这干娘，怕粪草埋了他不成？”宝玉恨得拿拄杖打着门槛子说道：“这些老婆子都是铁心石肠是的，真是大奇事！不能照看，反倒折挫他们。地久天长，如何是好？”晴雯道：“什么‘如何是好’？都撵了出去，不要这些‘中看不中吃的’！”那婆子羞愧难当，一言不发。

In a couple of days I shall make a full report,and that will take the wind out of your sails.Precious Jade’s just getting better, and we’ve all been trying to keep our voices down; yet you raise a rumpus fit to wake the dead.If the higher-ups are away just a few days,you lot run completely wild with no respect for anyone at all.In another day or two,I suppose,you’ll be slapping us as well. She doesn’t need a foster-mother like you to muck her up!”Precious Jade,in the doorway,pounded the sill with his cane.“How can these old women be so heartless?”he fumed.“Fantastic! Instead of looking after the girls in their charge, they torment them. If this goes on, what’s to be done?”“What’s to be done?”echoed Sunny Cloud Formation.“Drive all those humbugs out,I say.We don’t need such good-for-nothings here.”The woman was too deflated to say a word.

In a couple of days I shall make a full report, and that will take the wind out of your sails.Precious Jade’s just getting better, and we’ve all been trying to keep our voices down; yet you raise a rumpus fit to wake the dead.If the higher-ups are away just a few days, you lot run completely wild with no respect for anyone at all.In another day or two,I suppose, you’ll be slapping us as well. She doesn’t need a foster-mother like you to muck her up!”Precious Jade,in the doorway, pounded the sill with his cane.“How can these old women be so heartless?” Precious Jade was so angry that he banged on the threshold with his stick. ‘These old women have hearts of stone.he fumed.“Fantastic! Instead of looking after the girls in their charge, they torment them. If this goes on, what’s to be done?”“What’s to be done?” echoed Sunny Cloud Formation.“Drive all those humbugs out,I say.We don’t need such good-for-nothings here.” The woman, shamed into silence by Musk's tirade, made no reply.--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 14:28, 29 May 2022 (UTC)

==英语笔译庹树梅 Tuo Shumei 202170081596==

那芳官只穿着海棠红的小棉袄，底下绿绸洒花夹裤，敞着裤脚，一头乌油似的头发披在脑后，哭得泪人一般。麝月笑道：“把个莺莺小姐反弄成才拷打完的红娘了！这会子又不妆扮了，还是这么着？”晴雯因走过去拉了他，替他洗净了发，用手巾拧干，松松的挽了一个慵妆髻；命他穿了衣服，过这边来。接着司内厨的婆子来问：“晚饭有了，可送不送？”小丫头听了，进来问袭人。袭人笑道：“方才胡吵了一阵，也没留心听得，几下钟了？”晴雯道：“这劳什子又不知怎么了，又得去收拾！”

Meanwhile, Fragrant Official, wearing only a cerise padded jacket and flowered green silk lined-trousers, loose around the ankles, her glossy black hair streaming over her shoulders, had given way to floods of tears. It was a spectacle so different from her more familiar stage appearances that Musk could not help laughing at its incongruousness: ‘I must say, you don't look much like Cui Ying-ying at the moment. Reddie after her beating, though: now that's a part you could play without having to make up for it!” Skybright led Parfumee away and washed her hair for her. When she had toweled it dry, she did it up for her in a ‘lazy knot' and told her to go back to Precious Jade 's room when she had finished dressing. The old kitchen-maids now reported that dinner was ready, and asked whether it should be sent in or not. One of the junior maids went inside to ask Aroma. With all that racket just now I forgot to listen for the clock,” she said. “What time is it? It didn't,' said Skybright. ‘The wretched thing needs repairing again, I don't know why.”

Meanwhile, Fragrant Official, wearing only a cerise padded jacket and flowered green silk lined-trousers, loose around the ankles, her glossy black hair streaming over her shoulders, had given way to floods of tears. It was a spectacle so different from her more familiar stage appearances that Musk could not help laughing at its incongruousness: ‘I must say, you don't look much like Cui Ying-ying at the moment. Reddie after her beating, though: now that's a part you could play without having to make up for it!” Skybright led Parfumee away and washed her hair for her. When she had toweled it dry, she did it up for her in a ‘lazy knot' and told her to go back to Precious Jade 's room when she had finished dressing. The old kitchen-maids now reported that dinner was ready, and asked whether it should be sent in or not. One of the junior maids went inside to ask Aroma. With all that racket just now I forgot to listen for the clock,” she said. “argued for a while, and did not pay attention to time, a few timesWhat time is it? It didn't,' said Skybright. ‘The wretched thing needs repairing again, I don't know why.”--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 10:34, 30 May 2022 (UTC)

==英语笔译王思琪 Wang Siqi 202170081597==

说着，拿过表来瞧了一瞧，说道：“再略等半钟茶的工夫就是了。”小丫头去了。麝月笑道：“提起淘气来，芳官也该打两下儿，昨日是他摆弄了那坠子半日，就坏了。”说话之间，便将食具打点现成。一时小丫头子捧了盒子进来站住。晴雯麝月揭开看时，还是这四样小菜。晴雯笑道：“已经好了，还不给两样清淡菜吃！这稀饭咸菜闹到多早晚？”一面摆好，一面又看那盒中，却有一碗火腿鲜笋汤，忙端了放在宝玉跟前。宝玉便就桌上喝了一口，说道：“好汤！”众人都笑道：“菩萨，能几日没见荤腥儿，馋得这样起来？”

Saying that, he took a look at his watch and said, "Just wait for half an hour for tea." "The little girl went. Musk smiled, "When it comes to naughtiness,
Fragrant Official should also hit it twice, yesterday he fiddled with the pendant for half a day, and it broke." Between words, he made some ready-made utensils. At a moment the little girl took the box and came in and stood still. When Skybright Musk Moon was unveiled, it was still these four small dishes. Skybright smiled and said, "It's already good, don't give two light vegetables to eat!" How early and late is this porridge pickle? While laying it out, while looking at the box, there was a bowl of ham fresh bamboo shoot soup, which was busy serving it in front of Precious Jade. Precious Jade took a sip on the table and said, "Good soup! Everyone laughed and said, "Bodhisattva, how many days have you not seen a meaty child, and you are so hungry?" ”

Saying that, he took a look at his watch and said, "Just wait for half an hour for tea." "The little girl went. Musk smiled, "When it comes to naughtiness,
Fragrant Official should also hit him, yesterday he fiddled with the pendant for half a day, and it broke." Between words, he made some ready-made utensils. At a moment the little girl took the box and came in and stood still. When Skybright Musk Moon was unveiled, it was still these four small dishes. Skybright smiled and said, "It's already good, don't give two light vegetables to eat!" How early and late is this porridge pickle? While laying it out, while looking at the box, there was a bowl of ham fresh bamboo shoot soup, which was busy serving it in front of Precious Jade. Precious Jade took a sip on the table and said, "Good soup! Everyone laughed and said, "Bodhisattva, how many days have you not seen a meaty child, and why you are so hungry?”--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 05:08, 1 June 2022 (UTC)

==英语笔译王亚娟 Wang Yajuan 202170081598==

一面说，一面端起来，轻轻用口吹着。因见芳官在侧，便递与芳官，说道：“你也学些服侍，别一味傻玩傻睡。口儿轻着些，别吹上唾沫星儿。”芳官依言果吹了几口，甚妥。他干娘也端饭在门外伺候，向里忙跑进来，笑道：“他不老成，仔细打了碗，等我吹罢。”一面说，一面就接。晴雯忙喊道：“快出去！你让他砸了碗，也轮不到你吹！你什么空儿跑到里槅子来了？”一面又骂小丫头们：“瞎了眼的！他不知道，你们也不说给他！”小丫头们都说：“我们撵他不出去，说他又不信，如今带累我们受气，这是何苦呢！你可信了？

As he spoke, he picked it up and blew it gently. Seeing Fragrant Official at his side, he handed him over and said, "You have to learn to serve others. Don't just play and sleep. Keep your mouth quiet, and don't spit." Fragrant Official blew a few mouthfuls of the fruit according to his words. His foster mother also served at the door, rushed in to the inside, said with a smile: "He is not old, carefully bowl, wait for me to blow. As he spoke, he answered. Skybright quickly shouted: "Get out! Even he breaks the bowl, you are not qualified to blow it either! Okay, well, when did you get up?" "Blind! Blind! He doesn't know, and you won't tell him!" The girls said, "Why is it that we have brought this burden on us because we won't let him out because he doesn't believe us? Can you be trusted?

She took the bowl and blew gently at the film of oil on the surface. Then, noticing Fragrant Official standing near by, she passed the bowl to her. "You can do this," she said. "Time you learned to make yourself useful, instead of acting like a silly goose. Mind you blow gently though. Don't spit into the soup." Fragrant Official did as she was told, and was managing quite well, when in rushed her foster-mother who had been waiting outside with the rice. Now when Fragrant Official and the others first arrived they had been assigned foster-mothers outside, who had later accompanied them to Pear Fragrance Court. This woman had originally been a third-class servant in the Rong Mansion, only doing some laundry work and never entering the inner apartments, so that she did not know the rules of the house. Once the actresses were taken into the Garden, however. their foster-mothers had gone with them to the different apartments. After being told off by Sheyue, this woman was afraid that she might not be allowed to remain in charge of Fragrant Official, and that would be very much to her disadvantage. So she was determined now to win them round. Seeing Fragrant Official blowing on the soup, she hurried in. "Let me do that!' she cried with a smile. "She's so green she may break the bowl.' She reached out for it. "Get out!' shouted Sunny Cloud Formation. "Even if you make her smash it, this is no job for you. How dare you sneak into this room? Out you go at once!' She scolded the younger maids, "Are you all blind? If she doesn't know any better, you should have told her." "We tried to chase her away but she wouldn't go, they protested. "She didn't believe us. And now she's got us into trouble too." They rounded on the woman. "Now do you believe us?--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 02:24, 29 May 2022 (UTC)

==英语笔译肖冬晴 Xiao Dongqing 202170081599==

我们到的地方儿，有你到的一半儿，那一半儿是你到不去的呢！何况又跑到我们到不去的地方还不算，又去伸手动嘴的了。”一面说，一面推他出去。阶下几个等空盒家伙的婆子见他出来，都笑道：“嫂子也没有‘用镜子照一照’，就进去了！”羞得那婆子又恨又气，只得忍耐下去了。芳官吹了几口，宝玉笑道：“你尝尝，好了没有？”芳官当是玩话，只是笑着看袭人等。袭人道：“你就尝一口何妨？”晴雯笑道：“你瞧我尝。”说着便喝一口。芳官见如此，他便尝了一口，说：“好了。”

Half the places we’re allowed in are out of bounds to you, yet here you come bursting in where even we are forbidden to go. As if that weren’t enough, you now start reaching out and opening your big mouth!" They bundled the woman off. The matrons waiting at the foot of the steps for the hampers greeted her with mocking laughter. "You should have looked in the mirror before butting in there, sister," one of them sniggered. The woman, torn between rage and shame, had to control herself as best she could. By now, Fragrant Official had blown on the soup several times. "That’ll do," said Precious Jade. "Don’t tire yourself. Taste it to see if it’s cool enough." Thinking he must be joking, she turned with a smile to Aroma and the other girls. "Go on, taste it,” urged Aroma. "Let me show you," offered Sun Cloud Formation, then took a sip. Fragrant Official followed her example."It’s all right," she said.

Half the places we’re allowed in are out of bounds to you, yet here you come bursting in where even we are forbidden to go. As if that weren’t enough, you now start reaching out and opening your big mouth!" They bundled the woman off. The matrons waiting at the foot of the steps for the hampers greeted her with mocking laughter. "You should have looked in the mirror before butting in there, sister," one of them sniggered. The woman, torn between rage and shame, had to control herself as best she could. By now, Fragrant Official had blown on the soup several times. "That’ll do," said Precious Jade. "Don’t tire yourself. Taste it to see if it’s cool enough." Thinking he must be joking, she turned with a smile to Aroma and the other girls. "Go on, taste it,” urged Aroma. "Let me show you," offered Sun Cloud Formation, then took a sip. "It's all right." she said, and handed Precious Jade the bowl. --[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 16:01, 31 May 2022 (UTC)

==英语笔译肖佳莉 Xiao Jiali 202170081600==

递与宝玉，喝了半碗，吃了几片笋，又吃了半碗粥，就罢了。众人便收出去。小丫头捧沐盆，盥漱毕，袭人等去吃饭。宝玉使个眼色与芳官，芳官本来伶俐，又学几年戏，何事不知。便装肚子疼，不吃饭了。袭人道：“既不吃，在屋里做伴儿。把粥留下，你饿了再吃。”说着都去了。宝玉将方才见藕官，如何谎言护庇，如何藕官叫我问你，细细的告诉一遍，又问：“他祭的果系何人？”芳官听了，眼圈儿一红，又叹一口气，道：“这事说来，藉官儿也是胡闹。”宝玉忙问：“如何？”芳官道：“他祭的就是死了的药官儿。”

Precious Jade Merchant drank about half the soup, ate a few pieces of bamboo-shoot, consumed half a bowlful of the gruel, and declared himself satisfied. The servants cleared away. A little maid came in with a wash-bowl. After he had washed his hands and rinsed his mouth out, it was Aroma's and the other senior maids' turn to have their dinner. Precious Jade Merchant signaled at this point to Fragrant Official. And since she was quick in the uptake and had learned a good deal in her few years as an actress, She had a stomach-ache, she told them. She didn't feel like any dinner. “Then you may as well stay here and keep him company,” said Aroma. “I'll leave you the gruel, in ease you feel like it later.” Precious Jade Merchant was now able to tell Fragrant Official about his encounter with Actress Lotus-root - how he had lied to protect her and how, feeling unable to answer his question herself, she had referred him to Fragrant Official for an explanation. “For whom were those offerings?” he asked. Fragrant Official's eyes reddened slightly and she sighed. ‘Oh, Actress Lotus-root is crazy.” Why?” said Precious Jade Merchant. “What do you mean?”“ It was for Pivoine,”said Fragrant Official, “the girl in our troupe who died.”

She passed the soup to Precious Jade, who drank about half a bowl and ate a few pieces of bamboo-shoot with half a bowlful of the gruel, and declared himself satisfied. The servants cleared away. A little maid came in with a wash-bowl. After he had washed his hands and rinsed his mouth out, it was Aroma's and the other senior maids' turn to have their dinner. Precious Jade signaled at this point to Fragrant Official. And since she was quick in the uptake and had learned a good deal in her few years as an actress, she had a stomach-ache, she told them. She didn't feel like any dinner. “Then you may as well stay here and keep him company,” said Aroma. “I'll leave you the gruel, in ease you feel like it later.” Precious Jade was now able to tell Fragrant Official about his encounter with Actress Lotus-root - how he had lied to protect her and how, feeling unable to answer his question herself, she had referred him to Fragrant Official for an explanation. “For whom were those offerings?” he asked. Fragrant Official's eyes reddened slightly and she sighed. ‘Oh, Actress Lotus-root is crazy.” Why?” said Precious Jade. “What do you mean?”“ It was for Pivoine,”said Fragrant Official, “the girl in our troupe who died.” --[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 08:54, 1 June 2022 (UTC)

==英语笔译谢晓莹 Xie Xiaoying 202170081601==

宝玉道：“他们两个也算朋友，也是应当的。”芳官道：“那里又是什么朋友哩？那都是傻想头，他是小生，药官是小旦，往常时，他们扮作两口儿，每日唱戏的时候，都装着那么亲热，一来二去，两个人就装糊涂，倒像真的一样儿。后来两个竟是你疼我，我爱你。药官儿一死，他就哭的死去活来的，到如今不忘，所以每节烧纸。后来补了蕊官，我们见他也是那样，就问他：‘为什么得了新的就把旧的忘了？’他说：‘不是忘了，比如人家男人死了女人，也有再娶的，只是不把死的丢过不提就是有情分了。’你说他是傻不是呢？”

Precious Jade said, “Why not, if they were friends?” Fragrant Official said, “They weren’t just ordinary friends. Ouguan had the fantastic notion that as she used to play young men and Diguan young ladies, and as they were often cast as husband and wife, although it was make-believe they should act the part every day as if they were really in love. So they became so crazy about each other that even offstage they were for ever together. In the end they were so devoted that when Diguan died she nearly cried her heart out, and to this day she’s never forgotten her. That’s why she burns paper money at all the festivals. When Actress Pistil later took Diguan’s place, we found that Ouguan was just as attached to her. ‘Has your new sweetheart made you forget the old one?’ we asked. ‘No, but there’s a very good reason for this,’ she told us. ‘I’m like a widower who marries again. If he doesn’t forget his first wife, he’s still true to her. But if he insists on remaining single all the rest of his life, that’s against the rules of propriety too, and how could his dead wife rest in peace in her grave?‘ Don’t you call that crazy and senseless? It’s really ridiculous!”

Precious Jade said, “Why not, if they were friends?” Fragrant Official replied, “They weren’t just ordinary friends. Ouguan had the fantastic notion that as she used to play young men and Diguan young ladies, and as they were often cast as husband and wife, although it was make-believe they should act the part every day as if they were really in love. So they became so crazy about each other that even offstage they were for ever together. In the end they were so devoted that when Diguan died she nearly cried her heart out, and to this day she’s never forgotten her. That’s why she burns paper money at all the festivals. When Actress Pistil later took Diguan’s place, we found that Ouguan was just as attached to her. ‘Has your new sweetheart made you forget the old one?’ we asked. ‘No, but there’s a very good reason for this,’ she told us. ‘I’m like a widower who marries again. If he doesn’t forget his first wife, he’s still true to her. But if he insists on remaining single all the rest of his life, that’s against the rules of propriety too, and how could his dead wife rest in peace in her grave?‘ Don’t you call that crazy and senseless? It’s really ridiculous!”--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 08:59, 1 June 2022 (UTC)

==英语笔译熊嘉玲 Xiong Jialing 202170081602==

宝玉听了这呆话，独合了他的呆性，不觉又欢又悲，又称奇道绝，拉着芳官嘱咐道：“既如此说，我有一句话嘱咐你，须得你告诉他：以后断不可烧纸，逢时按节，只备一炉香，一心虔诚，就能感应了。我那案上也只设着一炉，我有心事，不论日期，时常焚香；随便新茶新水，就供一盏；或有鲜花鲜果，甚至荤腥素菜都可。只要敬心，不在虚名。以后快命他不可再烧纸！”芳官听了，便答应着；一时吃过粥，便有人回：“老太太回来了。”要知端的，且看下回分解。
◎第五十九回柳叶渚边嗔莺叱燕绛芸轩里召将飞符

However, foolish Precious Jade heard such foolish talk. He exclaimed in wonder, torn between sadness and joy. He took Fragrant Official's hand and urged her, “If that’s how things are, you must tell her something from me. ” “What is it?’”asked Fragrant Official.“In future, she mustn’t burn paper coins. At all future festivals she need only burn some incense in a censer; and if her heart is pure, Diguan’s spirit will know it. There is a censer on my desk. Whenever I miss some dead friend, whatever the date, I burn incense and offer some fresh water or tea, or maybe flowers or fruit, or even meat or vegetables. As long as your heart is pure, Buddha himself will come to the sacrifice. That’s why we say: ‘It’s the intention that counts, not the empty form.’ So go presently and tell her not to burn any more paper money in future.”Fragrant Official promised to do this and then had the rice gruel. Just at that moment someone announced that Their Ladyships were back. To know what happened after, read the next chapter. Chapter 59 Yinger and Chunyan Are Scolded by Willow Bank And Red Rue Studio Sends for Reinforcements

However, foolish Precious Jade heard such foolish talk. He exclaimed in wonder, torn between sadness and joy. He took Fragrant Official's hand and urged her, “If that’s how things are, you must tell her something from me. ” “What is it?’”asked Fragrant Official.“In future, she mustn’t burn paper coins. At all future festivals she need only burn some incense in a censer; and if her heart is pure, Diguan’s spirit will know it. There is a censer on my desk. Whenever I miss some dead friend, whatever the date, I burn incense and offer some fresh water or tea, or maybe flowers or fruit, or even meat or vegetables. As long as your heart is pure, Buddha himself will come to the sacrifice. That’s why we say: ‘It’s the intention that counts, not the empty form.’ So go presently and tell her not to burn any more paper money in future.”Fragrant Official promised to do this and then had the rice gruel. Just at that moment someone announced that Their Ladyships were back. To know what happened after, read the next chapter.
Chapter 59 Yinger and Chunyan Are Scolded by Willow Bank And Red Rue Studio Sends for Reinforcements--[[User:Yang Xinyi|Yang Xinyi]] ([[User talk:Yang Xinyi|talk]]) 09:40, 1 June 2022 (UTC)

==英语笔译杨心怡 Yang Xinyi 202170081604==

话说宝玉闻听贾母等回来，随多添了一件衣服，拄了杖前边来，都见过了。贾母等因每日辛苦，都要早些歇息，一宿无话。次日五更，又往朝中去。离送灵日不远，鸳鸯、琥珀、翡翠、玻璃四人，都忙着打点贾母之物；玉钏、彩云、彩霞皆打点王夫人之物；当面查点与跟随的管事媳妇们。跟随的一共大小六个丫鬟，十个老婆媳妇子，男人不算。连日收拾驮轿器械。鸳鸯与玉钏儿皆不随去，只看屋子。一面先几日预备帐幔铺陈之物，先有四五个媳妇并几个男子领了出来，坐了几辆车绕道，先至下处，铺陈安插等候。
It was said that when Baoyu heard that Mother Jia was waiting for her return, she added an extra piece of clothes, leaned on a cane and came forward, and she had seen it all. Jia Mu and others had to rest early because of their hard work every day, and they were speechless all night. At the fifth watch the next day, we went to the DPRK again. Not far from the day of the funeral, Yuanyang, Amber, Emerald, and Glass were all busy arranging things for Jia Mu; Yuchuan, Caiyun, and Caixia all arranged things for Mrs. Wang; they checked and followed the stewards and daughters-in-law in person. There are a total of six maids, ten wives and daughters-in-law, not counting men. Packing up the sedan chair for days. Yuanyang and Yuchuan'er did not follow, they only looked at the house. On the one hand, they prepared the curtains for a few days. First, four or five daughters-in-law and a few men led them out. They took a few cars to make a detour, and went down to the next place first, where they laid out the arrangements and waited.

==英语笔译杨紫微 Yang Ziwei 202170081605==

临日，贾母带着贾蓉媳妇坐一乘驮轿，王夫人在后，亦坐一乘驮轿；贾珍骑马，率了众家丁围护；又有几辆大车，与婆子丫鬟等坐，并放些随换的衣包等件。是日薛姨妈尤氏率领诸人直送至大门外方回。贾琏恐路上不便，一面打发他父母起身，赶上贾母王夫人驮轿，自己也随后带领家丁押后跟来。荣府内，赖大添派人丁上夜，将两处厅院都关了，一应出入人等皆走西边小角门；日落时，便命关了仪门，不放人出入；园中前后东西角门亦皆关锁，只留王夫人大房之后常系他姊妹出入之门，东边通薛姨妈的角门：这两门因在里院，不必关锁；

On the next day, Grandma Merchant took Prosperity Merchant, her daughter-in-law, to sit in a pack sedan, and Lady King followed who sat in another one. Treasure Merchant rode a horse and led servants for protection. There were several carts for nannies and servant girls, and some clothes and bags to change at any time were also put in it. That day Aunt Marshgrass and Madam You led all people see them out of the gate before coming back. Fearing that the journey might be inconvenient, Romance Merchant sent his parents on their way to catch the sedan chair of Lady King and Grandma Merchant, then he caught up later who followed by servants. Inside Rong House, Big Rely sent more servants to keep watch at night and asked them to close the two halls and courtyards, and all people who came and went through the small corner gate on the west side. At sunset, he ordered to shut down the ceremony door so that no one would go in or out. The front, rear, east and west corner doors of the garden were also locked, except for the door of Lady King's main room which was for her sisters’ use. As for corner doors which opened to the east towards Aunt Marshgrass’s room, they did not need to be locked because they were in the inner garden.

When the day came, Grandma Merchant and Prosperity’s wife took a horse-borne litter, and Lady King followed them behind. Treasure Merchant rode a horse and led servants for protection. There were several big carts for serving-women and young maids which also carried changes of clothing. That day Aunt Marshgrass and Madam You saw them off from outside of the main gate with the rest of serving-women. Fearing that the journey might be inconvenient, Romance Merchant sent his parents on their way and caught up with the litters which Lady King and Grandma Merchant sat, and then followed the escort. In Rong House, Big Rely sent more servants to keep watch at night and asked them to close the two main gates and all people who came and went passed the small corner gate on the west side. At sunset, he ordered to shut down the ceremonial door, allowing no entrance or exit. The front and back slide gates and those to the east and west of the garden were also locked, except for the door of Lady King’s main room which was used by the girls. As for corner doors which opened to the east towards Aunt Marshgrass’s room, they did not need to be locked because they were in the inner garden.--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 12:55, 28 May 2022 (UTC)

==英语笔译张国浩 Zhang Guohao 202170081606==

里面鸳鸯和玉钏儿也将上房关了，自领丫鬟婆子下房去歇；每日林之孝家的带领十来个老婆子上夜，穿堂内又添了许多小厮更打：已安插得十分妥当。一日清晓，宝钗春困已醒，搴帷下榻，微觉轻寒，及启户视之，见园中土润苔青：原来五更时落了几点微雨。于是唤起湘云等人来。一面梳洗，湘云因说两腮作痒，恐又犯了杏斑癣，因问宝钗要些蔷薇硝擦。宝钗道：“前日剩的都给了妹子了。”因说：“颦儿配了许多，我正要要他些来，因今年竟没发痒，就忘了。”因命莺儿去取些来。莺儿应了才去时，蕊官便说：“我同你去，顺便瞧瞧藕官。”

Inside the garden, Mandarin Duck and Jade Bracelet also closed the doors of main apartments, and took some maids from there to stay in the servants’ quarters to have rests. While every night Filial Piety Forest's Wife took some old serving-women stay in the garden to keep watch. All entrance halls were patrolled by pages with clappers. Everything was done with a well-arranged order. On a early spring morning when Precious Hairpin awoke from the spring fatigue, parted the bed-curtains and got up, she found it was a little bit cold. She opened the door and looked outside. The soil in the yard was wet and moss was green. There was also some rain falling down at dawn. She woke up Fragrant-cloud and other people. While they were dressing, Fragrant-cloud said her cheeks were itched. She was afraid that she had the spring rashes again, so she asked Precious Hairpin whether she had rose powder. Precious Hairpin said: “I have given all I had to my sister Precious Strings a few days ago. Mascara Jade has made a lot and I was about to ask her for some. But I forgot this thing because I did not have any itched feelings this spring.” Then she let Maid Oriole go Mascara Jade’s residence to fetch some powder. As Maid Oriole was about to go, Actress Pistil said: “I will go with you together and visit Actress Lotus-root by the way.”

Inside, Mandarin Duck and Jade Bracelet also closed their mistresses’ main apartments, and took the other maids and matrons from there to stay in the servants’ quarters; while every night Filial Piety Forest's Wife brought some dozen old serving-women to keep watch, and all the entrance halls were patrolled by extra pages with clappers. In this way excellent order was maintained. Early one spring morning when Precious Hairpin awoke, parted her bed-curtains and got up, she found it rather chilly. She opened the door and looked out. The soil in the courtyard was moist, the moss on it green, for a light rain had fallen at dawn. She then woke Fragrant-cloud and the others. As they were dressing, Fragrant-cloud remarked that her cheeks itched. She was afraid she had a spring rash again, and would like some rose-nitric powder to apply to it. “I gave all I had left the other day to Precious Strings,” Precious Hairpin told her. “Mascara Jade had a good deal made and I was meaning to ask her for some, but not having felt any itching this spring I forgot.” She ordered Oriole to go and fetch some of this powder. As Oriole was about to leave on this errand, Etamine offered to go with her, as that would give her a chance to see Nenuphar.--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 07:46, 28 May 2022 (UTC)

==英语笔译张姣玲 Zhang Jiaoling 202170081607==

说着一径同莺儿出了蘅芜苑。二人你言我语，一面行走，一面说笑，不觉到了柳叶渚，顺着柳堤走来。因见叶才点碧，丝若垂金，莺儿便笑道：“你会拿这柳条子编东西不会？”蕊官笑道：“编什么东西？”莺儿道：“什么编不得？玩的，使的，都可。等我摘些下来，带着这叶子编一个花篮，采了各色花儿放在里头，才是好玩呢！”说着，且不去取硝，且伸手采了许多嫩条，命蕊官拿着，他却一行走，一行编花篮。随路见花便采一二枝，编出一个玲珑过梁的篮子。枝上自有本来翠叶满布，将花放上，却也别致有趣。
So the two of them set off from Alpinia Park. Chatting as they strolled, the girls soon reached Willow Bank. As they walked along it they saw that the willows, now turning green, seemed hung with golden threads. “Can you weave things out of osiers?” Oriole asked. “What sort of things?” “Oh, anything ‘ little toys or useful objects. Wait till I’ve picked a few twigs with leaves and I’ll make a basket to fill with different flowers. That should be fun.” So instead of fetching the powder, Oriole plucked an armful of tender twigs which she made Etamine carry, and started to weave a basket as on they walked, stopping now and then to pick flowers. The dainty little basket was soon completed. Covered with its own fresh green leaves and filled with flowers, it made a charming and original toy.

So the two of them set off from Alpinia Park. Chatting as they strolled, they soon reached Willow Bank. As they walked along it, they saw that willows, now turning green, seemed hung with golden threads. “Can you weave things out of osiers?” Oriole asked. “What sort of things?” “Oh, anything ‘ little toys or useful objects. Wait till I’ve picked a few twigs with leaves and I’ll make a basket to fill with different flowers. That should be fun.” So instead of fetching the powder, Oriole plucked an armful of tender twigs which she made Etamine carry, and started to weave a basket as on they walked, stopping now and then to pick flowers. The dainty little basket was soon completed. Covered with its own fresh green leaves and filled with flowers, it made a charming and original toy.--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 03:49, 30 May 2022 (UTC)

==英语笔译张瑞 Zhang Rui 202170081608==

喜得蕊官笑道：“好姐姐，给了我罢！”莺儿道：“这一个咱们送林姑娘，回来咱们再多采些，编几个大家玩。”说着，来至潇湘馆中。黛玉也正晨妆，见了这篮子，便笑说：“这个新鲜花篮是谁编的？”莺儿说：“我编了，送与姑娘玩的。”黛玉接了，笑道：“怪道人人赞你的手巧，这玩意儿却也别致。”一面瞧了，一面便叫紫鹃挂在那里。莺儿又问侯薛姨妈，方和黛玉要硝。黛玉忙命紫鹃去包了一包，递与莺儿。黛玉又说道：“我好了，今日要出去逛逛；你回去说与姐姐，不用过来问候妈了，也不敢劳他过来，我梳了头，同妈都往你那里去吃饭，大家热闹些。”

Actress Pistil smiled and said, "Good sister, give it to me!" Maid Oriole said, "Let's send Mascara Jade this one, and when we come back, we'll pick more and make up a few for everyone to play." She said, and came to the Bamboo Lodge. Mascara Jade was also making up in the morning, and when she saw this basket, she smiled and said, "Who made this fresh flower basket?" Maid Oriole said, "I made it up and sent it to the girl to play with." Mascara Jade took it and smiled, "It's true that everyone praises your skill, and this thing does look chic." As she looked, she told Nightingale to hang it there. Maid Oriole asked Aunt Marshgrass again, then asked Mascara Jade for saltpetre. Mascara Jade order Nightingale to wrap a bag and hand it to Maid Oriole. Mascara Jade said again, "I'm fine, I'm going to go out for a walk today; you go back and say that you and your sister don't have to come over to greet her, and you don't dare to ask her to come over, I combed my hair and go to your place with her to eat, it is more fun."

Actress Pistil smiled and said, "My dear sister, give it to me!" Maid Oriole said, "Let's send this one to Mascara Jade, and when we come back, we'll pick more and make up a few for everyone to play." She said, and came to the Bamboo Lodge. Mascara Jade was also making up in the morning, and when she saw this basket, she smiled and said, "Who made this fresh flower basket?" Maid Oriole said, "I made it up and sent it to you to play with." Mascara Jade took it and smiled, "It's true that everyone praises your skill, and this thing does look chic." As she looked, she told Nightingale to hang it there. Maid Oriole greeted Aunt Marshgrass again, then asked Mascara Jade for saltpetre. Mascara Jade order Nightingale to wrap a bag and hand it to Maid Oriole. Mascara Jade said again, "I'm fine, I'm going out for a walk today; you go back and tell sister that both of you don't have to come over to greet Aunt Marshgrass, and I don't dare to ask her to come over. After I comb my hair, we will go to eat in your room with Aunt Marshgrass, which is more fun."--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 08:42, 30 May 2022 (UTC)

==英语笔译赵宇翔 Zhao Yuxiang 202170081609==

莺儿答应了出来，便到紫鹃房中找蕊官，只见蕊官却与藉官二人正说得高兴，不能相舍，莺儿便笑说：“姑娘也去呢，藕官先同去等着，岂不是好？”紫鹃听见如此说，便也说道：“这话倒很是，他这里淘气的可厌。”一面说，一面便将黛玉的匙箸用一块洋巾包了，交与藕官道：“你先带了这个去，也算一趟差了。”藕官接了，笑嘻嘻同他二人出来，一径顺着柳堤走来。莺儿便又采些柳条，索性坐在山石上编起来；又命蕊官先送了硝去再来。他二人只顾爱看他编，那里舍得去？莺儿只管催，说：“你们再不去，我就不编了。”

Maid Oriole promised and went out to Nightingale's room to find Actress Pistil, only to see that Actress Pistil and Actress Lotus-root were chatting merrily and couldn't be separated. Maid Oriole then smiled and said, "Actress Lotus-root can go with us, too. You go and wait for us there, isn't it a good idea?" Nightingale heard this and said, "So it is. She is so naughty there." She then packed Mascara Jade's spoon and chopsticks with a foreign scarf and handed it to Actress Lotus-root, saying, "Take this with you, it's also a piece of work." Actress Lotus-root took it and went out with Maid Oriole and Actress Pistil, smiling. They walked along the willow bank. Maid Oriole got some wicker and sat on the stone of the rockery to weave the flower basket. She then asked Actress Pistil to send the nitre first. But the two were attracted by her weaving the basket and unwilling to go to finish their work. Maid Oriole urged them to go quickly and said, "I won't do this any more if you don't go."

==英语笔译郑冬琴 Zheng Dongqin 202170081610==

藕官便说：“同你去了，再快回来。”二人方去了。这里莺儿正编，只见何妈的小女春燕走来，笑问：“姐姐编什么呢？”正说着，蕊官藕官也到了，春燕便向藕官道：“前日你到底烧了什么纸？被我姨妈看见了，要告你没告成，倒被宝玉赖了他好些不是，气得他一五一十告诉我妈。你们在外头这二三年了，积了些什么仇恨，如今还不解开？”藕官冷笑道：“有什么仇恨？他们不知足，反怨我们了。在外头这两年，不知赚了我们多少东西。你说说，可有的没的？”
春燕笑道：“他是我的姨妈，也不好向着外人反说他的。
‘I’ll go with you,’ volunteered Actress Lotus-root. ‘Then we can hurry back.’And with that they went off. Presently along came Mother He’s young daughter Spring Swallow, who wanted to know what Maid Oriole was making. Just at that moment the other girls returned.‘What was that paper you were burning the other day when my aunt spotted you?’ Spring Swallow asked Actress Lotus-root. ‘Before she could report you, Precious Jade Merchant gave her such a dressing-down that she went off in a huff and told my mother all about it. What feud did you have with them those few years in the troupe outside the Garden that you’re still at loggerheads?’‘What feud?’ Actress Lotus-root snorted. ‘There’s just no satisfying them they’re for ever nagging at us. Not to mention anything else, goodness knows how much they made the last two years out of our daily food allowance outside ‘ more than enough to feed their own families ‘ in addition to their rake off on purchases. Yet any job we give them, they complain to high heaven. What sort of behaviour is that?’Spring Swallow smiled.‘She’s my aunt, so I can’t run her down to outsiders.

‘I’ll go with you,’ volunteered Actress Lotus-root. ‘Then we can hurry back.’And with that they went off. Presently along came Mother He’s young daughter Spring Swallow, who wanted to know what Maid Oriole was making. Just at that moment the other girls returned.‘What was that paper you were burning the other day when my aunt spotted you?’ Spring Swallow asked Actress Lotus-root. ‘Before she could report you, Precious Jade Merchant gave her such a dressing-down that she went off in a huff and told my mother all about it. What feud did you have with them those few years in the troupe outside the Garden that you’re still at loggerheads?’‘What feud?’ Actress Lotus-root snorted. ‘There’s just no satisfying them they’re for ever nagging at us. Not to mention anything else, goodness knows how much they made the last two years out of our daily food allowance outside ‘ more than enough to feed their own families ‘ in addition to their rake off on purchases. Yet any job we give them, they complain to high heaven. What sort of behaviour is that?’Spring Swallow smiled.‘She’s my aunt, so I can’t run her down to outsiders.--[[User:Zhong Qing|Zhong Qing]] ([[User talk:Zhong Qing|talk]]) 02:15, 1 June 2022 (UTC)

==英语笔译钟青 Zhong Qing 202170081611==

怨不得宝玉说：‘女孩儿未出嫁是颗无价宝珠，出了嫁不知怎么就变出许多不好的毛病来；再老了，更不是珠子，竟是鱼眼睛了！分明一个人，怎么变出三样来？’这话虽是混账话，想起来真不错。别人不知道，只说我妈和姨妈，他老姐儿两个，如今越老了，越把钱看得真了。先是老姐儿两个在家抱怨没个差使进益；幸亏有了这园子，把我挑进来，可巧把我分到怡红院。家里省了我一个人的费用不算外，每月还有四五百钱的余剩，这也还说不够。后来老姐儿两人都派到梨香院去照看他们，藕官认了我姨妈，芳官认了我妈，这几年着实宽绰了。

"But no wonder Precious Jade Merchant says: 'A girl before marriage is a precious pearl; after marriage,she somehow picks up all sorts of bad habits so that the pearl loses its lustre -- it's a dead pearl; and as she grows still older, the pearl changes into a fish-eye. What a metamorphosis!'That's silly talk maybe, still there's something in it. I don't know about other people, but as for my mother and her sister, my aunt, it's true that the older they grow the madder they get for money. First, at home,the two of them groused that they had no fat jobs; then luckily there was this Garden and I happened to be assigned to Happy Red Court; so apart from saving my keep, the family got four or five hundred cash extra a month. But they still said that wasn't enough. Later both were assigned to Pear Fragrance Court to look after the actresses. My aunt had Actress Lotus-root her foster-daughter; my mother, Fragrant Official; so for the last few years they were in clover. "

"But no wonder Precious Jade Merchant says: 'A girl before marriage is a precious pearl; after marriage, she somehow picks up all sorts of bad habits so that the pearl loses its lustre -- it's a dead pearl; and as she grows still older, the pearl changes into a fish-eye. What a metamorphosis!' That's silly talk maybe, still there's something in it. I don't know about other people, but as for my mother and her sister, my aunt, it's true that the older they grow the madder they get for money. First, at home, the two of them groused that they had no fat jobs; then luckily there was this Garden and I happened to be assigned to Happy Red Court; so apart from saving my keep, the family got four or five hundred cash extra a month. But they still said that wasn't enough. Later both were assigned to Pear Fragrance Court to look after the actresses. My aunt had Actress Lotus-root her foster-daughter; my mother, Fragrant Official; so for the last few years they were in clover. "--[[User:Zhou Haoxi|Zhou Haoxi]] ([[User talk:Zhou Haoxi|talk]]) 09:15, 1 June 2022 (UTC)

==英语笔译周皓熙 Zhou Haoxi 202170081612==

如今挪进来，也算撂开手了，还只无厌。你说好笑不好笑？接着我妈和芳官女吵了一场，又要宝玉吹汤，讨个没趣儿。幸亏园里的人多，没人记的清楚谁是谁的亲故；要有人记得，我们一家人，叫人家看着什么意思呢！你这会子又跑了来弄这个。这一带地上的东西，都是我姑妈管着，他一得了这地，每日起早睡晚，自己辛苦了还不算，每日逼着我们来照看，生怕有人遭塌，我又怕误了我的差使；如今我们进来了，老姑嫂两个照看得谨谨慎慎，一根草也不许人乱动。你还掐这些花儿，又折他的嫩树枝子，他们即刻就来，仔细他们抱怨。”

Now that we moved in, we completely gave up. I had no other thoughts. It's so funny. Then my mom had a quarrel with Fragrant Official, asking Precious Jade to chill the soup. Made herself embarrassed. Luckily, there weren't many people in the yard at that time and no one knew clearly the relations. If anyone knew, we were going to be a joke. You came to do this now? See the things on the ground, they are all my aunt's charging. She couldn't do that much. Nearly in the morning and late at night, making herself tired does not count, she even wanted us to be with her so that she doesn't have to worry anyone damaging it. I feared that my work would be impeded. Now I came in, the old ladies were so careful. Don't even allow others to touch a grass. You picked the flowers and fresh branches. They are coming soon and you are doomed."

Now that we moved in, we completely gave up. I had no other thoughts. It's so funny. Then my mom had a quarrel with Fragrant Official, and then she asked Precious Jade to chill the soup. Only to make herself embarrassed. Luckily, there weren't many people in the yard at that time and no one knew clearly the relations. If anyone knew, we were going to be a joke. You came to do this now? See the things on the ground, they are all my aunt's charging. She couldn't do that much. Nearly in the morning and late at night, making herself tired does not count, she even wanted us to be with her so that she doesn't have to worry anyone damaging it. I feared that my work would be impeded. Now I came in, the old ladies were so careful. Don't even allow others to touch a grass. You picked the flowers and fresh branches. They are coming soon and you are doomed."--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 15:15, 31 May 2022 (UTC)

==英语笔译周哲 Zhou Zhe 202170081613==

莺儿道：“别人折掐使不得，独我使得。自从分了地基之后，各房里每日皆有分例的，不用算；单管花草玩意儿，谁管什么，每日谁就把各房里姑娘丫头戴的，必要各色送些折枝的去，另有插瓶的。惟有我们姑娘说了：‘一概不用送，等要什么再和你要。’究竟总没要过一次。我今便掐些，他们也不好意思说的。”一言未了，他姑妈果然拄了拐杖走来。莺儿春燕等忙让坐。那婆子见采了许多嫩柳，又见藕官等采了许多鲜花，心里便不受用；看着莺儿编弄，又不好说什么，便说春燕道：“我叫你来照看照看，你就贪住玩不去了，
"Others may not be allowed to pick what they like, but I am, "retorted Maid Oriole." After the different places were allotted, each household was assigned its share of the produce. Not counting edibles, just take flowers for example. Those in charge have to send some over every day for the young ladies and maids to wear, as well as to put in their vases. My young lady was the only one who told them not to send any. She said she'd ask for what she needed, but in fact she never once has. So how can they scold me for picking a few flowers now?"
While she was still speaking, sure enough, along came Spring Swallow's aunt leaning on her cane. Maid Oriole and Spring Swallow at once urged her to be seated. The sight of all the willow twigs and flowers which Actress Lotus-root and the others had picked vexed the woman, but not liking to say anything against Maid Oriole, who was making a basket, she rounded on her niece.
"I told you to keep an eye on things, but you take that as a chance to play around …

"Others may not be allowed to pick what they like, but I am, "retorted Maid Oriole." After the different places were allotted, each household was assigned its share of the produce. Not counting edibles, just take flowers for example. Those in charge have to send some over every day for the young ladies and maids to wear, as well as to put in their vases. My young lady was the only one who told them not to send any. She said she'd ask for what she needed, but in fact she never once has. So how can they scold me for picking a few flowers now?"
While she was still speaking, sure enough, along came Spring Swallow's aunt leaning on her cane. Maid Oriole and Spring Swallow at once urged her to be seated. The sight of all the willow twigs and flowers which Actress Lotus-root and the others had picked vexed the woman, but not liking to say anything against Maid Oriole, who was making a basket, she rounded on her niece.
"I told you to keep an eye on things, but you take that as a chance to play around …--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 05:08, 31 May 2022 (UTC)

==英语笔译朱丽娟 Zhu Lijuan 202170081614==

倘或叫起你来，你又说我使你了，拿我作隐身草儿，你来乐！”春燕道：“你老人家又使我，又怕，这会子反说我，难道把我劈八瓣子不成？”莺儿笑道：“姑妈，你别信小燕儿的话。这都是他摘下来，烦我给他编，我撵他，他不去。”春燕笑道：“你可少玩儿！你只顾玩儿，他老人家就认真的。”那婆子本是愚夯之辈，兼之年近昏眊，惟利是命，一概情面不管；正心疼肝断，无计可施，听莺儿如此说，便倚老卖老，拿起柱杖向春燕身上击上几下，骂道：“小蹄子，我说着你，你还和我强嘴儿呢！
"l told you not go back to your apartments. When they want you there, you say you've been working for me. Using me as your cover,ch?"
"You order me about yet you're afraid, and now you're scolding me," protested Spring Swallow. "l can't be everywhere at once, can I?"
"Don't you believe her, aunt," chuckled Yinger. "She was the one who picked all these and asked me to make her a basket. When I tried to chase her away, she wouldn't go."
"Don't talk such nonsense!" cried Spring Swallow. “My aunt can't take a joke, she'll believe you."
Indeed, her aunt had been born stupid, and now that age had addled her wits her one interest in life was money: she had no consideration at all for others. Inwardly fuming, she had not known how to retaliate until Yinger made this joke. Now, presuming on her seniority, she raised her cane and struck her niece several blows.
"Little bitch!"she swore. "I'll teach you to talk back!

"I told you not go back to your apartments. When they want you there,you say you've been working for me. Using me as your cover?" "You order me about yet you're afraid, and now you're scolding me,"protested Spring Swallow. "I can't be everywhere at once,can I?" "Don't you believe her, aunt," chuckled Oriole. "She was the one who picked all these and asked me to make her a basket. When I tried to chase her away,she wouldn't go." "Don't talk such nonsense!" cried Spring Swallow. “My aunt can't take a joke,she'll believe you." Indeed,her aunt had been born stupid, and now that age had addled her wits her one interest in life was money: she had no consideration at all for others. Inwardly fuming,she had not known how to retaliate until Yinger made this joke. Now,presuming on her seniority,she raised her cane and struck her niece several blows. "Little bitch!"she swore. "I'll teach you to talk back!--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 13:21, 31 May 2022 (UTC)

==英语口译段小蝶 Duan Xiaodie 202170081615==

你妈恨的牙痒痒，要撕你的肉吃呢，你还和我梆子是的。”打得春燕又愧又急，因哭道：“莺儿姐姐玩话，你就认真打我！我妈为什么恨我？又没烧糊了洗脸水，有什么不是？”莺儿本是玩话，忽见婆子认真动了气，忙上前拉住，笑道：“我才是玩话，你老人家打他，这不是臊我了吗？”那婆子道：“姑娘，你别管我们的事，难道为姑娘在这里不许我们管孩子不成？”莺儿听见这般蠢话，便赌气红了脸，撒了手，冷笑道：“你要管，那一刻管不得？偏我说了一句玩话，就管他了？我看你管去！”说着便坐下，仍编柳篮子。
Your mother's grinding her teeth,itching to tear you to pieces and chew you up. Yet you still answer me back in that pert way!" Hurt and humiliated,Spring Swallow sobbed,"Sister Oriole was only joking,yet you believed her and beat me. Why should my mother be angry? I've not boiled away her water or burned her pan. What have I done wrong?" Maid Oriole,seeing that her teasing had really angered the woman now caught her by the arm. "I was only joking,"she said soothingly. "By beating her you make me feel bad too." "Don't meddle with our affairs miss,"snapped the other. "Can't we punish our own children just because you're here?" This stupid gibe made Yinger flush with anger. She let go of the woman with a scornful laugh,"You can punish her any time you please. Why do it just after I make a joke? All right - go ahead." With that she sat down again and was going on making her basket.--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 08:17, 1 June 2022 (UTC)

==比较文学与跨文化研究 Mahzad 202021080004==

偏又有春燕的娘出来找他，喊道：“你不来舀水，在那里做什么？”那婆子便接声儿道：“你来瞧瞧，你女孩儿连我也不服了，在这里排揎我呢！”那婆子一面走过来，说：“姑奶奶又怎么了？我们丫头眼里没娘罢了，连姑妈也没了不成？”莺儿见他娘来了，只得又说原故。他姑娘那里容人说话，便将石上的花柳与他娘瞧，道：“你瞧瞧，你女孩儿这么大孩子玩的！他领着人糟塌我，我怎么说人？”他娘也正为芳官之气未平，又恨春燕不遂他的心，便走上来打了个耳刮子，骂道：“小娼妇，你能上了几年台盘？你也跟着那起轻薄浪小妇学！怎么就管不得你们了？干的我管不得，你是我自己生出来的，难道也不敢管你不成？
However, Chunyan's mother came out to look for him and shouted: "If you don't come to scoop water, what are you doing there?" The old woman then said: "Come and see, your girl doesn't even agree with me, Arrange for me here!" The old woman came over and said, "What's wrong with my aunt? Our girl doesn't have a mother in her eyes, not even her aunt?" Ying'er saw his mother coming, so she had to say again The reason. When his girl let people talk, she looked at the flowers and willows on the stone with his mother, and said, "Look, your girl is such a big child to play with! He led people to ruin me, how can I say people?" His mother also Just because the Fangguan's anger was still unsatisfactory, and he hated Chunyan for not meeting his heart, he walked up and slapped his ears and scolded: "Little prostitute, how many years can you be on the table? You also follow that frivolous little woman. Learn! Why can't I control you? I can't control what you do, you were born by me.

==外国语言文学 Muhammad Numan 202121080002==

既是你们这起蹄子到得去的地方我到不去，你就死在那里伺侯，又跑出来浪汉子！”一面又抓起柳条子来，直送到他脸上，问道：“这叫做什么，这编的是你娘的什么？”莺儿忙道：“那是我编的，你别‘指桑骂槐’的！”那婆子深妒袭人晴雯一干人，早知道凡房中大些的丫鬟，都比他们有些体统权势，凡见了这一干人，心中又畏又让，未免又气又恨，亦且迁怒于众；复又看见了藕官，又是他姐姐的冤家：四处凑成一股怒气。那春燕啼哭着往怡红院去了。他娘又恐问他为何哭，怕他又说出来，又要受晴雯等的气，不免赶着来喊道：“你回来！我告诉你再去。”春燕那里肯回来，急的他娘跑了去要拉他。春东回头看见，便也往前飞跑。

==英语语言文学 TOURE MARIAM 202021080005==

他娘只顾赶他，不防脚下被青苔滑倒，引的莺儿三个人都反笑了。莺儿赌气将花柳皆掷于河中，自回房去。这里把个婆子心疼的只念佛，又骂：“促狭小蹄子！遭塌了花儿，雷也是要劈的！”自己且掐花与各房送去。却说春燕一直跑入院中，顶头遇见袭人往黛玉处问安去，春燕便一把抱住袭人说：“姑娘救我！我娘又打我呢！”袭人见他娘来了，不免生气，便说道：“三日两头儿，打了干的打亲的，还是卖弄你女孩儿多？还是认真不知王法？”这婆子来了几日，见袭人不言不语，是好性的，便说道：“姑娘，你不知道，别管我们的闲事，都是你们纵的，还管什么？”说着，便又赶着打。

==外国语言文学 UDDIN NIZAM 202121080007==

袭人气的转身进来，见麝月正在海棠下晾手巾，听如此喊闹，便说：“姐姐别管，看他怎样！”一面使眼色与春燕。春燕便会意，便直奔了宝玉去。众人都笑说：“这可是从来没有的事今儿都闹出来了。”麝月向婆子道：“你再略煞一煞气儿，难道这些人的脸面，和你讨一个情还讨不出来不成？”那婆子见他女儿奔到宝玉身边去，又见宝玉拉了春燕的手，说：“你别怕，有我呢！”春燕一行哭，一行将方才莺儿等事都说出来。宝玉越发急起来，说：“你只在这里闹也罢了，怎么连亲戚也都得罪起来！”麝月又向婆子及众人道：

==翻译学 SAGARA SEYDOU 201911080004 ==

“怨不得这嫂子说我们管不着他们的事，我们虽无知，错管了，如今请出一个管得着的人来管一管，嫂子就心服口服，也知道规矩了。”便回头叫小丫头子：“去把平儿给我叫来！平儿不得闲。就把林大娘叫了来。”那小丫头子应了就走。众媳妇上来笑说：“嫂子快求姑娘们叫回那孩子罢。平姑娘来了，可就不好了！”那婆子说道：“凭是那个姑娘来了，也要凭个理，没有见个娘管女孩儿，大家管着娘的！”众人笑道：“你当是那个平姑娘？是二奶奶屋里的平姑娘！他有情么，说你两句；他一翻脸，嫂子，你‘吃不了兜着走’！”说着，只见那个小丫头子回来说：“平姑娘正有事呢，问我做什么，我告诉了他。

20220519 homework

2022-05-25T07:37:04Z

Liang Siting: /* 英语笔译李媛 Li Yuan 202170081579 */

Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]

Assignment 1: '''Click here''' [[Chinese Classics Translation 2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is '''Lessons to learn from the Classics: Integration or Sharpening the Cultural Profile? 刘唱张国浩张瑞赵宇翔'''

Assignment 2: Please do the translation below here

IN PREPARATION

=Please write your homework directly down here=
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line.

While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.

When you have finished writing your homework, please do not forget to click the "save" button and type in the password "wikicaptcha".

Also, please correct the translation of the fellow student above you by pasting a 2nd English paragraph beneath.

==英语笔译卞王倩 Bian Wangqian 202170081563==

四人道：“因老太太当作宝贝一样，他又生得白，老太太便叫作‘宝玉’。”贾母笑向李纨道：“偏也叫个‘宝玉’！”李纨等忙欠身笑道：“从古至今，同时隔代，重名的很多。”四人也笑道：“起了这小名儿之后，我们上下都疑惑，不知那位亲友家也倒是曾有一个的，只是这十来年没进京来，却记不得真了。”贾母笑道：“那就是我的孙子。人来！”众媳妇丫头答应了一声，走近几步。贾母笑道：“园里把咱们的宝玉叫了来，给这四个管家娘子瞧瞧，比他们的宝玉如何？”

“Precious so much as our old lady towards her grandson, who has the apple-blossom coloring just like a jade, so she gave him the name ‘Precious Jade’,” answered they. Grandma Merchant smiled at Silk Plum, “There should be another ‘Precious Jade’. What a coincidence!” “From ancient times to the present, many people of the same period but different generations are getting the same name. It is normal to see.” Silk Plum and the rest raised slightly and comforted, when the four women joined the topic, “We also wondered if there was also another ‘Precious Jade’ of some relative after his pet name was given. But we failed to remember it clearly because we hadn’t come into the capital for a decade.” “That relative is no other but my grandson. Is there some messenger?” The grandma asked. The wives and maids promised and stepped up. “You go to ask Precious Jade to come here for these four mistresses to have a look. To look compared with theirs, how our ‘Precious Jade’ is,” Grandma Merchant beamed.

“Precious so much as our old lady towards her grandson, who has the apple-blossom coloring just like a jade, so she gave him the name ‘Precious Jade’,” answered they. Grandma Merchant smiled at Silk Plum, “There should be another ‘Precious Jade’. What a coincidence!” “From ancient times to the present, many people of the same period or from different dynasties are getting the same name. It is normal to see.” Silk Plum and the rest raised slightly and comforted, when the four women joined the topic, “We also wondered if there was also another ‘Precious Jade’ of some relative after his pet name was given. But we failed to remember it clearly because we hadn’t come into the capital for a decade.” “That relative is no other but my grandson. Is there some messenger?” The grandma asked. The wives and maids promised and stepped up. “You go to ask Precious Jade to come here for these four mistresses to have a look. Look how does he compared with theirs,” Grandma Merchant beamed.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:54, 23 May 2022 (UTC)

==英语笔译曹姣 Cao Jiao 202170081564==

众媳妇听了，忙去了，半刻，围了宝玉进来。四人一见，忙起身笑道：“唬了我们一跳！若是我们不进府来，倘若别处遇见，还只当是我们的宝玉后赶着也进了京呢！”一面说，一面都上来拉他的手，问长问短。宝玉也笑问个好。贾母笑道：“比你们的长的如何？”李纨等笑道：“四位妈妈才一说，可知是模样相仿了。”贾母笑道：“那有这样巧事？大家子孩子们，再养得娇嫩，除了脸上有残疾十分丑的，大概看去都是一样齐整。这也没有什么怪处。”四人笑道：“如今看来，模样是一样！

The maids went away, returning together with Precious Jade, at sight of whom the four women rose to their feet. "Well, this is really a surprise for us!" they laughed. "If we’d met him somewhere excluding here, we’d have thought our Precious Jade had followed us to the capital." They came to Precious Jade, who extended his greeting with a smile, and taking his hand they asked him a succession of questions. "How does he compare with your boy?" inquired the Grandma Merchant. "In line with what the four nannies just said, these two must be rather alike in appearance," said Silk Plum. "That’s not a coincidence," Grandma Merchant amused, "If they had no disease causing disfigurements, the doted sons of great houses all look rather handsome. There’s definitely nothing strange at all." "They’re the mirror of each other," declared the four women.

The maids went away, returning together with Precious Jade, at sight of whom the four women rose to their feet. "Well, this is really a surprise for us!" they laughed. "If we’d met him somewhere excluding here, we’d have thought our Precious Jade had followed us to the capital." They came to Precious Jade, who extended his greeting with a smile, and taking his hand they asked him a succession of questions. "How does he compare with your boy?" inquired the Grandma Merchant. "In line with what the four nannies just said, these two must be rather alike in appearance," said Silk Plum. "That’s not a coincidence," Grandma Merchant amused, "If they had no disease causing disfigurements, the doted sons of great houses all look rather handsome. There’s definitely nothing strange at all." "They’re the mirror of each other," declared the four women.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 07:41, 23 May 2022 (UTC)

==英语笔译陈路瑶 Chen Luyao 202170081565==

据老太太说，淘气也一样；我们看来，这位哥儿，性情却比我们的好些。”贾母忙问：“怎见得？”四人笑道：“方才我们拉哥儿的手说话，便知道了。若是我们那一个，只说我们糊涂。慢说拉手，他的东西，我们略动一动，也不依。所使唤的人，都是女孩子们……”四人未说完，李纨姊妹等禁不住都失声笑出来。贾母也笑道：“我们这会子也打发人去见了你们宝玉，若拉他的手，他也自然勉强忍耐着。不知你我这样人家的孩子，凭他们有什么刁钻古怪的毛病，见了外人，必是要还出正经礼数来的。

‘According to what you say, both of them have been rather naughty; But your grandson seems to be the better-tempered of the two.’‘Why do you say that?’‘We found out that by holding his hands just now. Ours would have thought us silly. We're not allowed even to touch his things, let alone hold his hands. So all his maids are young girls...'This evoked laughter from Silk Plum and the girls.‘If I sent people to see Precious Jade, and if they took his hand, he’d have to put up with it too,’ chuckled the old lady. ‘No matter how perverse they may be,children from families like ours would always behave correctly to other people.'

‘According to what you say, both of them have been rather naughty; But your grandson seems to be the better-tempered of the two.’‘Why do you say that?’‘We found out that by holding his hands just now. Ours would have thought us silly. We're not allowed even to touch his things, let alone hold his hands. So all his maids are young girls...'This evoked laughter from Silk Plum and the girls.‘If I sent people to see Precious Jade, and if they took his hand, he’d have to put up with it too,’ chuckled the old lady. ‘No matter how perverse they may be,children from families like ours would always behave correctly to other people.'--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 14:02, 24 May 2022 (UTC)

==英语笔译邓阳林 Deng Yanglin 202170081567==

若他不还正经礼数，也断不容他刁钻去了。就是大人溺爱的，也因为他一则生的得人意儿；二则见人礼数，竟比大人行出来的更不错，使人见了可爱可怜，背地里所以才纵他一点子。若一味他只管没里没外，不与大人争光，凭他生的怎样，也是该打死的。”四人听了，都笑说：“老太太这话正是。虽然我们宝玉淘气古怪，有时见了客，规矩礼数，比大人还有趣，所以无人见了不爱，只说：‘为什么还打他？’殊不知他在家里无法无天，大人想不到的话偏会说，想不到的事偏要行，所以老爷太太恨的无法。

If he is not decent, he will not be allowed to be unruly. Even adults dote on, but also because of his a born satisfactory son; On the other hand, he was so polite that he was even better than a big man. He was so cute and pitiful that he secretly gave him the idea. If he does not strive for glory with his elders, he should be killed according to his birth." Hearing this, all four laughed and said, "That's exactly what the old lady said. Although Precious Jade Merchant was mischievous and eccentric, sometimes he was more interesting than the adults when he met guests and behaved in a polite way, no one loved him and said, 'Why are you still beating him? 'But he was a lawless man at home, saying and doing what grown-ups could not think of, and his lordship and his wife hated him.

If he is not decent, he will not be allowed to be unruly. We dote on him for he's a lovely boy; on the other hand, he is so polite that he is even better than an adult. He was so cute that we're willing to spoiler him. If he behaves badly outside and makes us lose face , he should be beaten to death no matter how lovely he is." Hearing this, all four laughed and said, "That's exactly what you said, madam. Although Precious Jade Merchant was mischievous and eccentric, sometimes he was more interesting than the adults when he met guests and behaved in a polite way. Everyone who meet him will love him and say, 'Why are you still beating him? ', not knowing that he is a lawless boy at home, saying and doing what grown-ups could not think of. And his lordship and his mistress are always angry with what he does.
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 15:19, 24 May 2022 (UTC)

==英语笔译何丽娜 He Lina 202170081569==

就是任性，也是小孩子的常情；胡乱花费，也是公子哥儿的常情；怕上学，也是小孩子的常情，都还治得过来。第一，天生下来这一种刁钻古怪的脾气，如何使得。”一语未完，人回：“太太回来了。”王夫人进来，问过安。他四人请了安，大概说了两句。贾母便命：“歇歇去罢。”王夫人亲捧过茶，方退出去。四人告辞了贾母，便往王夫人处来。说了一会子家务，打发他们回去，不必细说。这里贾母喜得逢人便告诉：也有一个宝玉，也都一般行景。众人都想着：天下的世宦大家，同名的这也很多，祖母溺爱孙者也是常事，不是什么罕事，皆不介意。

It is common that boys of noble families are wayward, extravagant and reluctant to go to school. All of these manners can be corrected. However, how should we do to deal with this perverse and eccentric disposition which is naturally born?" Before they finished, a man reported, "The Lady is back." Then Lady King came in and wished her mother-in-law good health. The four of them also paid their respects and they talked for a while. Then Grandma Merchant ordered, "You can go to have a rest." Lady King served the tea for Grandma Merchant and withdrew. The four took leave of the old dowager and follow Lady King to her room. After talking a little about household affairs, Lady King sent them away.It's no need going into more details. On the other hand, Grandma Merchant was happy to tell people she met: there was also a "Precious Jade" in another family who was like the one of their own. Everyone thought it not strange that there existed some namesakes in many official families who were doted by grandmother. So nobody really cared.

It is common that boys of noble families are wayward, extravagant and reluctant to go to school. All of these manners can be corrected. However, how should we do to deal with this perverse and eccentric disposition which is naturally born?" Before they finished, a man reported, "The Lady is back." Then Lady King came in and wished her mother-in-law good health. The four of them also paid their respects and they talked for a while. Then Grandma Merchant ordered, "You can go to have a rest." Lady King served the tea for Grandma Merchant and left then. The four took leave of the old dowager and follow Lady King to her room. After talking a little about household affairs, Lady King sent them away.It's no need going into more details. On the other hand, Grandma Merchant was happy to tell people she met: there was also a "Precious Jade" in another family who was like the one of their own. Everyone thought it not strange that there existed some namesakes in many official families who were doted by grandmother. So nobody really cared.--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 03:12, 24 May 2022 (UTC)

==英语笔译胡良明 Hu Liangming 202170081570==

独宝玉是个迂阔呆公子的性情，自为是那四人承悦贾母之词；后至园中去看湘云病去，史湘云因说他：“你放心闹罢，先还‘单丝不成线，独树不成林’，如今有了个对子。闹急了，再打很了，你好逃到南京找那一个去。”宝玉道：“那里的谎话，你也信了，偏又有宝玉了？”湘云道：“怎么列国有个蔺相如，汉朝又有个司马相如呢？”宝玉笑道：“这也罢了，偏又模样儿也一样，这是没有的事！”湘云道：“怎么匡人看见孔子，只当是阳货呢？”宝玉笑道：“孔子阳贷虽同貌，却不同名，蔺与司马虽同名，而又不同貌；偏我和他就两样俱同不成？”

However, Precious Jade was a dull and precious man in position and thought what the four people said were only to please Grandma Merchant. Then he went to the park to visit Fragrant-cloud, and she said:" Now you can do whatever you want to do. Prior to this, 'one strand of silk does not make a thread, one tree does not make a forest'. But now you have a company identical to you. You can escape to Nanjing to find your company if you fight noisily." Precious Jade said:"That’s a lie and you believed in that nonsense. How could the other Precious Jade exist in the world. "Fragrant-cloud said:"How could there were Lin Xiangru in the various states or nations while Sima Xiangru in Han dynasty." Precious Jade smiled:"It’s not just the identical name but the same appearance which seems impossible!" Fragrant-cloud said:" How could people in Spring and Autumn period mistake Confucius for Yang Dai?" Precious Jade smiled:"Confucius and Yang Dai shared appearance but had different name while Lin and Sima shared the name but looked different. However I and my company shared the both."

However, Precious Jade alone was a dull and unworldly man with a silver spoon and thought what the four people said was only to please Grandma Merchant. Then he went to the garden to visit Fragrant-cloud, and she said:" Now you can do whatever you want to do. Prior to this, 'one strand of silk does not make a thread, one tree does not make a forest'. But now you have a company identical to you. You can escape to Nanjing to find your company if you fight noisily." Precious Jade retorted: "That’s a lie and you believed in that nonsense. How could another Precious Jade exist in the world? "Fragrant-cloud said: "How could there was Lin Xiangru the Warring States Time while Sima Xiangru in Han dynasty?" Precious Jade smiled: "It’s not just the identical name but the same appearance, which is impossible!" Fragrant-cloud said:" How could people in Spring and Autumn period mistake Confucius for Yang Dai?" Precious Jade smiled: "Confucius and Yang Dai shared same appearance but had different names while Lin and Sima shared the name but looked different. However, I and my company shared them both."--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 09:16, 24 May 2022 (UTC)

==英语笔译黄琼 Huang Qiong 202170081571==

湘云没了话答对，因笑道：“你只会胡搅，我也不和你分证。有也罢，没也罢，与我无干。说着，便睡下了。宝玉心中便又疑惑起来：“若说必无，也似必有；若说必有，又并无目睹。”心中闷闷，回至房中榻上，默默盘算，不觉昏昏睡去，竟到一座花园之内。宝玉咤异道：“除了我们大观园，竟又有这一个园子？”正疑惑间，忽然那边来了几个女孩儿，都是丫鬟，宝玉又咤异道：“除了鸳鸯、袭人、平儿之外，也竟还有这一干人？”只见那些丫鬟笑道：“宝玉怎么跑到这里来？”

Nothing to refute, Fragrant-cloud History smiled, “You’re just behaving at random, I refuse to argue with you. Whether it’s so or not, it has nothing to do with me.” Then, she fell asleep. Precious Jade felt uncertain in mind, “I may say this can’t be, yet I feel it seemed that it’s true. Yet how can I be sure, when I haven’t seen with my own eyes?” There was a feeling of depression around him so he returned to the bed to think. Soon he dozed off and dreamed that he was in a garden. Precious Jade marveled, “Is there another garden like this except Grand View Garden?” when he was puzzled, some maids approached. He said in surprise again, “There are more girls here except Mandarin Duck, Aroma, Patience.” The maids asked, “ What is Precious Jade coming here.”

Unable to refute him, Fragrant-cloud History smiled, “You’re just behaving at random, I refuse to argue with you. Whether it’s so or not, it has nothing to do with me.” Then, she fell asleep. Precious Jade felt uncertain in mind, “I may say this can’t be, yet I feel it seemed that it’s true. Yet how can I be sure, when I haven’t seen my trouble with my own eyes?” There was a feeling of depression around him, so he returned to the bed to think. Soon he dozed off and dreamed that he was in a garden. Precious Jade marveled, “Is there another garden like this except Grand View Garden?” As he was puzzling over, some girls all serving-maids approached. He exclaimed in surprise again, “So Mandarin Duck, Aroma, Patience aren’t the only fine girls.” The maids laughed at him, “ What is Precious Jade doing here? ”--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 02:58, 25 May 2022 (UTC)

==英语笔译邝雨琪 Kuang Yuqi 202170081572==

宝玉只当是说他，忙来陪笑说道：“因我偶步到此，不知是那位世交的花园？姐姐们带我逛逛。”众丫鬟都笑道：“原来不是咱们家的宝玉。他生得也还干净，嘴儿也倒乖觉。”宝玉听了，忙道：“姐姐们这里，也竟还有个宝玉？”丫鬟们忙道：“‘宝玉’二字，我们家是奉老太太、太太之命，为保佑他延年消灾的，我们叫他，他听见喜欢；你是那里远方来的小厮，也乱叫起来！仔细你的臭肉，打不烂了你的！”又一个丫鬟笑道：“咱们快走罢，别叫宝玉看见。”又说：“同这臭小子说了话，把咱们熏臭了！”说着，一径去了。

Precious Jade, assuming that they were talking about him, answered with a smile, ''I happened to ramble in here. I wonder which of my family's friends this garden belongs to. Will you show me round it, sisters?'' ''It isn't our Precious Jade after all,'' laughed the girls.'' ''He's not bad-looking though, and soft-spoken too.'' ''Is there another Precious Jade here, sisters?'' Precious Jade asked eagerly. ''It was the old lady and mistress who told us to call him Precious Jade as a means of bringing him luck,'' the girls rejoined. ''He likes it when we call him by his name. But how can a stinking young boy from far away like you to use it at random? You'd better watch out or we' ll beat you to a pulp!'' ''Let's go before Precious Jade sees him,'' urged another. ''Talking to this stinking wretch here had made us stink too.'' With that they hurried off.

==英语笔译黎溢佳 Li Yijia 202170081573==

宝玉纳闷道：“从来没有人如此荼毒我，他们如何竟这样的？莫不真也有我这样一个人不成？”一面想，一面顺步早到了一所院内。宝玉咤异道：“除了怡红院，也竟还有这么一个院落？”忽上了台阶，进入屋内，只见榻上有一个人卧着，那边有几个女儿做针线，也有嘻笑玩耍的。只见榻上那个少年叹了一声，一个丫鬟笑问道：“宝玉，你不睡，又叹什么？想必为你妹妹病了，你又胡愁乱恨呢。”宝玉听说，心下也便吃惊。只见榻上少年说道：“我听见老太太说，‘长安’都中也有个宝玉，和我一样的性情，我只不信。

Precious Jade wondered: “No one treats me like that, how could they? Does there any other like me?” While thinking, he walked into a yard. He was confused:” Is there a yard except for Happy Red Court?” Stepping on the stairs, he only saw a person lying on the bed in the room, with several maids knitting and playing. The boy on the bed sighed and one girl asked: “Precious Jade, why don’t you sleep and sigh? Are you worried about your ill sister?” Precious Jade heard and was shocked when the boy said: “Grandma said there is a Precious Jade in Changan quite like me, but I don’t buy for it.”--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 03:54, 22 May 2022 (UTC)

Precious Jade wondered: “No one treats me like that, how could they? Is it true that there is a person like me??” While thinking, he walked into a yard. He was confused:” Is there another yard just like Happy Red Court?” Stepping up the stairs, he only saw a person lying on the bed in the room, with several maids knitting and playing beside him. The boy on the bed sighed and one girl asked: “Precious Jade, why don’t you sleep but sigh? Are you worried about your ill sister?” Precious Jade heard and was shocked when the boy said: “Grandma said there is another Precious Jade in Changan quite like me, but I don’t buy for it.”--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 09:53, 22 May 2022 (UTC)

==英语笔译李思敏 Li Simin 202170081574==
我才做了一个梦，竟梦中到了都中一个花园子里头，遇见几个姐姐，都叫我臭小厮，不理我。好容易找到他房里，偏他睡觉，空有皮囊，真性不知往那里去了。”宝玉听说，忙说道：“我因找宝玉来到这里。原来你就是宝玉？”榻上的忙下来拉住，笑道：“原来你就是宝玉！这可不是梦里了。”宝玉道：“这如何是梦？真而又真的！”一语未了，只见人来说：“老爷叫宝玉。”吓得二人皆慌了。一个宝玉就走，一个便忙叫：“宝玉快回来，宝玉快回来！”袭人在旁听他梦中自唤，忙推醒他，笑问道：“宝玉在那里？”

"I just had a dream. In that dream, I came to a garden in the capital, I met several maids who called me a stinky boy and ignored me. I exerted great effort to find his room, but he was sleeping. He only has good-looking but no temper." Precious Jade Merchant heard his words and said:" I came to here for looking for Precious Jade. So you are Precious Jade?" The one on the bed went down his bed and laughed:" So you are Precious Jade! This is not a dream." Precious Jade replied:" How can this be a dream? It's genuine!" Before he had finished his words, a servant said, "The master called for Precious Jade." They both panicked. One wanted to leave, and the other hurriedly shouted, "Precious Jade, come back!" Aroma next to him heard Precious Jade shouting in his dream, she woke him up and asked," Where is Precious Jade?"--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 09:48, 22 May 2022 (UTC)

"I just had a dream. In that dream, I came to a garden in the capital, I met several maids who called me a stinky boy and treated me badly. I exerted great effort to find his room, but he was sleeping. He only has good looking but no temper." Precious Jade Merchant heard his words and said:" I came here for looking for Precious Jade. So you are Precious Jade?" The one on the bed went down his bed and laughed:" So you are Precious Jade! This is not a dream." Precious Jade replied:" How can this be a dream? Everything is genuine!" Before he had finished his words, a servant said, "The master called for Precious Jade." They both panicked. One wanted to leave, and the other hurriedly shouted, "Precious Jade, come back!" Aroma next to him heard Precious Jade shouting in his dream, she woke him up and asked," Where is Precious Jade?"--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 09:59, 23 May 2022 (UTC)

==英语笔译李思源 Li Siyuan 202170081575==

此时宝玉虽醒，神意尚恍惚，因向门外指说：“才出了不远。”袭人笑道：“那是你梦迷了。你揉眼细瞧，是镜子里照的你的影儿。”宝玉向前瞧了一瞧，原是那嵌的大镜对面相照，自己也笑了。早有丫鬟捧过漱盂茶卤来漱了口。麝月道：“怪道老太太常嘱咐说：‘小人儿屋里不可多有镜子，小人魂不全，有镜子照多了，睡觉惊恐做胡梦。’如今倒在大镜子那里安了一张床！有时放下镜套还好；往前去，天热困倦，那里想得到放他，比如方才就忘了，自然先躺下照着影儿玩来着，一时合上眼，自然是胡梦颠倒的，不然，如何叫起自己的名字来呢？

Precious Jade Merchant was awake, but still in a trance. He pointed out the door and said, "I haven't been out that long." Aroma replied with a smile, "You are drowsy. Look closely, it's you in the mirror." So he looked forward again and finally realized that he had a big mirror in front of him. He smiled too. The servant girl came with a spittoon for him to gargle. Musk Deer Month said to him, "No wonder the Old Lady used to say, 'There should not be too many mirrors in a room with children, because children's souls are not mature enough, and if you look too much in the mirror, you will have nightmares at night. But you have such a big mirror in your room! It's okay when you cover it in your daily life. There was a hot hot weather a few days before, so naturally it is difficult to remind people to take out the mirror cover. You know, you just forgot about it, and then you lied in bed, looked at yourself in the mirror, and then you fell asleep. So nightmares came. If it wasn't for this reason, why would you call out your name?

Precious Jade Merchant was awake, but still in a trance. He pointed out the door and said, "I haven't been out that long." Aroma replied with a smile, "You are drowsy. Look closely, it's you in the mirror." So he looked forward again and finally realized that there was a big mirror in front of him. He smiled too. A maid came with a spittoon for him to gargle. Musk Deer Month said to him, "No wonder the Old Lady used to say, 'There should not be too many mirrors in a room with children, because children's souls are not mature enough, and if they look too much in the mirror, they will have nightmares at night. But you have such a big mirror in your room! It's okay when you cover it in your daily life. There was a hot weather a few days before, so naturally it is difficult for people to remember to cover the mirror. You know, you just forgot about it, and then you lied in bed, looked at yourself in the mirror, and then you fell asleep, thus nightmares came. If it wasn't for this reason, why would you call out your name?--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 05:47, 23 May 2022 (UTC)

==英语笔译李婷 Li Ting 202170081576==

不如明儿挪进床来是正经。”一语未了，只见王夫人遣人来叫宝玉，不知有何话说，且听下回分解。
◎第五十七回慧紫鹃情辞试莽玉慈姨妈爱语慰痴颦
话说宝玉听王夫人唤他，忙至前边来，原来是王夫人要带他拜甄夫人去。宝玉自是欢喜，忙去换衣服，跟了王夫人到那里。见其家形景，自与荣宁不甚差别，或有一二稍盛者。细问，果有一宝玉。甄夫人留席，竟一日方回。宝玉不信。因晚间回家来，王夫人又吩咐预备上等的席面，定名班大戏，请过甄夫人母女。后二日，他母女便不作辞，回任去了，无话。

We might as well move the couch inside tomorrow." Before she finished speaking, Lady King sent someone to call Precious Jade. To know why she wanted him, read the next chapter. Chapter 57 Clever Nightingale Tests Precious Jade’s Feelings, Kindly Aunt Marshgrass Comforts Mascara Jade. After hearing Lady King had called him, Precious Jade hurried to his mother. It turned out that Lady King wanted to take him to visit Lady Truth. Precious Jade cheerfully changed his clothes and followed his mother there. The Truths’ house struck him as much like the Prosperity and Peace mansions, if not slightly grander. After careful inquiries, he learned that they did indeed have a young master also called Precious Jade. By the time they has spent the day there, for Lady Truth kept them to a meal, he was quite convinced of this. When he returned home in the evening, Lady King ordered the first-class banquet to be prepared and a celebrated opera company hired to entertain Lady Truth and her daughter. The next day they returned without saying a word.

We might as well move the couch inside tomorrow." Before she finished speaking, Lady King sent someone to call Precious Jade. To know why she wanted him, read the next chapter. Chapter 57 Clever Nightingale Tests Precious Jade’s Feelings, Kindly Aunt Marshgrass Comforts Mascara Jade. After hearing Lady King had called him, Precious Jade hurried to his mother. It turned out that Lady King wanted to take him to visit Lady Truth. Precious Jade changed his clothes cheerfully and followed his mother there. The Truths’ house struck him as much like the Prosperity and Peace mansions, if not slightly grander. After careful inquiries, he learned that they did indeed have a young master also called Precious Jade. By the time they has spent the day there, for Lady Truth kept them to a meal, he was quite convinced of this. When he returned home in the evening, Lady King ordered the first-class banquet to be prepared and a celebrated opera company hired to entertain Lady Truth and her daughter. The next day they returned without saying a word.

==英语笔译李颖 Li Ying 202170081578==

这日宝玉因见湘云渐愈，然后去看黛玉。正值黛玉才歇午觉，宝玉不敢惊动，因紫鹃正在回廊上手里做针线，便上来问他：“昨日夜里咳嗽的可好了？”紫鹃道：“好些了。”宝玉笑道：“阿弥陀佛！宁可好了罢。”紫鹃笑道：“你也念起佛来，真是新闻！”宝玉笑道：“所谓‘病笃乱投医’了。”一面说，一面见他穿着弹墨绫薄绵袄，外面只穿着青缎夹背心，宝玉便伸手向他身上抹了一抹，说道：“穿这样单薄，还在风口里坐着，时气又不好，你再病了，越发难了。”紫鹃便说道：“从此咱们只可说话，别动手动脚的：

When the Mascara Jade take a nap, the Precious Jade did not dare to disturb, because Fine (Nightingale) is sewing on the cloister, then came up and asked him: "How was she? Was her cough any better last night?""Better," Nightingale said. "Amitabha!" he said:"It's time to recover."Nightingale laughed that:"It's strange that you said Buddha,that's a news."He said:" A drawing man can catch at a straw."As well as he looked at her costume that she was wearing a thin padded silk tunic with black dots under a lined blue silk sleeveless jacket, he reached out to feel her clothes, he said:" You wear too thin to sit in a draught here for this time of year. If you go sick too, things here will be even worse." Nightingale retorted:" When we talk to each other, please keep your hand away from me."

That day when he saw Fragrant-cloud recovered gradually, Precious Jade went to visit Mascara Jade. At that moment, she was taking a nap, so Precious Jade did not dare to disturb her, because Nightingale was doing needling work on the cloister. Then he came to and asked her: "How is she? Does she stop coughing?" "Better," Nightingale said. "Amitabha!" he said. "It's time to recover." "It's strange that you should say Buddha," Nightingale laughed. He said: "It's like 'A drawing man can catch at a straw'. Then, he looked at her costume, which was just a thin padded silk tunic with black dots and a lined blue silk sleeveless jacket outside, and then he reached out to feel the thickness of her clothes. "You wear too thin to sit in the place with strong wind for this time of year. If you were also sick, things here would be even worse," he said. Nightingale retorted: "When we talk to each other, please keep your hand away from me."--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 04:41, 25 May 2022 (UTC)

==英语笔译李媛 Li Yuan 202170081579==

一年大，二年小的，叫人看着不尊重。打紧的那起混帐行子们背地里说你；你总不留心，还只管和小时一般行为，如何使得。姑娘常常吩咐我们，不叫和你说笑。你近来瞧他，远着你还恐远不及呢。”说着，便起身携了针线进别的房里去了。宝玉见了这般景况，心中像浇了一盆冷水一般，只瞅着竹子发了一回呆。因祝妈正在那里挖刨土种竹，扫竹叶子，顿觉一时魂魄失守，随便坐在一块山石上出神，不觉滴下泪来。直呆了一顿饭工夫，千思万想，总不知如何是可。偶值雪雁从王夫人房中取了人参来，从此经过，忽扭头看见桃花树下石上一人，手托着腮颊，正出神呢：

"As we grow up, this kind of behavior will be not proper. Although they have always been speaking ill of you behind your back, you still turn a deaf ear to that and keep doing those things when we were little. This is out of place now. The mistress has always been telling us not to talking and playing with you. She is trying her best to hide from you recently when you come to visit her, and hiding from you will be not enough at all," she said and then got into another room with the needling stuff. Hearing what she said and seeing what she acted, Precious Jade felt like being poured with a basin of cold water in his heart and then just stared at the bamboos pondering. At that moment, Nanny Wish was digging there to plant bamboos and cleaning out the fallen leaves. It was dawned on him that his soul went out of his body. He sat on a rock with his mind wandering, and he then could not help shedding tears. He thought again and again and still did not know what to do until the meal time passed. Snow Goose passed here by accident when she just fetched the ginseng from Lady King's place, and saw the person thinking on the rock with his hand on his cheeks when she suddenly raised her head.
"As we grow up, this kind of behavior wouldn't be proper. Although they have always been speaking ill of you in private, you still turn a deaf ear to that and behave unceremoniously like a chilld. This is out of place now. The mistress has always been telling us not to talking and playing with you. She is trying her best to hide from you recently when you come to visit her, and hiding from you will be not enough at all," Finshing the words then the maid got into another room with the needling stuff. Hearing what she said and seeing what she acted, Precious Jade felt like being poured with a basin of cold water in his heart and then just stared at the bamboos pondering. At that moment, Nanny Wish was digging there to plant bamboos and cleaning out the fallen leaves. It was dawned on him that his soul went out of his body. He sat on a rock with his mind wandering, and he then could not help shedding tears. He thought again and again and still did not know what to do until the meal time passed. Snow Goose passed here by accident when she just fetched the ginseng from Lady King's place, and saw the person thinking on the rock with his hand on his cheeks when she suddenly raised her head.--[[User:Liang Siting|Liang Siting]] ([[User talk:Liang Siting|talk]]) 07:37, 25 May 2022 (UTC)

==英语笔译梁思婷 Liang Siting 202170081581==

不是别人，却是宝玉。雪雁疑惑道：“怪冷的，他一个人在这里做什么？春天凡有残疾的人肯犯病，敢是他也犯了呆病了？”一边想，一边便走过来，蹲下来笑道：“你在这里做什么呢？”宝玉忽见了雪雁，便说道：“你又做什么来找我？你难道不是女儿？他既防嫌，不许你们理我，你又来寻我，倘被人看见，岂不又生口舌？你快家去罢。”雪雁听了，只当是他又受了黛玉的委屈，只得回至房中。黛玉未醒，将人参交给紫鹃。紫鹃因问他：“太太做什么呢？”雪雁道：“也睡中觉呢，所以等了这半日。
It was no one else but Precious Jade. Snowgoose asked herself in confusion, "What is he doing here alone in such coldness? I knew that the psycho would be attacked by such disease. Is he also attacked by some unknown disease?" Thinking, she squatted down beside Precious Jade and asked smilingly, "What are you doing here?" Seeing Snowgoose, Precious Jade asked back, "Why are you here again? Aren't you a girl? If you girls were not allowed to talk to me because sex distinction, you would draw gossips. Don't be seen. Go back quick." Snowgoose heard his words and thought that he was wronged by Mascara-Jade. She could only return to her room. At this time, Mascara-Jade was not awake so she could only give the ginseng to Nightingale. Nightingale asked, "What is madam doing?" Snowgoose replied, "Also sleeping. That's why I waited for the half day."

==英语笔译廖诗韵 Liao Shiyun 202170081582==

姐姐，你听笑话儿：我因等太太的工夫，和玉钏儿姐姐坐在下房里说话儿，谁知赵姨奶奶招手儿叫我。我只当有什么话说，原来他和太太告了假，出去给他兄弟伴宿坐夜，明日送殡去。跟他的小丫头子小吉祥儿没衣裳，要借我的月白绫子袄儿。我想：他们一般也有两件子的，往这地方去，恐怕弄坏了，自己的舍不得穿，故此借别人的。借我的，弄坏了也是小事，只是我想他素日有什么好处到咱们跟前，所以我说：我的衣裳簪环，都是姑娘叫紫鹃姐姐收着呢。如今先得去告诉他，还得回姑娘，费多少事，别误了你老人家出门，不如再转借罢。”

“sister, I tell you a story: I chat with Jade Bracelet in the servant's room when waiting the lady to wake up. Who knows concubine Zhao beckoned me. I suppose she has something to say. It turned out that she had taken a leave of absence to go out to sit with her brothers for the night, and sent the funeral tomorrow. As her personal servant girl Little Auspicious has no decent coat, she wanted to borrow my Moon-white Ayako jacket. But I thought they usually have several coats. And they may be afraid their coats will be contaminated in that place, so they are reluctant to wear their own clothes and seek to borrow others. Now that they came to borrow from me. Though it doesn't matter to have my clothes broken, I remember she barely think of us when she get some good things. Then I replied to her: My clothes are all collected by the girl named Purple Crane. Now I have to tell her first and then go back to tell that girl. That process takes your a long time. Why not go to ask others. ”

“sister, let me tell you a story: I chat with Jade Bracelet in the servant's room when waiting the lady to wake up. Who knows concubine Zhao beckoned me. I suppose she has something to say. It turned out that she had taken a leave of absence to go out to sit with her brothers for the night, and sent the funeral tomorrow. As her personal servant girl Little Auspicious has no decent coat, she wanted to borrow my Moon-white Ayako jacket. But I thought they usually have several coats. And they may be afraid their coats will be contaminated in that place, so they are reluctant to wear their own clothes and seek to borrow others. Now that they came to borrow from me. Though it doesn't matter to have my clothes broken, I remember she barely think of us when she get some good things. Then I replied to her: My clothes are all collected by the girl named Purple Crane. Now I have to tell her first and then go back to tell that girl. That process takes your a long time. Why not go to ask others. ”--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 07:13, 25 May 2022 (UTC)

==英语笔译刘唱 Liu Chang 202170081583==

紫鹃笑道：“你这个小东西儿，倒也巧。你不借给他，你推我和姑娘身上，好叫人怨不着你。他这会子就去啊，还是等明日一早才去呢？”雪雁道“这会子就去的，只怕此时已去了。”紫鹃点头。雪雁道：“姑娘还没醒呢，是谁给了宝玉气受？坐在那里哭呢。”紫鹃听了，忙问：“在那里？”雪雁道：“在沁芳亭后头桃花底下呢。”紫鹃听说，忙放下针线，又嘱咐雪雁：“好生听叫。若问我，答应我就来。”说着，便出了潇湘馆，一径来寻宝玉，走至宝玉跟前，含笑说道：“我不过说了那两句话，为的是大家好，你就一气，跑了这风地里来哭，弄出病来还了得！”

Nightingale smiled:" So smart of you! you didn't borrow it to him and asked him to came to me and the lady so that he wouldn't be angry with you, right? When will he go? Now or tomorrow." Snowgoose said:"he has left just now." Nightingale nodded to Snowgoose and Snowgoose said:"he is watching the peach blossom in the Aroma Pivillion. Heard that, Nightingale just stopped the needlework and said to Snowgoose:" You just stay here and if anybody asks about me, you just say that I'll be here in a minute." Meanwhile, She left the bamboo lodge and went to Precious Jade straightly. She smiled and said:"I said those words for the good of all of us. you shouldn't come here and cry. What if you get sick!" --[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 06:34, 21 May 2022 (UTC)

==英语笔译刘乐乐 Liu Lele 202170081584==

宝玉忙笑道：“谁赌气了！我因为听你说得有理，我想你们既这样说，自然别人也是这样说，将来渐渐的都不理我了，我所以想到这里，自己伤起心来了。”紫鹃也便挨他坐着。宝玉笑道：“方才对面说话，你尚走开，这会子如何又来挨我坐着？”紫鹃道：“你都忘了？几日前，你们姊妹两个正说话，赵姨娘一头走了进来，我才听见他不在家，所以我来问你。正是前日你和他才说了一句‘燕窝’，就歇住了，总没提起，我正想着问你。”宝玉道：“也没什么要紧。不过我想着宝姐姐也是客中，既吃燕窝，又不可间断，若只管和他要，也太托实。

==英语笔译刘双英 Liu Shuangying 202170081585==

虽不便和太太要，我已经在老太太跟前略露了个风声，只怕老太太和凤姐姐说了。我告诉他的，竟不告诉完。如今我听见一日给你们一两燕窝，这也就完了。”紫鹃道：“原来是你说了，这又多谢你费心。我们正疑惑，老太太怎么忽然想起来叫人每一日送一两燕窝来呢？这就是了。”宝玉笑道：“这要天天吃惯了，吃上三二年就好了。”紫鹃道：“在这里吃惯了，明年家去，那里有这闲钱吃这个。”宝玉听了，吃了一惊，忙问：“谁家去？”紫鹃道：“妹妹回苏州去。”宝玉笑道：“你又说白话。苏州虽是原籍，因没了姑母，无人照看，才接了来的；

As it’s no use asking my mother. I dropped a hint to the old lady, and I suspect she must have told Sister Phoenix. That was what I started explaining. I understand an ounce of bird’s nest is being sent over to you every day now, so that’s all right.” “So it was you who suggested that, was it?” said Nightingale “That was very good of you. We’ve been wondering what made the old lady suddenly start sending an ounce every day, so that’s the reason.” Precious Jade said with a smile,“If she takes it regularly every day, after two or three years her health should be much better.” The maid replied, “She can have some every day here, but where will the money come from to continue the cure when she goes home next year?” Precious Jade starlted, “Who’s going to which home?” She responded, “Your cousin—back to Suzhou.” “Nonsense!” Precious Jade chuckled. “Suzhou may be her hometown, but she came here because there was no one there to look after her after her parents’ death.

On the other hand it would be rather awkward to have to ask Sister Phoenix for it; so I dropped a hint to Grandma, and I rather think that she had a word on the subject with Sister Phoenix. That was what I started explaining. I understand an ounce of bird’s nest is being sent over to you every day now, so that’s all right.” “So it was you who suggested that, was it?” said Nightingale “That was very good of you. We’ve been wondering what made the old lady suddenly start sending an ounce every day, so that’s the reason.” Precious Jade said with a smile,“If she takes it regularly every day, after two or three years her health should be much better.” The maid replied, “She can have some every day here, but where will the money come from to continue the cure when she goes home next year?” Precious Jade starlted, “Who’s going to which home?” She responded, “Your cousin—back to Suzhou.” “Nonsense!” Precious Jade chuckled. “Suzhou may be her hometown, but she came here because there was no one there to look after her after her parents’ death.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 12:24, 23 May 2022 (UTC)

==英语笔译刘婷 Liu Ting 202170081586==

明年回去找谁？可见是扯谎。”紫鹃冷笑道：“你太看小了人。你们贾家独是大族，人口多的；除了你家，别人只得一父一母，房族中真个再无人了不成？我们姑娘来时，原是老太太心疼他年小，虽有叔伯，不如亲父母，故此接来住几年。大了该出阁时，自然要送还林家的，终不成林家女儿在你贾家一世不成？林家虽贫到没饭吃，也是世代书宦人家，断不肯将他家的人丢与亲戚，落的耻笑，所以早则明年春天，迟则秋天，这里纵不送去，林家亦必有人来接的。前日夜里姑娘和我说了，叫我告诉你，将从前小时玩的东西，有他送你的，叫你都打点出来还他；

Whom could she go back to next year? You must be lying.” “What a poor opinion you have of other people!” Zijuan snorted, “I suppose you think yours is the only big family in the world. According to you, I suppose, other people only have fathers and mothers: they couldn't possibly have uncles and aunts on their father's side like you do. Our young lady was brought here for a few years while she was still only a child, because the old lady felt for her and didn't think her uncles could take the place of her parents. But it was only ever her intention to keep her here for a few years. As soon as she's old enough to be married, she'll have to go back to the Lin family. You could hardly expect a Lin family girl to spend the rest of her days among the Merchant family, now could you? Even if the Lins were desperately poor, for generations they've been a family of scholars and officials: they'd never expose themselves to ridicule by abandoning a daughter to relatives. So next spring or next autumn at the latest, even if your family doesn't send her back, the Lins are sure to send to fetch her. The other evening our young lady told me to ask you for all the little gifts and souvenirs she's given you since you were children.“

Whom could she go back to next year? You must be lying.” “What a poor opinion you have of other people!” Nightingale snorted, “I suppose you think yours is the only big family in the world. According to you, I suppose, other people only have fathers and mothers: they couldn't possibly have uncles and aunts on their father's side like you do. Our young lady was brought here for a few years while she was still only a child, because the old lady felt for her and didn't think her uncles could take the place of her parents. But it was only ever her intention to keep her here for a few years. As soon as she's old enough to be married, she'll have to go back to the Lin family. You could hardly expect a Lin family girl to spend the rest of her days among the Merchant family, now could you? Even if the Lins were desperately poor, for generations they've been a family of scholars and officials: they'd never expose themselves to ridicule by abandoning a daughter to relatives. So next spring or next autumn at the latest, even if your family doesn't send her back, the Lins are sure to send to fetch her. The other evening our young lady told me to ask you for all the little gifts and souvenirs she's given you since you were children.--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 10:25, 24 May 2022 (UTC)

==英语笔译刘瑶 Liu Yao 202170081587==

他也将你送他的打点在那里呢。”宝玉听了，便如头顶上响了一个焦雷一般。紫鹃看他怎样回答，等了半天，见他只不作声，才要再问，只见晴雯找来，说：“老太太叫你呢。谁知在这里。”紫鹃笑道：“他这里问姑娘的病症。我告诉了他半日，他只不信。你倒拉他去罢。”说着，自己便走回房去了。晴雯见他呆呆的，一头热汗，满脸紫胀，忙拉他的手一直到怡红院中。袭人见了这般，慌起来了，只说时气所感，热身被风扑了。无奈宝玉发热事犹小可，更觉两个眼珠儿直直的起来；口角边津液流出，皆不知觉；给他个枕头，他便睡下；扶他起来，他便坐着；

she means to return all yours to you as well.” Precious Jade was thunderstruck. Nightingale waited for him to answer, but not a word could he utter. And just then Sunny Cloud Formation came up.“so here you are, baoyu!” she cried. “the old lady wants you.”“he’s been inquiring after miss Mascara Jade’s health, and i’ve been reassuring him,” Nightingale remarked. “but he won’t believe me. you’d better take him away.” with that she returned to her room. Sunny Cloud Formation noticed Precious Jade’s distraught look, the hectic flush on his cheeks and the sweat on his forehead. she at once led him by the hand to happy red court where his appearance horrified Aroma, who imagined he must have caught a chill in the wind while overheated. a fever was not too alarming, but his eyes were fixed and staring, saliva was trickling from the corners of his lips, and he seemed in a state of stupefaction. he would lie down if a pillow was put for him, would sit up if pulled,

she means to return all yours to you as well.” Precious Jade was thunderstruck. Nightingale waited for him to answer, but not a word could he utter. And just then Sunny Cloud Formation came up.“so here you are, baoyu!” she cried. “the old lady wants you.”“he’s been inquiring after miss Mascara Jade’s health, and i’ve been reassuring him,” Nightingale remarked. “but he won’t believe me. you’d better take him away.” with that she returned to her room. Sunny Cloud Formation noticed Precious Jade’s distraught look, the hectic flush on his cheeks and the sweat on his forehead. she at once led him by the hand to happy red court where his appearance horrified Aroma, who imagined he must have caught a chill in the wind while overheated. a fever was not too alarming, but his eyes were fixed and staring, saliva was trickling from the corners of his lips, and he seemed in a state of stupefaction. he would lie down if a pillow was put for him, would sit up if pulled,--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 14:31, 24 May 2022 (UTC)

==英语笔译刘珍 Liu Zhen 202170081588==

倒了茶来，他便吃茶。众人见他这样，一时忙乱起来，又不敢造次去回贾母，先要差人去请李嬷嬷来。一时李嬷嬷来了，看了半日：问他几句话，也无回答；用手向他脉上摸了摸，嘴唇人中上着力掐了两下，掐得指印如许来深，竟也不觉疼。李嬷嬷只说了一声：“可了不得了！”“呀”的一声，便搂头放声大哭起来。急得袭人忙拉他说：“你老人家瞧瞧可怕不怕？且告诉我们，去回老太太、太太去。你老人家怎么先哭起来？”李嬷嬷捶床捣枕说：“这可不中用了！我白操了一世心了！”袭人因他年老多知，所以请他来看；

And drink tea if it was brought.1His condition threw them all into a panic, but not daring to report this too hastily to the Lady Dowager they first sent for his old nurse, Nanny Li.Nanny Li, arriving presently, examined Baoyu carefully.When he made no answer to any of her questions she felt his pulse, then pinched his upper lip so hard that her fingers left deep imprints--yet he felt no pain.At that she gave a great cry of despair and, taking him in her arms, started weeping and wailing.Aroma, beside herself with anxiety, tugged imploringly at her sleeve:‘Nannie, Nannie, have another look at him and tell us how serious it is, so that we know what to say to Their Ladyships.Don't just cry!”Nannie Li hammered the bed with her fists:‘It's all up with him, I tell you.A life-time of care gone for nothing!”Aroma and the girls who, whatever else they might think of Nannie Li, respected her age and experience, assumed that she must know what she was talking about.

==英语笔译马艳焕 Ma Yanhuan 202170081591==

如今见他这般一说，都信以为实，也哭起来了。晴雯便告诉袭人方才如此这般，袭人听了，便忙到潇湘馆来，见紫鹃正伏侍黛玉吃药，也顾不得什么，便走上来问紫鹃道：“你才和我们宝玉说了些什么话？你瞧瞧他去！你回老太太去，我也不管了！”说着，便坐在椅上。黛玉忽见袭人满面急怒，又有泪痕，举止大变，更不免也着了忙，因问：“怎么了？”袭人定了一回，哭道：“不知紫鹃姑奶奶说了些什么话，那个呆子眼也直了，手脚也冷了，话也不说了，李嬷嬷掐着也不疼了，已死了大半个了！

==英语笔译聂薇 Nie Wei 202170081592==

连李嬷嬷都说不中用了，那里放声大哭，只怕这会子都死了！”黛玉听此言，李嬷嬷乃久经老妪，说不中用了，可知必不中用，“哇”的一声，将所服之药，一口呕出，抖肠搜肺、灸胃扇肝的，哑声大嗽了几阵：一时面红发乱，目肿筋浮，喘的抬不起头来。紫鹃忙上来捶背，黛玉伏枕喘息半晌，推紫鹃道：“你不用捶！你竟拿绳子来勒死我，是正经。”紫鹃哭道：“我并没说什么，不过是说了几句玩话，他就认真了。”袭人道：“你还不知道他那傻子，每每玩话认了真。”黛玉道：“你说了什么话？趁早儿去解说，他只怕就醒过来了。”

Even Nanny Li said there is no cure for him. Just listen to the cries from his room, I’m afraid he has died!” Hearing this, Mascara Jade knew that there is definitely nothing can be done to save him now that the sophisticated Nanny Li said so. The bad news made her vomit out all the medicine she had taken and have a fit of coughing before turning in to a red face and swollen eyes, and the severe gasp made it difficult for her to raise her head. Then Purple Cuckoo came up to thump on her back. After gasping on her pillow for quite a long time, she pushed Purple Cuckoo away and said, “ You don’t need to do that! The first priority for you is to strangle me with a rope!” Then her poor maid cried, “ I said nothing bad. I was just joking, but he took it seriously.” Aroma refuted, “ Don’t you understand that blockhead’s temper? He is always taking jokes seriously.” And Mascara Jade asked, “ What did you say to him? Just go to clarify it to him as soon as possible, maybe there is a possibility that he would come to.”

Even Nanny Li said there is no cure for him. Just listen to the cries from his room, I’m afraid he has died!” Hearing this, Mascara Jade knew that there was definitely nothing can be done to save him as the sophisticated Nanny Li said so. The bad news made her vomit out all the medicine she had taken and have a fit of coughing before turning in to a red face and swollen eyes, and the severe gasp made it difficult for her to raise her head. Then Ningtingale came up to thump on her back. After gasping on her pillow for quite a long time, she pushed Ningtingale away and said, “ You don’t need to do that! You just need to strangle me with a rope!” Aroma refuted, “ Don’t you understand that blockhead’s temper? He is always taking jokes seriously.” And Mascara Jade asked, “ What did you say to him? Just go to clarify it to him as soon as possible, maybe there is a possibility that he would come to.”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 01:39, 21 May 2022 (UTC)

==英语笔译孙丽君 Sun Lijun 202170081593==

紫鹃听说，忙下床，同袭人到了怡红院。谁知贾母王夫人等已都在那里了。贾母一见了紫鹃，便眼内出火，骂道：“你这小蹄子，和他说了什么？”紫鹃忙道：“并没敢说什么，不过说几句玩话。”谁知宝玉见了紫鹃，方“嗳呀”了一声，哭出来了。众人一见，都放下心来。贾母便拉住紫鹃，只当他得罪了宝玉，所以拉紫鹃命他赔罪。谁知宝玉一把拉住紫鹃，死也不放，说：“要去连我也带了去。”众人不解，细问起来，方知紫鹃说要回苏州去，一句玩话引出来的。贾母流泪道：“我当有什么要紧大事，原来是这句玩话。”

When hearing what Mascara Jade've just said, Ningtingale jumped out of the bed quickly and headed for the Happy Red Court with Aroma. To their surprise, Grandma Merchant, Lady Wang and others were already there. When at the sight of Ningtingale, Grandma Merchant just abused and shouted at her with great fury, "What did you, such a hussy, say to Precious Jade on earth?" "Nothing but a few jokes", Ningtingale hurriedly responded. And who knows that Precious Jade burst into tears right after sighing with Ah the moment he saw Ningtingale. The crowd were all relieved when they saw that. And then keeping hold of her hands and just thinking she dispeased Precious Jade , Grandma Merchant let Ningtingale to make an apology to him. And everyone didn't expect that Precious Jade grabbed Ningtingale and refused to let her go, saying, "If you go, well then take me with you". Being puzzled, everyone questioned them closely what was going on and then realized that all these were caused by one of Ningtingale' s jokes that she would go back to Suzhou for fun. Then Grandma Merchant said with tears welling up from her eyes, "What a major matter I've just thought, it turns out to this joke originally."

When hearing what Mascara Jade've just said, Nightingale jumped out of the bed quickly and headed for the Happy Red Court with Aroma. To their surprise, Grandma Merchant, Lady King and others were already there. At the sight of Nightingale, Grandma Merchant just shouted at her with great fury, " You hussy, what did you say to Precious Jade on earth?" "Nothing but a few jokes", Nightingale hurriedly responded. And Precious Jade finally burst into tears right after sighing with "Ah" the moment he saw Nightingale. The crowd were all relieved when they saw that. And then holding her hands and just thinking she must have displeased Precious Jade, Grandma Merchant ordered Nightingale to make an apology to him. And everyone didn't expect that Precious Jade suddenly grabbed Nightingale and refused to let her go, saying, "If you go, well then take me with you". Being puzzled, everyone asked them what happened and then realized that all those things were caused by one of Nightingale' s jokes that they would go back to Suzhou. Then Grandma Merchant said with tears welling up from her eyes, " I thought it was something important, and it turns out to be this joke."--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 02:06, 21 May 2022 (UTC)

==英语笔译仝雨梦 Tong Yumeng 202170081594==
又向紫鹃道：“你这孩子，素日是个伶俐聪敏的，你又知道他有个呆根子，平白的哄他作什么？”薛姨妈劝道：“宝玉本来心实，可巧林姑娘又是从小儿来的，他姊妹两个一处长得这么大，比别的姊妹更不同。这会子热刺刺的说一个去，别说他是个实心的傻孩子，便是冷心肠的大人，也要伤心。这并不是什么大病，老太太和姨太太只管万安，吃一两剂药就好了。”正说着，人回：“林之孝家的，赖大家的，都来瞧哥儿来了。”贾母道：“难为他们想着，叫他们来瞧瞧。”宝玉听了一个“林”字，便满床闹起来，

"You've always been a smart girl." then Grandma Merchant told Nightingale, "But why did you tease him for no reason, knowing that he is such a bullheaded boy?" "Precious Jade is born innocent. It happened that Mascara Jade has come here since she was little, and they are naturally different from other siblings as growing up together. Today he was told that she would go back home in an anxious way, and even an indifferent grown-up will feel sad when hearing that, let alone this simpleminded boy. Grandma and Lady King just rest assured. It's nothing serious, and he will recover with one or two doses of medicine." persuaded Aunt Marshgrass aside. While speaking, a message was delivered in that both Filial Piety Forest's wife and Big Rely's wife came here to visit Precious Jade. "It's so kind of them to care about him. Let them in." said Grandma Merchant. However, Precious Jade began to make a scene on the bed as he heard a word "Forest".

==英语笔译童略雅 Tong Lueya 202170081595==

说：“了不得了，林家的人接他们来了，快打出去罢！”贾母听了，也忙说：“打出去罢。”又忙安慰说：“那不是林家的人。林家的人都死绝了，没人来接他的，你只放心罢。”宝玉哭道：“凭他是谁，除了林妹妹，都不许姓林的！”贾母道：“没姓林的来，凡姓林的都打出去了。”一面吩咐众人：“以后别叫林之孝家的进园来，你们也别说‘林’字。孩子们，你们听了我这一句话罢！”众人忙答应，又不敢笑。一时宝玉又一眼看见了十锦槅子上陈设的一双金西洋自行船，便指着乱说：“那不是接他们来的船来了？湾在那里呢！”

he shouted from his bed.“The Forests have come to fetch her.Drive them away!”Hastily chiming in,“Drive them away!”his grandmother assured him.“They’re not from the Forest family.All those Forests are dead. Nobody will ever come to fetch her. Don’t you worry.”“Never mind who they are,”stormed Precious Jade tearfully.“No one but Cousin Mascara Jade should have the name Forest.”“There are no Forests here,”repeated the old lady.“They’re all been driven away.” She ordered the attendants,“In future don’t let Filial Piety Forest's Wife into the Garden.And never mention the name Forest again.Mind you all do as I say like good children.”Suppressing their smiles at this, the others assented.Precious Jade’s eye now fell on a golden boat with an engine, a toy from the West, which was on his cabinet.“Isn’t that the boat coming to fetch them?”he shouted, pointing at it.“It’s mooring there.”

he shouted from his bed. “The Forests have come to fetch her. Drive them away!” Hastily chiming in, “Drive them away!” his grandmother assured him. “They’re not from the Forest family. All those Forests are dead. Nobody will ever come to fetch her. Don’t you worry.” “Never mind who they are,” stormed Precious Jade tearfully. “No one but Cousin Mascara Jade should have the name Forest.” “There are no Forests here,” repeated the old lady. “They’re all been driven away.” She ordered the attendants, “In future don’t let Filial Piety Forest's Wife into the Garden. And never mention the name Forest again. Mind you all do as I say like good children.” Suppressing their smiles at this, the others assented.. Presently Precious Jade 's eye chanced to light on a little metal self-propelling boat - a West Ocean toy - which stood on one of the alcove shelves in the carved partition. Immediately he became excited again. ‘Look!” #4 he said, pointing, ‘the ship that's come to fetch her. “It’s mooring there.”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 03:21, 21 May 2022 (UTC)

==英语笔译庹树梅 Tuo Shumei 202170081596==

贾母忙命拿下来。袭人忙拿下来，宝玉伸手要，袭人递过去，宝玉便掖在被中，笑道：“这可去不成了！”一面说，一面死拉着紫鹃不放。一时人回：“大夫来了。”贾母忙命：“快进来。”王夫人、薛姨妈、宝钗等暂避入里间。贾母便端坐在宝玉身旁。王太医进来，见许多的人，忙上去请了贾母的安，拿了宝玉的手，诊了一回。那紫鹃少不得低了头。王太医也不解何意，起身说道：“世兄这症，乃是急痛迷心。古人曾云：‘痰迷有别：有气血亏柔饮食不能熔化痰迷者，有怒恼中痰急而迷者，有急痛壅塞者。’

The Grandma Merchant ordered its instant removal. and when Precious Jade reached out for it Aroma gave it to him. He tucked it under his bedding. “Now they won't be able to sail away,” he laughed. Seizing tight hold of Nightingale he refused to let her go. The doctor's arrival was announced and the old lady ordered him to be brought straight in Lady King, Hairpin Marshgrass and Hairpin Marshgrass withdrew to the inner room while the Grandma Merchant seated herself by Precious Jade. As her attendants also remained, there were a good many people in the room when the doctor entered. It was Dr. Wang. He paid his respects to the old lady before proceeding to take Precious Jade’s pulse, while Nightingale had to stand there with lowered head, to the doctor's astonishment. After feeling the pulse for a while, Dr. Wang rose to his feet. ‘The young gentleman is suffering from delirium caused by a phlegmatic occlusion of the cardiac orifices. The ancients recognized three main types of this form of dementia: in the first type the delirium is associated with an anemic deficiency when the body is failing to absorb its nourishment; in the second, it is brought on by some violent emotional disturbance, such as anger; in the third, the occlusion occurs as a result of shock.

The Grandma Merchant ordered servants to take its instant removal. and when Precious Jade reached out for it Aroma gave it to him. He tucked it under his bedding. “Now they won't be able to sail away,” he laughed. Seizing tight hold of Nightingale he refused to let her go. The doctor's arrival was announced and the old lady ordered him to be brought straight in Lady King, Hairpin Marshgrass and Hairpin Marshgrass withdrew to the inner room while the Grandma Merchant seated herself by Precious Jade. As her attendants also remained, there were a good many people in the room when the Dr.Wang entered. He paid his respects to the old lady before proceeding to take Precious Jade’s pulse, while Nightingale had to stand there with lowered head, to the doctor's astonishment. After feeling the pulse for a while, Dr. Wang stands up and said, ‘The young gentleman is suffering from delirium caused by a phlegmatic occlusion of the cardiac orifices. The ancients recognized three main types of this form of dementia: in the first type the delirium is associated with an anemic deficiency when the body is failing to absorb its nourishment; in the second, it is brought on by some violent emotional disturbance, such as anger; in the third, the occlusion occurs as a result of shock.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 13:49, 24 May 2022 (UTC)

==英语笔译王思琪 Wang Siqi 202170081597==

此亦痰迷之症，系急痛所致，不过一时壅蔽，较诸痰迷似轻。”贾母道：“你只说怕不怕，谁同你背药书呢！”王太医忙躬身笑道：“不妨，不妨。”贾母道：“果真不妨？”王太医道：“实在不妨。都在晚生身上。”贾母道：“既如此，请到外面坐，开药方。吃好了，我另外预备好谢礼，叫他亲自捧了，送去磕头；若耽误了，我打发人去拆了太医院大堂。”王太医只躬身笑说：“不敢，不敢。”他原听了说：“另具上等谢礼命宝玉去磕头”，故满口说“不敢”，竟未听见贾母后来说“拆太医院”之戏语，犹说“不敢”，贾母与众人反倒笑了。
This is also a phlegm confusion, which is caused by acute pain, but it is temporarily hidden, and it is lighter than that of phlegm fans. The Grandma Merchant said, "You only said that you are afraid and not afraid, who will carry the medicine book with you?" Dr. Wang hurriedly leaned forward and smiled, "May as well, may as well." The Grandma Merchant said, "Surely?" Doctor Wang said, "It's really okay." All in the late birth. The Grandma Merchant said, "Even so, please sit outside and prescribe medicine." After eating, I prepared another thank you gift, asked him to hold it personally, and sent it to kowtow; if it was delayed, I sent someone to demolish the lobby of the hospital. Dr. Wang only leaned forward and smiled and said, "Don't dare, don't dare." He had originally heard it and said: "Another superior ordered Precious Jade to kowtow", so he said "don't dare", but he did not hear The Grandma Merchant's joke of "demolishing the Hospital" later, and said "don't dare", The Grandma Merchant and the crowd laughed instead.

This is also a phlegm confusion, which is caused by acute pain, but it is temporarily hidden, and it is lighter than that of phlegm fans. The Grandma Merchant said, "You only said that you are afraid or not, who will carry the medicine book with you?" Dr. King hurriedly leaned forward and smiled, "May as well, may as well." The Grandma Merchant said, "Surely?" Doctor King said, "It's really okay." All in the late birth. The Grandma Merchant said, "Even so, please sit outside and prescribe medicine." After eating, I prepared another thank you gift, asked him to hold it personally, and sent it to kowtow; if it was delayed, I sent someone to demolish the lobby of the hospital. Dr. Wang only leaned forward and smiled and said, "Don't dare, don't dare." He had originally heard it and said: "Another superior ordered Precious Jade to kowtow", so he said "don't dare", but he did not hear The Grandma Merchant's joke of "demolishing the Hospital" later, and said "don't dare", The Grandma Merchant and the crowd laughed instead.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 14:22, 24 May 2022 (UTC)

==英语笔译王亚娟 Wang Yajuan 202170081598==

一时按方煎药，药来服下，果觉比先安静。无奈宝玉只不肯放紫鹃，只说：“他去了，便是要回苏州去了。”贾母王夫人无法，只得命紫鹃守着他，另将琥珀去伏侍黛玉。黛玉不时遣雪雁来探消息。这晚间宝玉稍安，贾母王夫人等方回去了。一夜还遣人来问信几次。李奶妈带宋妈等几个年老人用心看守，紫鹃、袭人、晴雯等日夜相伴。有时宝玉睡去，必从梦中惊醒，不是哭了，说黛玉已去，便是说有人来接。每一惊时，必得紫鹃安慰一番方罢。彼时贾母又命将祛邪守灵丹及开窍通神散各样上方秘制诸药，按方饮服。

After taking the medicine as prescribed, he felt better than before. But Precious Jade refused to release Nightingale, only said: "Once left, she is to go back to Suzhou." Mother Merchant and Lady King had no choice but to order Nightingale to accompany him, and Amber to serve Jade Forest. Jade Forest sent Snowgoose ask the physical condition of him from time to time. This evening, Lady King and other parties didn’t go back until Precious Jade felt better. A few times a night she sent servants to ask. Nanny Plum with Nanny Sone and several other elderly people to watch with care, Nightingale, Aroma, Sunny Cloud Formation and other elderly people care for him. Sometimes he waked up from a dream, crying Jade Forest has gone, or that someone came to pick him up. Each time the alarm, must have Nightingale comforted. At that time, Mother Merchant ordered him to take all kinds of secret medicine according to the formula.

After taking the medicine as prescribed, Precious Jade felt better than before. Yet he still won’t let go of Nightingale, crying"Once she left, she is bound to go back to Suzhou." Grandma Merchant and Lady King had no choice but to order Nightingale to accompany him and send Amber to serve Mascara Jade. From time to time Jade Forest would send Snowgoose to check the physical condition of Precious Jade. Seeing that Precious Jade was feeling better this evening, Grandma Merchant and Lady King, along with all the elders went back to their quarters respectively. However, they wouldn’t be reassured without the information of Precious Jade’s condition brought by the servants they sent. There were Nanny Plum with Nanny Sone and several other elderly people watching him with care, and Nightingale, Aroma, Sunny Cloud Formation and other little maids taking care for him. Sometimes Precious Jade would wake up from a nightmare either crying that Mascara Jade has gone or that someone came to pick her up. Each time he did this they must have Nightingale comfort him. Meanwhile Grandma Merchant sent him all kinds of secret medicine and ordered the maids to coax Precious Jade into taking them according to the formula.--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 01:08, 25 May 2022 (UTC)

==英语笔译肖冬晴 Xiao Dongqing 202170081599==

次日又服了王太医药，渐次好了起来。宝玉心下明白，因恐紫鹃回去，倒故意作出佯狂之态。紫鹃自那日也着实后悔，如今日夜辛苦，并没有怨意。袭人等皆心安神定，因向紫鹃笑道：“都是你闹的，还得你来治。也没见我们这位呆子，‘听了风就是雨’，往后怎么好。”暂且按下。且说此时湘云之症已愈，天天过来瞧看，见宝玉明白了，便将他病中狂态形容与他瞧，引得宝玉自己伏枕而笑：原来他起先那样，竟是不知的；如今听人说，还不信。无人时，紫鹃在侧，宝玉又拉他的手，问道：“你为什么唬我？”

After taking the medication prescribed by Doctor King the next day, Precious Jade was on the road to recovery. Conscious of that, Precious Jade pretended to be ill all the same for fear of losing Nightingale, who regretted her lies about Mascara Jade the other day and worked day and night without grudges taking care of him. Servants of Aroma and others now felt much relieved at the scene, smiling "Now let’s see who’s the victim of her own scheming! Poor young master to have believed what you said. What’s left to do with it in the long run?" Details of her jokes shall not be discussed. Now that Fragrant-history had recovered from her disease too, she paid a visit to Precious Jade’s place every day elaborating his rampage in the disease, which made Precious Jade himself laughed against the pillow. It turned out that he had not been aware of what he did and remained skeptical of the story. When nobody else’s around, he would secretly took Nightingale by the hand, asking "Why did you lie to me?"

Next day, after another dose of Dr King's medicine, Precious Jade was distinctly better.Conscious of that, Precious Jade pretended to be ill all the same for fear of losing Nightingale, who regretted her lies about Mascara Jade the other day and worked day and night without grudges taking care of him. Servants of Aroma and others now felt much relieved at the scene, smiling "Now let’s see who’s the victim of her own scheming! Poor young master to have believed what you said. What’s left to do with it in the long run?" Details of her jokes shall not be discussed. Now that Fragrant-history had recovered from her disease too, she paid a visit to Precious Jade’s place every day elaborating his rampage in the disease, which made Precious Jade himself laughed against the pillow. It turned out that he had not been aware of what he did and remained skeptical of the story. When nobody else’s around, he would secretly took Nightingale by the hand, asking "Why did you lie to me?"--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 16:19, 23 May 2022 (UTC)

==英语笔译肖佳莉 Xiao Jiali 202170081600==

紫鹃道：“不过是哄你玩的，你就认真了。”宝玉道：“你说得那样有情有理，如何是玩话呢？”紫鹃笑道：“那些玩话，都是我编的。林家实没了人口；纵有，也是极远的族中，也都不在苏州住，各省流寓不定。纵有人来接，老太太也必不放去的。”宝玉道：“便老太太放去，我也不依！”紫鹃笑道：“果真的不依？只怕是口里的话。你如今也大了，连亲也定下了，过二三年再娶了亲，你眼里还有谁了？”宝玉听了，又惊问：“谁定了亲，定了谁？”紫鹃笑道：“年里我就听见老太太说要定了琴姑娘呢；不然，那么疼他？”

“I only did it for fun,” Nightingale replied.“But you took it seriously.”“That was no joke,”said Precious Jade. “It was too well-reasoned.Nightingale laughed. ”I made it all up.There is no people in the Forest family.If there is, they're very, very distant relations, and not in SuZhou, either, but scattered all over the place, in different provinces.Even if one of them asked for her, the old lady would never let her go.”“Even if the old lady would let her go, I wouldn't.”said Precious Jade.”I wonder,“said Nightingale.“That's just talk, I'm afraid.You're growing up now and already engaged; in a couple of years you'll be marrying, and then you'll forget other people.”Precious Jade heard her with astonishment. “Betrothed?To whom?””Just before New Year I heard Old Lady say that she was betrothing you to Miss Harp. That's why she makes so much of her, isn't it?”Nightingale replied.

“I only did it for fun,” Nightingale replied.“But you took it seriously.”“You made it sound so convincing, how was I to know it was just a joke?”Precious Jade retorted. Nightingale laughed. “I made it all up. There is no people in the Forest family. If there is, they're very, very distant relations, and not in SuZhou, either, but scattered all over the place, in different provinces. Even if one of them asked for her, the old lady would never let her go.”“Even if the old lady would let her go, I wouldn't.”said Precious Jade.”I wonder,“said Nightingale.“That's just talk, I'm afraid. You're growing up now and already engaged; in a couple of years you'll be marrying, and then you'll forget other people.”Precious Jade heard her with astonishment. “Betrothed? To whom?””Just before New Year I heard Old Lady say that she was betrothing you to Miss Harp. That's why she makes so much of her, isn't it?”Nightingale replied.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 01:59, 24 May 2022 (UTC)

==英语笔译谢晓莹 Xie Xiaoying 202170081601==

宝玉笑道：“人人只说我傻，你比我更傻！不过是句玩话，他已经许给梅翰林家了。果然定下了他，我还是这个形景了？先是我发誓赌咒，砸这劳什子，你都没劝过吗？我病的刚刚的这几日才好了，你又来怄我。”一面说，一面咬牙切齿的，又说道：“我只愿这会子立刻我死了，把心迸出来，你们瞧见了，然后连皮带骨，一概都化成一股灰，再化成一股烟，一阵大风，吹得四面八方，都登时散了，这才好！”一面说，一面又滚下泪来。紫鹃忙上来握他的嘴，替他擦眼泪，又忙笑解说道：“你不用着急。这原是我心里着急，故来试你。”

Precious Jade laughed.“People may call me crazy, but you're even crazier! That was just a joke. She's already engaged to the son of Academician Mei. If I were engaged to her, would I be in this state? Didn't you plead with me and say I was mad when I swore that oath and wanted to smash that silly jade? Now you've come to provoke me again just as I'm getting better.”Through clenched teeth he added.“I only wish I could die this very minute and tear out my heart to show you. Then all the rest of me, skin and bones, could be turned into ashes. No, ashes still have form better be turned into smoke. But smoke still congeals and can be seen by men it would have to be scattered in a flash, by a great wind, to the four quarters. That would be a good death.”Tears were running down his cheeks as he spoke. Nightingale hastily put her hand to his mouth, then wiped away his tears.“You needn't worry,”she urged.“I was putting you to the test because I was worried.”

Precious Jade said with a smile.“People says me crazy, but you're even crazier! That was just a joke. She's already engaged to the son of Academician Mei. If I were engaged to her, would I be in this state? Didn't you plead with me and say I was mad when I swore that oath and wanted to smash that silly jade? Now you've come to provoke me again just as I'm getting better.”Through clenched teeth he added.“I only wish I could die this very minute and tear out my heart to show you. Then all the rest of me, skin and bones, could be turned into ashes. No, ashes still have form better be turned into smoke. But smoke still congeals and can be seen by men it would have to be scattered in a flash, by a great wind, to the four quarters. That would be a good death.”Tears were running down his cheeks as he spoke. Nightingale hastily put her hand to his mouth, then wiped away his tears.“You needn't to worry about that,”she urged.“I was putting you to the test because I was worried.”--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 11:05, 24 May 2022 (UTC)

==英语笔译熊嘉玲 Xiong Jialing 202170081602==

宝玉听了，更又咤异，问道：“你又着什么急？”紫鹃笑道：“你知道，我并不是林家的人，我也和袭人鸳鸯是一伙的，偏把我给了林姑娘使。偏生他又和我极好，比他苏州带来的还好十倍，一时一刻，我们两个离不开。我如今心里却愁他倘或要去了，我必要跟了他去的。我是合家在这里，我若不去，辜负了我们素日的情长；若去，又弃了本家。所以我疑惑，故说出这谎话来问你，谁知你就傻闹起来。”宝玉笑道：“原来是你愁这个，所以你是傻子。从此后再别愁了。我告诉你一句打趸儿的话：活着，咱们一处活着；不活着，咱们一处化灰，化烟。如何？”

Precious Jade asked in surprise，“You worried? Why?”“You know I don’t belong to the Forest family. Like Aroma and Mandarin Duck, I was given to Miss Forest. She treats me ten times better than her own maids brought from Suzhou; we can’t be seperated for a single moment. I’m worried now because, if she leaves, I shall have to go with her; but my whole family’s here. If I don’t go, I’ll be unworthy of all her goodness; if I do, I shall have to abandon my own family. That’s why, in my dilemma, I told you that lie to see how you felt about it. How was I know that you’d take it so hard?”“So that’s what’s worrying you,”Precious Jade smiled. “What a goose you are! Well, set your heart at rest. Let me just put it in a nutshell for you. If we live, we shall live together; and if we die, we shall turn into ashes and smoke together. How do you think？”

Precious Jade was surprised，“You worried? Why?”You know I don’t belong to the Forest family. Like Aroma and Mandarin Duck, I was given to Miss Forest. She treats me ten times better than her own maids brought from Suzhou; we can’t be separated for a single moment. I’m worried now because, if she leaves, I shall have to go with her; but my whole family’s here. If I don’t go, I’ll be unworthy of all her goodness; if I do, I shall have to abandon my own family. That’s why, in my dilemma, I told you that lie to see how you felt about it. How was I know that you’d take it so hard?”“So that’s what’s worrying you,” Precious Jade smiled. “What a goose you are! Well, set your heart at rest. Let me just put it in a nutshell for you. If we live, we shall live together; and if we die, we shall turn into ashes and smoke together. How do you think？”--[[User:Yang Xinyi|Yang Xinyi]] ([[User talk:Yang Xinyi|talk]]) 04:50, 25 May 2022 (UTC)

==英语笔译杨心怡 Yang Xinyi 202170081604==

紫鹃听了，心下暗暗筹画。忽有人回：“环爷兰哥儿问候。”宝玉道：“就说难为他们，我才睡了，不必进来。”婆子答应去了。紫鹃笑道：“你也好了，该放我回去瞧瞧我们那一个去了。”宝玉道：“正是这话。我昨夜就要叫你去的，偏又忘了。我已经大好了，你就去罢。”紫鹃听说，方打迭叠铺盖妆奁之类。宝玉笑道：“我看见你文具里头有两三面镜子，你把那面小菱花的给我留下罢。我搁在枕头旁边，照着好睡，明日出门带着也轻巧。”紫鹃听说，只得与他留下，先命人将东西送过去，然后别了众人，自回潇湘馆来。
Juan listened, and secretly planned a plan. Suddenly someone replied, "Greetings from Huan Ye Lan." Bao Yu said, "I just said it was difficult for them, I just went to bed, and I don't have to come in." The old woman agreed to go. Zijuan smiled and said, "You're fine too, it's time to let me go back and see who we are." Baoyu said, "That's exactly what I said. I was going to ask you to go last night, but I forgot. I'm already fine. If you're done, you just go." Zijuan heard that Fang was putting on layers of bedding and make-up. Baoyu smiled and said, "I saw two or three mirrors in your stationery. You can leave the one with the little ling flower to me. I put it next to the pillow and sleep well. It's easy to take it with you when you go out tomorrow." I heard that I had to stay with him, order someone to send things over, then say goodbye to everyone, and return to the Xiaoxiang Pavilion.

==英语笔译杨紫微 Yang Ziwei 202170081605==

黛玉近日闻得宝玉如此形景，未免又添些病症，多哭几场。今儿紫鹃来了，问其原故，已知大愈，仍遣琥珀去伏侍贾母。夜间人静后，紫鹃已宽衣卧下之时，悄向黛玉笑道：“宝玉的心倒实，听见咱们去，就那样起来。”黛玉不答。紫鹃停了半晌，自言自语的说道：“一动不如一静，我们这里就算好人家，别的都容易，最难得的是从小儿一处长大，脾气情性都彼此知道的了。”黛玉啐道：“你这几天还不乏，趁这会子不歇一歇，还嚼什么蛆！”紫鹃笑道：“倒不是白嚼蛆，我倒是一片真心为姑娘。

Hearing Precious Jade had a bad time, Mascara Jade cried a few more times and was more weak in illness. Today Nightingale came and asked the reason, she got to know that Mascara Jade was much better now, but she still send Amber to serve Merchant Grandma. At tranquil night, when Nightingale was undressed and lying down, she smiled at Mascara Jade and said, "Precious Jade is very sincere. He still struggled to get up when he heard we came." Mascara Jade did not answer. Nightingale stopped for a long time and said to herself, "It is better to keep quiet than to move. We consider ourselves a good family here. Everything else is easy. What is the rarest is that we grew up together in one place, so we know each other’s temperament well.” Mascara Jade scolded her, "Are you not tired in these days? Just take a break now and stop talking the nonsense!" Nightingale said with a smile, "What I am talking about is not nonsense and I have your best interests at heart.”

Hearing Precious Jade had experienced a disorder, Mascara Jade cried a few more times and was more weak in illness. At thins time, Nightingale came back and she asked the reason. She learned that Mascara Jade was much better now and sent Amber to serve Merchant Grandma. At a tranquil night, when Nightingale was undressed and laid down, she whispered to Mascara Jade, “Precious Jade is very sincere. He had fell ill like that when he just heard we were leaving.” Mascara Jade did not response. Nightingale stopped for a while and said to herself, “It is better to keep quiet than to move. This is a good family anyway. Everything else is easy. What is the rarest is that we grew up together in one place, so we know each other’s temperament well.” Mascara Jade scolded her, “Aren’t you tired in these days? Why don’t you sleep instead of talking such nonsense!” “It is not nonsense. I am thinking for you!”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 10:35, 20 May 2022 (UTC)

==英语笔译张国浩 Zhang Guohao 202170081606==

替你愁了这几年了：无父母无兄弟，谁是知疼着热的人？趁早儿，老太太还明白硬朗的时节，作定了大事要紧。俗语说，‘老健春寒秋后热。’倘或老太太一时有个好歹，那时虽也完事，只怕耽误了时光，还不得趁心如意呢。公子王孙虽多，那一个不是三房五妾，今儿朝东，明儿朝西？娶一个天仙来，也不过三夜五夜，也就撂在脖子后头了，甚至于怜新弃旧，反目成仇的。若娘家有人有势的，还好些；若姑娘这样的人，有老太太一日还好，一日若没了老太太，也只是凭人去欺负罢了。所以说，拿主意要紧。

I have been worried about you for several years. You have no parents or brothers to care for you. So it is important to settle you marriage affair in a good time, while Grandma Merchant is still healthy and clear-headed. As an old saying goes, “The healthiest old people last as long as a chilly spring or a hot autumn.” If something happens to Grandma Merchant, you marriage will be delayed or you will marry a people you don not wish. There are many young lordlings, but they both want to have many wives and concubines. There affection is not constant and may change from one to another. Even though they get a girl as a fairy as his wife, they may cast her off after several days. Someone may treat her as an enemy for the sake of another new concubine. If her family is powerful and wealthy, it may be not so bad; but for someone like you, you life will be good as long as Grandma Merchant still lives. However, someday once she pass away, you will live under others’ treatment. Therefore, it is important to make up your mind.

“It isn’t nonsense. I was thinking of you. I’ve felt worried for you all these years with no father, mother or brothers to care for you. The important thing is to settle the main affair of your life in good time, while the old lady’s still clear-headed and healthy. The proverb says, ‘The healthiest old people last as long as a chilly spring or a hot autumn.’ If anything should happen to the old lady your marriage might be delayed, or else not turn out in the way you hoped. There’s no lack of young lordlings, but they all want three wives and five concubines and their affections change from one day to the next. They may bring home a wife as lovely as a fairy, yet after four or five nights they cast her off, treating her like an enemy for the sake of a concubine or a slave girl. If her family’s large and powerful, that’s not so bad; and for someone like you, miss, so long as the old lady lives you’ll be all right. Once she’s gone, you’ll have to put up with ill treatment. So it’s important to make up your mind.”--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 02:47, 22 May 2022 (UTC)

==英语笔译张姣玲 Zhang Jiaoling 202170081607==

姑娘是个明白人，岂不闻俗语说的‘万两黄金容易得，知心一个也难求’！”黛玉听了，便说道：“这丫头今日可疯了，怎么去了几日，忽然变了一个人？我明儿必回老太太，退回你去，我不敢要你了。”紫鹃笑道：“我说的是好话，不过叫你心里留神，并没叫你去为非作歹。何苦回老太太，叫我吃了亏，又有什么好处？”说着，竟自己睡了。黛玉听了这话，口内虽如此说，心内未尝不伤感。待他睡了，便直哭了一夜，至天明，方打了一个盹儿。次日，勉强盥漱了，吃了些燕窝粥。便有贾母等亲来看视了，又嘱咐了许多话。
“You’ve sense enough to understand the saying, ‘The thousand taels of gold are easier come by than an understanding heart.” “The girl’s crazy!” exclaimed Mascara Jade. “A few days away, and you’ve suddenly changed into a different person. Tomorrow I shall ask the old lady to take you back. I no longer dare keep you.” “I meant well,” was the smiling answer. “I just wanted you to look out for yourself, not to do anything wrong. What good will it do if you report me to the old lady and get me into trouble?” With that Nightingale closed her eyes. Although Mascara Jade had spoken so sharply, this talk had distressed her. After Nightingale went to sleep she wept all night, no dozing off until dawn. The next morning she found it an effort to wash herself, rinse her mouth and swallow her bird’s-nest broth. Then the Lady Merchant and others called to see her and urged her to take better care of herself.

“You’ve sensed enough to understand the saying,‘The thousand taels of gold are easier to come by than an understanding heart.” “The girl’s crazy!” exclaimed Mascara Jade. “A few days away, and you’ve suddenly changed into a different person. Tomorrow I shall ask the elder lady to take you back. I no longer dare keep you."“I meant well,” was the smiling answer. “I just wanted you to look out for yourself, not to do anything wrong. What good will it do if you report me to the old lady and get me into trouble?” With that Nightingale closed her eyes. Although Mascara Jade had spoken so sharply, this talk had distressed her. After Nightingale went to sleep she wept all night, no dozing off until dawn. The next morning she found it an effort to wash herself, rinse her mouth and swallow her bird’s-nest broth. Then Lady Merchant and others called to see her and urged her to take better care of herself.--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 05:21, 23 May 2022 (UTC)

==英语笔译张瑞 Zhang Rui 202170081608==

目今是薛姨妈的生日，自贾母起，诸人皆有祝贺之礼，黛玉也只得备了两色针线送去。是日也定了一班小戏，请贾母与王夫人等。独有宝玉与黛玉二人不曾去得。至晚散时，贾母等顺路又瞧了他二人一遍，方回房去。次日，薛姨妈家又命薛蝌陪诸伙计吃了一天酒，连忙了三四天，方才完备。因薛姨妈看见邢岫烟生得端雅稳重，且家道贫寒，是个钗荆裙布的女儿，便欲说与薛蟠为妻。因薛蟠素昔行止浮奢，又恐遭踏了人家的女儿，正在踌躇之际，忽想起薛蝌未娶，看他二人，恰是一对天生地设的夫妻，因谋之于凤姐儿。

Now that it was Aunt Marshgrass's birthday, everyone,beginning with Grandma Merchant had a congratulatory gift。And Mascara Jade had to prepare two-color needles and threads to send. On the same day, a small drama was also scheduled, and Grandma Merchant and Lady King were invited to watch. It was only Baoyu and Daiyu who didn't arrive. At the end of the night, Grandma Merchant and the others paid a visit to them before they went back to the room. The next day, Aunt Marshgrass's family ordered Tadpole Marshgrass to accompany the families to drink for a day, and it took three or four days to complete. Because Aunt Marshgrass thought that Cave Cloud Marshgrass was born elegant and stable in a poor family. Aunt Marshgrass wanted her to be married to Dragon Marshgrass. Because Dragon Marshgrass had done a lot of extravagance in the past, and was afraid of trampling on the daughter of others, so she was hesitating. Then she suddenly recalled that Tadpole Marshgrass was not yet married, and seeing that the two of them were just a couple born to be set up. Then she went to plan it with Sister Phoenix.

Now that it was Aunt Marshgrass's birthday, everyone, beginning with Grandma Merchant had a congratulatory gift. And Mascara Jade had to prepare two-color needles and threads to send. On the same day, a small drama was also scheduled, and Grandma Merchant and Lady King were invited to watch. It was only Precious Jade and Mascara Jade who didn't arrive. At the end of the night, Grandma Merchant and the others paid a visit to them before they went back to the room. The next day, Aunt Marshgrass's family ordered Tadpole Marshgrass to accompany the families to drink for a day, and it took another three or four days to complete. Because Aunt Marshgrass thought that Cave Cloud City was born elegant and stable in a poor family. Aunt Marshgrass wanted her to be married to Dragon Marshgrass. But because Dragon Marshgrass had done a lot of extravagance in the past, and she was afraid of trampling on the daughter of others, so she was hesitating. Then she suddenly recalled that Tadpole Marshgrass was not yet married, and seeing that the two of them were just a couple born to be set up. Then she went to plan it with Sister Phoenix.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 13:33, 23 May 2022 (UTC)

==英语笔译赵宇翔 Zhao Yuxiang 202170081609==

凤姐儿笑道：“姑妈素知我们太太有些左性的，这事等我慢谋。”因贾母去瞧凤姐儿时，凤姐儿便和贾母说：“薛姑妈有件事求老祖宗，只是不好启齿的。”贾母忙问：“何事。”凤姐便将求亲一事说了。贾母笑道：“这有什么不好启齿，这是极好的好事，等我和你婆婆说了，怕他不依？”因回房来，即刻就命人来请邢夫人过来，硬作保山。邢夫人想了一想：薛家根基不错，且现今大富；薛蝌生得又好，且贾母硬作保山，将机就计，便应了。贾母十分喜欢，忙命人请了薛姨妈来。二人见了，自然有许多谦辞。
Sister Phoenix laughed, "You know that my mother-in-low has an eccentric disposition, so we need discuss about this matter slowly." When Grandma Merchant stopped by Siter Phoenix's house, she said to Grand Merchant, "Aunt Marshgrass wants you to do her a favor, but she feels embarrassed to tell you." Grand Merchant asked, "What is it?" Sister Phoenix told her the matter of the Marshgrass Family seeking a marriage alliance. Hearing this, Grand Merchant laughed, "What a wonderful thing it is! Your mother-in-law will agree when I tell her about it." After Grandma Merchant went back to her room, she ordered a servant to invite Lady City to come right now. She told Lady City about the marriage and guaranteed for it. Lady City thought to herself: "The Marshgrass Family has a good foundation and is rich now. And Tadpole Marshgrass is also a man of striking appearance." With the guarantee from Grandma Merchant, she agreed to the marriage between Tadpole Marshgrass and Cave Cloud City. Grandma Merchant was very happy and invited Aunt Marshgrass to come. And there came naturally lots of self-depreciatory words between them.

==英语笔译郑冬琴 Zheng Dongqin 202170081610==

邢夫人即刻命人去告诉邢忠夫妇。他夫妇原是此来投靠邢夫人的，如何不依，早极口的说：“妙极。”贾母笑道：“我最爱管闲事，今儿又管成了一件事，不知得多少谢媒钱？”薛姨妈笑道：“这是自然的。纵抬了整万银子来，只怕不希罕。但只一件，老太太既是作媒，还得一位主亲才好。”贾母笑道：“别的没有，我们家折腿烂手的人还有两个。”说着，便命人去叫过尤氏婆媳二人来。贾母告诉他原故，彼此忙都道喜。贾母吩咐道：“咱们家的规矩，你是尽知的，从没有两亲家‘争礼争面’的。
Lady City lost no time in informing her brother Faithfulness City and his wife; and since they had come there to throw themselves upon her bounty, they were naturally more than happy to give their approval.'I love meddling in other people’s affairs,’ said the Grandma Merchant. ‘Now that I’ve fixed this up, how much are you going to pay your go-between?’‘Don’t worry about that,’ replied Aunt Marshgrass. ‘Even if we brought you a hundred thousand taels of silver, I don’t suppose it would mean much to you. But since you’re the go-between, madam, will you find us someone to take charge of the betrothal ceremony?’‘Whatever else we’re short of, we can produce one or two helpers of a sort, ‘the Grandma Merchant chuckled.She sent for Treasure Merchant’s wife and daughter-in-law. When they heard the news from her they offered their congratulations.‘You know our family ways,’ she told Madam Outstanding. ‘The two families never squabble over betrothal gifts.

Lady City lost no time in informing her brother Faithfulness City and his wife; and since they had come there to throw themselves upon her bounty, they were naturally more than happy to give their approval.'I love meddling in other people’s affairs,’ said the Grandma Merchant. ‘Now that I’ve fixed this up, how much are you going to pay your go-between?’‘Don’t worry about that,’ replied Aunt Marshgrass. ‘Even if we brought you a hundred thousand taels of silver, I don’t suppose it would mean much to you. But since you’re the go-between, madam, will you find us someone to take charge of the betrothal ceremony?’‘Whatever else we’re short of, we can produce one or two helpers of a sort, ‘the Grandma Merchant chuckled.She sent for Treasure Merchant’s wife and daughter-in-law. When they heard the news from her they offered their congratulations.‘You know our family ways,’ she told Madam Outstanding. ‘The two families never squabble over betrothal gifts.--[[User:Zhong Qing|Zhong Qing]] ([[User talk:Zhong Qing|talk]]) 06:17, 25 May 2022 (UTC)

==英语笔译钟青 Zhong Qing 202170081611==

如今你算替我在当中料理，也不可太省，也不可太费，把他两家的事周全了回我。”尤氏忙答应了。薛姨妈喜之不尽，回家命写了请帖，补送过宁府。尤氏深知邢夫人情性，本不欲管，无奈贾母亲自嘱咐，只得应了，惟有忖度邢夫人之意行事。薛姨妈是个无可无不可的人，倒还易说。这且不在话下。如今薛姨妈既定了邢岫烟为媳，合宅皆知。邢夫人本欲接出岫烟去住，贾母因说：“这又何妨，两个孩子又不能见面，就是姨太太和他一个大姑子，一个小姑子，又何妨？况且都是女孩儿，正好亲近些呢。”

"You know our family ways," she told Madam Outstanding. "The two families never squabble over betrothal gifts. You must handle this business for me, neither too stingily nor too lavishly. Report to me when everything is arranged." As soon as Madam Outstanding accepted this task，Aunt Marshgrass went home overjoyed to write invitation cards for the Peace Mansion.Madam You knew Lady City's cantankerous temper and would have preferred to have nothing to do with the business, but she had to fall in with the old lady's wishes. She did her best to please Lady City,aware that Aunt Marshgrass was so easygoing there would be no problem there.But enough of this. Now that the whole household knew that Tadpole Marshgrass was to marry Aunt Marshgrass's nephew, Lady City wanted to move her out of the Garden. "What does it matter if she stays?" demurred the Grandma Merchant."There's no danger of the two young people meeting, and it shouldn't worry you if she sees Aunt Marshgrass and the two cousins of the other family every day. They're all girls, aren't they? They may as well get to know each other better." Madam Outstanding made no further objection then.

==英语笔译周皓熙 Zhou Haoxi 202170081612==

邢夫人方罢。那薛蝌岫烟二人，前次途中，曾有一面之遇，大约二人心中皆如意，只是那岫烟未免比先时拘泥了些，不好与宝钗姐妹共处闲语；又兼湘云是个爱取笑的，更觉不好意思。幸他是个知书达礼的，虽有女儿，还不是那种佯羞诈鬼、一味轻薄造作之辈。宝钗自那日见他起，想他家业贫寒；二则别人的父母皆是年高有德之人，独他的父母偏是酒糟透了的人，于女儿分中平常；邢夫人也不过是脸面之情，亦非真心疼爱；且岫烟为人雅重，迎春是个老实人，连他自己尚未照管齐全，如何能照管到他身上，

Lady City then relented. Tadpole Marshgrass and Cave Cloud Marshgrass had met before in one of their trips. They both were satisfied with each other. It was just that Cave Cloud was shier than the last time and didn't feel relaxed to chat with Precious Hairpin and other ladies. More than that, Fragrant-cloud History loved cracking jokes, which made her felt more uncomfortable. Luckily, she was highly cultured and stepped in propriety. Though a lady, he was not the kind that would cheat or flirt with others. Since the day Precious Hairpin met her, Precious Hairpin knew that she lived in poverty. Also, others parents were all aged and virtuous but hers were bad, which made her unique among all the ladies. Lady City's concern were out of courtesy rather than sincerity. Cave Cloud were elegant and Welcome-Spring were honest. They couldn't even take good care of themselves, how could they concern her.

Lady City then relented. Tadpole Marshgrass and Cave Cloud had met before in one of their trips. They both were satisfied with the match, but that made Cave Cloud shier than before and reserved in the presence of Precious Hairpin and other girls. More than that, Fragrant-cloud History loved cracking jokes, which made her feel even more shy. Luckily, she was well-educated and stepped in propriety. Though a lady, she was not the kind that would cheat or flirt with others.
Since the day Precious Hairpin met her, Precious Hairpin knew that she lived in poverty. Also, others parents were virtuous old people but hers were penniless rats who cared little for their daughter. Lady City’s concern were treating her more out of courtesy, simply making a show of affection. Cave Cloud were elegant and Welcome-Spring were honest. They couldn't even take good care of themselves, let alone look after her counsin.
--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 03:35, 25 May 2022 (UTC)

==英语笔译周哲 Zhou Zhe 202170081613==

凡闺阁中家常一应需用之物，或有亏乏，无人照管，他又不与人张口。宝钗倒暗中每相体贴接济，也不敢与邢夫人知道，也恐怕是多心闲话之故。如今却是众人意料之外奇缘作成这门亲事。岫烟心中先取中宝钗，有时仍与宝钗闲话，宝钗仍以姊妹相呼。这日宝钗因来瞧黛玉，恰值岫烟也来瞧黛玉，二人在半路相遇。宝钗含笑唤他到跟前，二人同走。至一块石壁后，宝钗笑问他：“这天还冷的很，你怎么倒全换了夹的了？”岫烟见问，低头不答。宝钗便知道又有了原故，因又笑问道：“必定是这个月的月钱又没得？凤姐姐如今也这样没心没计了。”
Whenever Cave Cloud ran short of any daily necessities, there was no one to see to it, and she was too unassuming to mention it. Precious Hairpin Marshgrass accordingly often helped her in secret, not letting Lady City know for fear of giving offence, with the result that now that this unexpected match had been arranged Cave Cloud felt even more closely bound to Precious Hairpin than to Tadpole Marshgrass. She often went to chat with her, and Precious Hairpin continued to address her as "cousin."
One day Precious Hairpin set out to call on Mascara Jade. Happening to meet Cave Cloud on the way, she beckoned her with a smile and they walked on together. As they skirted the back of a rockery, Precious Hairpin inquired: "Why have you changed out of padded clothes into lined ones, when the weather is still so cold?" Cave Cloud hung her head and said nothing.
Sensing some reason for this Precious Hairpin continued, "Don't tell me this month's allowance was held up again? Cousin Phoenix really is growing rather thoughtless."

Whenever Cave Cloud ran short of any daily necessities, there was no one to see to it, and she was too unassuming to mention it. Precious Hairpin Marshgrass accordingly often helped her in secret, not letting Lady City know for fear of giving offence, with the result that now that this unexpected match had been arranged Cave Cloud felt even more closely bound to Precious Hairpin than to Tadpole Marshgrass. She often went to chat with her, and Precious Hairpin continued to address her as "cousin."
One day Precious Hairpin set out to call on Mascara Jade. Happening to meet Cave Cloud on the way, she beckoned her with a smile and they walked on together. As they skirted the back of a rockery, Precious Hairpin inquired: "Why have you changed out of padded clothes into lined ones, when the weather is still so cold?" Cave Cloud hung her head and said nothing.
Sensing some reason for this Precious Hairpin continued, "Don't tell me this month's allowance was held up again? Cousin Phoenix really is growing rather thoughtless."--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 10:27, 22 May 2022 (UTC)

==英语笔译朱丽娟 Zhu Lijuan 202170081614==
岫烟道：“他倒想着不错日子给，因姑妈打发人和我说道：一个月用不了二两银子，叫我省一两给爹妈送出去；要使什么，横竖有二姐姐的东西，能着些搭着就使了。姐姐想：二姐姐也是个老实人，也不大留心。我使他的东西，他虽不说什么，他那些妈妈丫头，那一个是省事的？那一个是嘴里不尖的？我虽在那屋里，却不敢很使唤他们，过三天五天，我倒得拿出钱来，给他们打酒买点心吃才好。因此一月二两银子还不够使，如今又去了一两。前日我悄悄的把棉衣服叫人当了几吊钱盘缠。”宝钗听了，愁叹道：“偏梅家又合家在任上，后年才进来。
"She issued it on the right date," rejoined Cave Cloud. "But my aunt sent to tell me I shouldn't need two taels a month and must save one for my parents. She said if I was short of anything I could borrow from Spring Pleasure and make do. But, you see,Spring Pleasure is a simple soul who doesn't always think. She wouldn't mind my using her things, but those maids and nannies of hers are all troublemakers — you know what sharp tongues they have. Though I'm staying there, I dare not order them about; infact, every few days I have to spend money on wine and cakes for them. l can't manage even on two taels a month, and now it's been cut to one. So the other day I got someone, on the sly, to pawn my padded clothes for a few strings of cash."
Hearing this, Precious Hairpin frowned and sighed in sympathy. "It's too bad that the Mei family have all gone to the new post and won't be back in the capital till the year after next," she said.

"She issued it on the right date,"rejoined Cave Cloud. "But my aunt sent to tell me I shouldn't need two taels a month and must save one for my parents. She said if I was short of anything I could borrow from Spring Pleasure and make do. But,you see,Spring Pleasure is a simple soul who doesn't always think. She wouldn't mind my using her things,but those maids and nannies of hers are all troublemakers — you know what sharp tongues they have. Though I'm staying there,I dare not order them about; in fact,every few days I have to spend money on wine and cakes for them. I can't manage even on two taels a month,and now it's been cut to one. So the other day I got someone,on the sly,to pawn my padded clothes for a few strings of cash."
Hearing this,Precious Hairpin frowned and sighed in sympathy. "It's too bad that the Mei family have all gone to the new post and won't be back in the capital till the year after next,"she said.--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 00:26, 25 May 2022 (UTC)

==英语口译段小蝶 Duan Xiaodie 202170081615==

若是在这里，琴儿过去了，好再商议你这事。离了这里就完了。如今不完了他妹妹的事，也断不敢先娶亲的。如今倒是一件难事。再迟两年，我又怕你熬煎出病来。等我和妈妈再商议。”宝钗又指他裙上一个璧玉珮问道：“这是谁给你的？”岫烟道：“这是三姐姐给的。”宝钗点头道：“他见人人皆有，独你一个没有，怕人笑话，故此送一个。这是他聪明细致之处。”岫烟又问：“姐姐此时那里去？”宝钗道：“我到潇湘馆去。你且回去，把那当票子叫丫头送来我那里，悄悄的取出来，晚上再悄悄的送给你去，早晚好穿；
If they were here,we could arrange Precious String'wedding and then yours. Once you leave here you'll be all right. The trouble is that Tadpole Marshgrass won't consider getting married before his younge sister; yet if you have to put up with two more years of this,I'm afraid it may ruin your health. I must talk to my mother and see what can be done. Then Baochai pointed at the green jade pendant hanging from her skirt,"Who gave you that?" "It's a present from Cousin Spring-seeking." Precious Hairpin nodded. "She must have noticed that you were the only one with no jade to wear,so to stop people laughing at you she gave you this. It shows how thoughtful and observant she is. Cave Cloud assented then asked her where she was going. "To Bamboo Lodge," Precious Hairpin told her slip back and send a maid over to our place with the pawn ticket. I'll have the clothes redeemed quietly and sent to you this evening,so that you have something warm to wear.--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 06:02, 25 May 2022 (UTC)

==比较文学与跨文化研究 Mahzad 202021080004==

不然，风闪着还了得！但不知当在那里了？”岫烟道：“叫做什么恒舒典，是鼓楼西大街的。”宝钗笑道：“这闹在一家去了！伙计们倘或知道了，好说‘人没过来，衣裳先过来’了。”岫烟听说，便知是他家的本钱，也不答，红了脸一笑，二人走开。宝钗就往潇湘馆来。恰正值他母亲也来瞧黛玉，正说闲话呢。宝钗笑道：“妈妈多早晚来的？我竟不知道。”薛姨妈道：“我这几天忙，总没来瞧瞧宝玉和他。所以今日瞧他人，都也好了。”黛玉忙让宝钗坐了，因向宝钗道：“天下的事，真是人想不到的。拿着姨妈和大舅母说起，怎么又作一门亲家。”薛姨妈道：“我的儿，你们女孩儿家那里知道？
Otherwise, the wind is still shining! But don't know where it is? "Xiu Yan said: "What is it called Heng Shu Dian, it's from Gulou West Street. " Baochai smiled and said: "This is a family trouble! Guys, if they know, it's easier to say that "the clothes will come first before the people come". When Xiuyan heard it, she knew that it was his family's capital, so she didn't answer, she blushed and the two walked away. Baochai went to Xiaoxiang Pavilion. It was just when his mother came to see Daiyu and was gossiping. Baochai smiled and said, "How sooner or later did my mother come? I didn't know. Aunt Xue said, "I've been busy these days, so I never came to see Baoyu and him." So looking at others today, it's all good. Daiyu hurriedly asked Baochai to sit down, and Yin said to Baochai, "The affairs of the world are really unexpected. Talking about my aunt, how could they be in-laws again. Aunt Xue said, "My son, where do you girls know?"

==外国语言文学 Muhammad Numan 202121080002==

自古道：‘千里姻缘一线牵。’管姻缘的有一
位月下老人，预先注定，暗里只用一根红丝，把这两个人的脚绊住，凭你两家那
怕隔着海国呢，若有姻缘的，终久有机会作了夫妇。这一件事，都是出人意料之
外。凭父母本人都愿意了，或是年年在一处，已为是定了的亲事，若月下老人
不用红线拴的，再不能到一处。比如你姐妹两个的婚姻，此刻也不知在眼前，也
不知在山南海北呢！”宝钗道：“惟有妈妈说动话拉上我们！”一面说，一面伏在
母亲怀里，笑说：“咱们走罢。”黛玉就笑道：“你瞧！这么大了，离了姨妈，他就
是个最老到的；见了姨妈，他就撒娇儿。”

==英语语言文学 TOURE MARIAM 202021080005==

薛姨妈将手摩弄着宝钗，向黛玉叹道：
“你这姐姐，就和凤哥儿在老太太跟前一样：有了正经事，就有话和他商量；没有
了事，幸亏他开我的心。我见了他这样，有多少愁不散的。”黛玉听说，流泪叹道：“他偏在这里这样，分明是气我没娘的人，故意来形
容我！”宝钗笑道：“妈妈，你瞧他这轻狂样儿，倒说我撒娇儿！”薛姨妈道：“也怨
不得他伤心，可怜没父母，到底没个亲人。”又摩娑黛玉，笑道：“好孩子，别哭。
你见我疼你姐姐，你伤心，你知我心里更疼你呢！你姐姐虽没了父亲，到底有我，
有亲哥哥，这就比你强了。我常和你姐姐说，心里很疼你，只是外头不好带出来
的。

==外国语言文学 UDDIN NIZAM 202121080007==

你这里人多嘴杂，说好话的人少，说歹话的人多：不说你无依靠，为人做人
可配人疼；只说我们看老太太疼你了，我们也‘洑上水’去了。”黛玉笑道：“姨妈
既这么说，我明日就认姨妈做娘，姨妈若是弃嫌，便是假意疼我。”薛姨妈道：
“你不厌我，就认了。”宝钗忙道：“认不得的。”黛玉道：“怎么认不得？”宝钗笑
道：“我且问你，我哥哥还没定亲事，为什么反将邢妹妹先说与我兄弟了？是什
么道理？”黛玉道：“他不在家，或是属相生日不对，所以先说与兄弟了。”宝钗笑
道：“不是这样。我哥哥已经相准了，只等来家就放定，也不必提出人来，我说
你认不得娘，你细想去！”说着，便和他母亲挤眼儿发笑。

==翻译学 SAGARA SEYDOU 201911080004 ==

黛玉听了，便一头伏在薛姨妈身上，说道：“姨妈不打他，我不依！”薛姨妈
搂着他笑道：“你别信你姐姐的话，他是和玩你呢。”宝钗笑道：“真个妈妈明儿
和老太太求了，聘作媳妇，岂不比外头寻的好？”黛玉便拢上来要抓他，口内笑
说：“你越发疯了。”薛姨妈忙笑劝，用手分开方罢。又向宝钗道：“连邢女儿我
还怕你哥哥遭踏了他，所以给你兄弟，别说这孩子，我也断不肯给他。前日老太
太因要把你妹妹说给宝玉，偏生又有了人家；不然，倒是门子好亲事。前日我说定
了邢姑娘，老太太还取笑说：‘我原要说他的人，谁知他的人没到手，倒被他说了
我们一个去了。’

20220519 homework

2022-05-25T07:27:31Z

Liang Siting: /* 英语笔译梁思婷 Liang Siting 202170081581 */

Quicklinks: [[Chinese Classics Translation 2022|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ] [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[Chinese Classics Translation 2022 LIST OF HOMEWORKS| Back to all homework webpages overview]]

Assignment 1: '''Click here''' [[Chinese Classics Translation 2022 LIST OF TOPICS]] to check the topics to prepare, the topic for next week is '''Lessons to learn from the Classics: Integration or Sharpening the Cultural Profile? 刘唱张国浩张瑞赵宇翔'''

Assignment 2: Please do the translation below here

IN PREPARATION

=Please write your homework directly down here=
Just click on the edit button behind your name and add the English translation as a seperate paragraph, separated by blank line.

While translating, please do not use Pinyin to transcribe names, but use the names by meaning we agreed upon in our [[Joint_translation_terms|Joint translation terms]] list.

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==英语笔译卞王倩 Bian Wangqian 202170081563==

四人道：“因老太太当作宝贝一样，他又生得白，老太太便叫作‘宝玉’。”贾母笑向李纨道：“偏也叫个‘宝玉’！”李纨等忙欠身笑道：“从古至今，同时隔代，重名的很多。”四人也笑道：“起了这小名儿之后，我们上下都疑惑，不知那位亲友家也倒是曾有一个的，只是这十来年没进京来，却记不得真了。”贾母笑道：“那就是我的孙子。人来！”众媳妇丫头答应了一声，走近几步。贾母笑道：“园里把咱们的宝玉叫了来，给这四个管家娘子瞧瞧，比他们的宝玉如何？”

“Precious so much as our old lady towards her grandson, who has the apple-blossom coloring just like a jade, so she gave him the name ‘Precious Jade’,” answered they. Grandma Merchant smiled at Silk Plum, “There should be another ‘Precious Jade’. What a coincidence!” “From ancient times to the present, many people of the same period but different generations are getting the same name. It is normal to see.” Silk Plum and the rest raised slightly and comforted, when the four women joined the topic, “We also wondered if there was also another ‘Precious Jade’ of some relative after his pet name was given. But we failed to remember it clearly because we hadn’t come into the capital for a decade.” “That relative is no other but my grandson. Is there some messenger?” The grandma asked. The wives and maids promised and stepped up. “You go to ask Precious Jade to come here for these four mistresses to have a look. To look compared with theirs, how our ‘Precious Jade’ is,” Grandma Merchant beamed.

“Precious so much as our old lady towards her grandson, who has the apple-blossom coloring just like a jade, so she gave him the name ‘Precious Jade’,” answered they. Grandma Merchant smiled at Silk Plum, “There should be another ‘Precious Jade’. What a coincidence!” “From ancient times to the present, many people of the same period or from different dynasties are getting the same name. It is normal to see.” Silk Plum and the rest raised slightly and comforted, when the four women joined the topic, “We also wondered if there was also another ‘Precious Jade’ of some relative after his pet name was given. But we failed to remember it clearly because we hadn’t come into the capital for a decade.” “That relative is no other but my grandson. Is there some messenger?” The grandma asked. The wives and maids promised and stepped up. “You go to ask Precious Jade to come here for these four mistresses to have a look. Look how does he compared with theirs,” Grandma Merchant beamed.--[[User:Cao Jiao|Cao Jiao]] ([[User talk:Cao Jiao|talk]]) 13:54, 23 May 2022 (UTC)

==英语笔译曹姣 Cao Jiao 202170081564==

众媳妇听了，忙去了，半刻，围了宝玉进来。四人一见，忙起身笑道：“唬了我们一跳！若是我们不进府来，倘若别处遇见，还只当是我们的宝玉后赶着也进了京呢！”一面说，一面都上来拉他的手，问长问短。宝玉也笑问个好。贾母笑道：“比你们的长的如何？”李纨等笑道：“四位妈妈才一说，可知是模样相仿了。”贾母笑道：“那有这样巧事？大家子孩子们，再养得娇嫩，除了脸上有残疾十分丑的，大概看去都是一样齐整。这也没有什么怪处。”四人笑道：“如今看来，模样是一样！

The maids went away, returning together with Precious Jade, at sight of whom the four women rose to their feet. "Well, this is really a surprise for us!" they laughed. "If we’d met him somewhere excluding here, we’d have thought our Precious Jade had followed us to the capital." They came to Precious Jade, who extended his greeting with a smile, and taking his hand they asked him a succession of questions. "How does he compare with your boy?" inquired the Grandma Merchant. "In line with what the four nannies just said, these two must be rather alike in appearance," said Silk Plum. "That’s not a coincidence," Grandma Merchant amused, "If they had no disease causing disfigurements, the doted sons of great houses all look rather handsome. There’s definitely nothing strange at all." "They’re the mirror of each other," declared the four women.

The maids went away, returning together with Precious Jade, at sight of whom the four women rose to their feet. "Well, this is really a surprise for us!" they laughed. "If we’d met him somewhere excluding here, we’d have thought our Precious Jade had followed us to the capital." They came to Precious Jade, who extended his greeting with a smile, and taking his hand they asked him a succession of questions. "How does he compare with your boy?" inquired the Grandma Merchant. "In line with what the four nannies just said, these two must be rather alike in appearance," said Silk Plum. "That’s not a coincidence," Grandma Merchant amused, "If they had no disease causing disfigurements, the doted sons of great houses all look rather handsome. There’s definitely nothing strange at all." "They’re the mirror of each other," declared the four women.--[[User:Chen Luyao|Chen Luyao]] ([[User talk:Chen Luyao|talk]]) 07:41, 23 May 2022 (UTC)

==英语笔译陈路瑶 Chen Luyao 202170081565==

据老太太说，淘气也一样；我们看来，这位哥儿，性情却比我们的好些。”贾母忙问：“怎见得？”四人笑道：“方才我们拉哥儿的手说话，便知道了。若是我们那一个，只说我们糊涂。慢说拉手，他的东西，我们略动一动，也不依。所使唤的人，都是女孩子们……”四人未说完，李纨姊妹等禁不住都失声笑出来。贾母也笑道：“我们这会子也打发人去见了你们宝玉，若拉他的手，他也自然勉强忍耐着。不知你我这样人家的孩子，凭他们有什么刁钻古怪的毛病，见了外人，必是要还出正经礼数来的。

‘According to what you say, both of them have been rather naughty; But your grandson seems to be the better-tempered of the two.’‘Why do you say that?’‘We found out that by holding his hands just now. Ours would have thought us silly. We're not allowed even to touch his things, let alone hold his hands. So all his maids are young girls...'This evoked laughter from Silk Plum and the girls.‘If I sent people to see Precious Jade, and if they took his hand, he’d have to put up with it too,’ chuckled the old lady. ‘No matter how perverse they may be,children from families like ours would always behave correctly to other people.'

‘According to what you say, both of them have been rather naughty; But your grandson seems to be the better-tempered of the two.’‘Why do you say that?’‘We found out that by holding his hands just now. Ours would have thought us silly. We're not allowed even to touch his things, let alone hold his hands. So all his maids are young girls...'This evoked laughter from Silk Plum and the girls.‘If I sent people to see Precious Jade, and if they took his hand, he’d have to put up with it too,’ chuckled the old lady. ‘No matter how perverse they may be,children from families like ours would always behave correctly to other people.'--[[User:Deng Yanglin|Deng Yanglin]] ([[User talk:Deng Yanglin|talk]]) 14:02, 24 May 2022 (UTC)

==英语笔译邓阳林 Deng Yanglin 202170081567==

若他不还正经礼数，也断不容他刁钻去了。就是大人溺爱的，也因为他一则生的得人意儿；二则见人礼数，竟比大人行出来的更不错，使人见了可爱可怜，背地里所以才纵他一点子。若一味他只管没里没外，不与大人争光，凭他生的怎样，也是该打死的。”四人听了，都笑说：“老太太这话正是。虽然我们宝玉淘气古怪，有时见了客，规矩礼数，比大人还有趣，所以无人见了不爱，只说：‘为什么还打他？’殊不知他在家里无法无天，大人想不到的话偏会说，想不到的事偏要行，所以老爷太太恨的无法。

If he is not decent, he will not be allowed to be unruly. Even adults dote on, but also because of his a born satisfactory son; On the other hand, he was so polite that he was even better than a big man. He was so cute and pitiful that he secretly gave him the idea. If he does not strive for glory with his elders, he should be killed according to his birth." Hearing this, all four laughed and said, "That's exactly what the old lady said. Although Precious Jade Merchant was mischievous and eccentric, sometimes he was more interesting than the adults when he met guests and behaved in a polite way, no one loved him and said, 'Why are you still beating him? 'But he was a lawless man at home, saying and doing what grown-ups could not think of, and his lordship and his wife hated him.

If he is not decent, he will not be allowed to be unruly. We dote on him for he's a lovely boy; on the other hand, he is so polite that he is even better than an adult. He was so cute that we're willing to spoiler him. If he behaves badly outside and makes us lose face , he should be beaten to death no matter how lovely he is." Hearing this, all four laughed and said, "That's exactly what you said, madam. Although Precious Jade Merchant was mischievous and eccentric, sometimes he was more interesting than the adults when he met guests and behaved in a polite way. Everyone who meet him will love him and say, 'Why are you still beating him? ', not knowing that he is a lawless boy at home, saying and doing what grown-ups could not think of. And his lordship and his mistress are always angry with what he does.
--[[User:He Lina|He Lina]] ([[User talk:He Lina|talk]]) 15:19, 24 May 2022 (UTC)

==英语笔译何丽娜 He Lina 202170081569==

就是任性，也是小孩子的常情；胡乱花费，也是公子哥儿的常情；怕上学，也是小孩子的常情，都还治得过来。第一，天生下来这一种刁钻古怪的脾气，如何使得。”一语未完，人回：“太太回来了。”王夫人进来，问过安。他四人请了安，大概说了两句。贾母便命：“歇歇去罢。”王夫人亲捧过茶，方退出去。四人告辞了贾母，便往王夫人处来。说了一会子家务，打发他们回去，不必细说。这里贾母喜得逢人便告诉：也有一个宝玉，也都一般行景。众人都想着：天下的世宦大家，同名的这也很多，祖母溺爱孙者也是常事，不是什么罕事，皆不介意。

It is common that boys of noble families are wayward, extravagant and reluctant to go to school. All of these manners can be corrected. However, how should we do to deal with this perverse and eccentric disposition which is naturally born?" Before they finished, a man reported, "The Lady is back." Then Lady King came in and wished her mother-in-law good health. The four of them also paid their respects and they talked for a while. Then Grandma Merchant ordered, "You can go to have a rest." Lady King served the tea for Grandma Merchant and withdrew. The four took leave of the old dowager and follow Lady King to her room. After talking a little about household affairs, Lady King sent them away.It's no need going into more details. On the other hand, Grandma Merchant was happy to tell people she met: there was also a "Precious Jade" in another family who was like the one of their own. Everyone thought it not strange that there existed some namesakes in many official families who were doted by grandmother. So nobody really cared.

It is common that boys of noble families are wayward, extravagant and reluctant to go to school. All of these manners can be corrected. However, how should we do to deal with this perverse and eccentric disposition which is naturally born?" Before they finished, a man reported, "The Lady is back." Then Lady King came in and wished her mother-in-law good health. The four of them also paid their respects and they talked for a while. Then Grandma Merchant ordered, "You can go to have a rest." Lady King served the tea for Grandma Merchant and left then. The four took leave of the old dowager and follow Lady King to her room. After talking a little about household affairs, Lady King sent them away.It's no need going into more details. On the other hand, Grandma Merchant was happy to tell people she met: there was also a "Precious Jade" in another family who was like the one of their own. Everyone thought it not strange that there existed some namesakes in many official families who were doted by grandmother. So nobody really cared.--[[User:Hu Liangming|Hu Liangming]] ([[User talk:Hu Liangming|talk]]) 03:12, 24 May 2022 (UTC)

==英语笔译胡良明 Hu Liangming 202170081570==

独宝玉是个迂阔呆公子的性情，自为是那四人承悦贾母之词；后至园中去看湘云病去，史湘云因说他：“你放心闹罢，先还‘单丝不成线，独树不成林’，如今有了个对子。闹急了，再打很了，你好逃到南京找那一个去。”宝玉道：“那里的谎话，你也信了，偏又有宝玉了？”湘云道：“怎么列国有个蔺相如，汉朝又有个司马相如呢？”宝玉笑道：“这也罢了，偏又模样儿也一样，这是没有的事！”湘云道：“怎么匡人看见孔子，只当是阳货呢？”宝玉笑道：“孔子阳贷虽同貌，却不同名，蔺与司马虽同名，而又不同貌；偏我和他就两样俱同不成？”

However, Precious Jade was a dull and precious man in position and thought what the four people said were only to please Grandma Merchant. Then he went to the park to visit Fragrant-cloud, and she said:" Now you can do whatever you want to do. Prior to this, 'one strand of silk does not make a thread, one tree does not make a forest'. But now you have a company identical to you. You can escape to Nanjing to find your company if you fight noisily." Precious Jade said:"That’s a lie and you believed in that nonsense. How could the other Precious Jade exist in the world. "Fragrant-cloud said:"How could there were Lin Xiangru in the various states or nations while Sima Xiangru in Han dynasty." Precious Jade smiled:"It’s not just the identical name but the same appearance which seems impossible!" Fragrant-cloud said:" How could people in Spring and Autumn period mistake Confucius for Yang Dai?" Precious Jade smiled:"Confucius and Yang Dai shared appearance but had different name while Lin and Sima shared the name but looked different. However I and my company shared the both."

However, Precious Jade alone was a dull and unworldly man with a silver spoon and thought what the four people said was only to please Grandma Merchant. Then he went to the garden to visit Fragrant-cloud, and she said:" Now you can do whatever you want to do. Prior to this, 'one strand of silk does not make a thread, one tree does not make a forest'. But now you have a company identical to you. You can escape to Nanjing to find your company if you fight noisily." Precious Jade retorted: "That’s a lie and you believed in that nonsense. How could another Precious Jade exist in the world? "Fragrant-cloud said: "How could there was Lin Xiangru the Warring States Time while Sima Xiangru in Han dynasty?" Precious Jade smiled: "It’s not just the identical name but the same appearance, which is impossible!" Fragrant-cloud said:" How could people in Spring and Autumn period mistake Confucius for Yang Dai?" Precious Jade smiled: "Confucius and Yang Dai shared same appearance but had different names while Lin and Sima shared the name but looked different. However, I and my company shared them both."--[[User:Huang Qiong|Huang Qiong]] ([[User talk:Huang Qiong|talk]]) 09:16, 24 May 2022 (UTC)

==英语笔译黄琼 Huang Qiong 202170081571==

湘云没了话答对，因笑道：“你只会胡搅，我也不和你分证。有也罢，没也罢，与我无干。说着，便睡下了。宝玉心中便又疑惑起来：“若说必无，也似必有；若说必有，又并无目睹。”心中闷闷，回至房中榻上，默默盘算，不觉昏昏睡去，竟到一座花园之内。宝玉咤异道：“除了我们大观园，竟又有这一个园子？”正疑惑间，忽然那边来了几个女孩儿，都是丫鬟，宝玉又咤异道：“除了鸳鸯、袭人、平儿之外，也竟还有这一干人？”只见那些丫鬟笑道：“宝玉怎么跑到这里来？”

Nothing to refute, Fragrant-cloud History smiled, “You’re just behaving at random, I refuse to argue with you. Whether it’s so or not, it has nothing to do with me.” Then, she fell asleep. Precious Jade felt uncertain in mind, “I may say this can’t be, yet I feel it seemed that it’s true. Yet how can I be sure, when I haven’t seen with my own eyes?” There was a feeling of depression around him so he returned to the bed to think. Soon he dozed off and dreamed that he was in a garden. Precious Jade marveled, “Is there another garden like this except Grand View Garden?” when he was puzzled, some maids approached. He said in surprise again, “There are more girls here except Mandarin Duck, Aroma, Patience.” The maids asked, “ What is Precious Jade coming here.”

Unable to refute him, Fragrant-cloud History smiled, “You’re just behaving at random, I refuse to argue with you. Whether it’s so or not, it has nothing to do with me.” Then, she fell asleep. Precious Jade felt uncertain in mind, “I may say this can’t be, yet I feel it seemed that it’s true. Yet how can I be sure, when I haven’t seen my trouble with my own eyes?” There was a feeling of depression around him, so he returned to the bed to think. Soon he dozed off and dreamed that he was in a garden. Precious Jade marveled, “Is there another garden like this except Grand View Garden?” As he was puzzling over, some girls all serving-maids approached. He exclaimed in surprise again, “So Mandarin Duck, Aroma, Patience aren’t the only fine girls.” The maids laughed at him, “ What is Precious Jade doing here? ”--[[User:Kuang Yuqi|Kuang Yuqi]] ([[User talk:Kuang Yuqi|talk]]) 02:58, 25 May 2022 (UTC)

==英语笔译邝雨琪 Kuang Yuqi 202170081572==

宝玉只当是说他，忙来陪笑说道：“因我偶步到此，不知是那位世交的花园？姐姐们带我逛逛。”众丫鬟都笑道：“原来不是咱们家的宝玉。他生得也还干净，嘴儿也倒乖觉。”宝玉听了，忙道：“姐姐们这里，也竟还有个宝玉？”丫鬟们忙道：“‘宝玉’二字，我们家是奉老太太、太太之命，为保佑他延年消灾的，我们叫他，他听见喜欢；你是那里远方来的小厮，也乱叫起来！仔细你的臭肉，打不烂了你的！”又一个丫鬟笑道：“咱们快走罢，别叫宝玉看见。”又说：“同这臭小子说了话，把咱们熏臭了！”说着，一径去了。

Precious Jade, assuming that they were talking about him, answered with a smile, ''I happened to ramble in here. I wonder which of my family's friends this garden belongs to. Will you show me round it, sisters?'' ''It isn't our Precious Jade after all,'' laughed the girls.'' ''He's not bad-looking though, and soft-spoken too.'' ''Is there another Precious Jade here, sisters?'' Precious Jade asked eagerly. ''It was the old lady and mistress who told us to call him Precious Jade as a means of bringing him luck,'' the girls rejoined. ''He likes it when we call him by his name. But how can a stinking young boy from far away like you to use it at random? You'd better watch out or we' ll beat you to a pulp!'' ''Let's go before Precious Jade sees him,'' urged another. ''Talking to this stinking wretch here had made us stink too.'' With that they hurried off.

==英语笔译黎溢佳 Li Yijia 202170081573==

宝玉纳闷道：“从来没有人如此荼毒我，他们如何竟这样的？莫不真也有我这样一个人不成？”一面想，一面顺步早到了一所院内。宝玉咤异道：“除了怡红院，也竟还有这么一个院落？”忽上了台阶，进入屋内，只见榻上有一个人卧着，那边有几个女儿做针线，也有嘻笑玩耍的。只见榻上那个少年叹了一声，一个丫鬟笑问道：“宝玉，你不睡，又叹什么？想必为你妹妹病了，你又胡愁乱恨呢。”宝玉听说，心下也便吃惊。只见榻上少年说道：“我听见老太太说，‘长安’都中也有个宝玉，和我一样的性情，我只不信。

Precious Jade wondered: “No one treats me like that, how could they? Does there any other like me?” While thinking, he walked into a yard. He was confused:” Is there a yard except for Happy Red Court?” Stepping on the stairs, he only saw a person lying on the bed in the room, with several maids knitting and playing. The boy on the bed sighed and one girl asked: “Precious Jade, why don’t you sleep and sigh? Are you worried about your ill sister?” Precious Jade heard and was shocked when the boy said: “Grandma said there is a Precious Jade in Changan quite like me, but I don’t buy for it.”--[[User:Li Yijia|Li Yijia]] ([[User talk:Li Yijia|talk]]) 03:54, 22 May 2022 (UTC)

Precious Jade wondered: “No one treats me like that, how could they? Is it true that there is a person like me??” While thinking, he walked into a yard. He was confused:” Is there another yard just like Happy Red Court?” Stepping up the stairs, he only saw a person lying on the bed in the room, with several maids knitting and playing beside him. The boy on the bed sighed and one girl asked: “Precious Jade, why don’t you sleep but sigh? Are you worried about your ill sister?” Precious Jade heard and was shocked when the boy said: “Grandma said there is another Precious Jade in Changan quite like me, but I don’t buy for it.”--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 09:53, 22 May 2022 (UTC)

==英语笔译李思敏 Li Simin 202170081574==
我才做了一个梦，竟梦中到了都中一个花园子里头，遇见几个姐姐，都叫我臭小厮，不理我。好容易找到他房里，偏他睡觉，空有皮囊，真性不知往那里去了。”宝玉听说，忙说道：“我因找宝玉来到这里。原来你就是宝玉？”榻上的忙下来拉住，笑道：“原来你就是宝玉！这可不是梦里了。”宝玉道：“这如何是梦？真而又真的！”一语未了，只见人来说：“老爷叫宝玉。”吓得二人皆慌了。一个宝玉就走，一个便忙叫：“宝玉快回来，宝玉快回来！”袭人在旁听他梦中自唤，忙推醒他，笑问道：“宝玉在那里？”

"I just had a dream. In that dream, I came to a garden in the capital, I met several maids who called me a stinky boy and ignored me. I exerted great effort to find his room, but he was sleeping. He only has good-looking but no temper." Precious Jade Merchant heard his words and said:" I came to here for looking for Precious Jade. So you are Precious Jade?" The one on the bed went down his bed and laughed:" So you are Precious Jade! This is not a dream." Precious Jade replied:" How can this be a dream? It's genuine!" Before he had finished his words, a servant said, "The master called for Precious Jade." They both panicked. One wanted to leave, and the other hurriedly shouted, "Precious Jade, come back!" Aroma next to him heard Precious Jade shouting in his dream, she woke him up and asked," Where is Precious Jade?"--[[User:Li Simin|Li Simin]] ([[User talk:Li Simin|talk]]) 09:48, 22 May 2022 (UTC)

"I just had a dream. In that dream, I came to a garden in the capital, I met several maids who called me a stinky boy and treated me badly. I exerted great effort to find his room, but he was sleeping. He only has good looking but no temper." Precious Jade Merchant heard his words and said:" I came here for looking for Precious Jade. So you are Precious Jade?" The one on the bed went down his bed and laughed:" So you are Precious Jade! This is not a dream." Precious Jade replied:" How can this be a dream? Everything is genuine!" Before he had finished his words, a servant said, "The master called for Precious Jade." They both panicked. One wanted to leave, and the other hurriedly shouted, "Precious Jade, come back!" Aroma next to him heard Precious Jade shouting in his dream, she woke him up and asked," Where is Precious Jade?"--[[User:Li Siyuan|Li Siyuan]] ([[User talk:Li Siyuan|talk]]) 09:59, 23 May 2022 (UTC)

==英语笔译李思源 Li Siyuan 202170081575==

此时宝玉虽醒，神意尚恍惚，因向门外指说：“才出了不远。”袭人笑道：“那是你梦迷了。你揉眼细瞧，是镜子里照的你的影儿。”宝玉向前瞧了一瞧，原是那嵌的大镜对面相照，自己也笑了。早有丫鬟捧过漱盂茶卤来漱了口。麝月道：“怪道老太太常嘱咐说：‘小人儿屋里不可多有镜子，小人魂不全，有镜子照多了，睡觉惊恐做胡梦。’如今倒在大镜子那里安了一张床！有时放下镜套还好；往前去，天热困倦，那里想得到放他，比如方才就忘了，自然先躺下照着影儿玩来着，一时合上眼，自然是胡梦颠倒的，不然，如何叫起自己的名字来呢？

Precious Jade Merchant was awake, but still in a trance. He pointed out the door and said, "I haven't been out that long." Aroma replied with a smile, "You are drowsy. Look closely, it's you in the mirror." So he looked forward again and finally realized that he had a big mirror in front of him. He smiled too. The servant girl came with a spittoon for him to gargle. Musk Deer Month said to him, "No wonder the Old Lady used to say, 'There should not be too many mirrors in a room with children, because children's souls are not mature enough, and if you look too much in the mirror, you will have nightmares at night. But you have such a big mirror in your room! It's okay when you cover it in your daily life. There was a hot hot weather a few days before, so naturally it is difficult to remind people to take out the mirror cover. You know, you just forgot about it, and then you lied in bed, looked at yourself in the mirror, and then you fell asleep. So nightmares came. If it wasn't for this reason, why would you call out your name?

Precious Jade Merchant was awake, but still in a trance. He pointed out the door and said, "I haven't been out that long." Aroma replied with a smile, "You are drowsy. Look closely, it's you in the mirror." So he looked forward again and finally realized that there was a big mirror in front of him. He smiled too. A maid came with a spittoon for him to gargle. Musk Deer Month said to him, "No wonder the Old Lady used to say, 'There should not be too many mirrors in a room with children, because children's souls are not mature enough, and if they look too much in the mirror, they will have nightmares at night. But you have such a big mirror in your room! It's okay when you cover it in your daily life. There was a hot weather a few days before, so naturally it is difficult for people to remember to cover the mirror. You know, you just forgot about it, and then you lied in bed, looked at yourself in the mirror, and then you fell asleep, thus nightmares came. If it wasn't for this reason, why would you call out your name?--[[User:Li Ting|Li Ting]] ([[User talk:Li Ting|talk]]) 05:47, 23 May 2022 (UTC)

==英语笔译李婷 Li Ting 202170081576==

不如明儿挪进床来是正经。”一语未了，只见王夫人遣人来叫宝玉，不知有何话说，且听下回分解。
◎第五十七回慧紫鹃情辞试莽玉慈姨妈爱语慰痴颦
话说宝玉听王夫人唤他，忙至前边来，原来是王夫人要带他拜甄夫人去。宝玉自是欢喜，忙去换衣服，跟了王夫人到那里。见其家形景，自与荣宁不甚差别，或有一二稍盛者。细问，果有一宝玉。甄夫人留席，竟一日方回。宝玉不信。因晚间回家来，王夫人又吩咐预备上等的席面，定名班大戏，请过甄夫人母女。后二日，他母女便不作辞，回任去了，无话。

We might as well move the couch inside tomorrow." Before she finished speaking, Lady King sent someone to call Precious Jade. To know why she wanted him, read the next chapter. Chapter 57 Clever Nightingale Tests Precious Jade’s Feelings, Kindly Aunt Marshgrass Comforts Mascara Jade. After hearing Lady King had called him, Precious Jade hurried to his mother. It turned out that Lady King wanted to take him to visit Lady Truth. Precious Jade cheerfully changed his clothes and followed his mother there. The Truths’ house struck him as much like the Prosperity and Peace mansions, if not slightly grander. After careful inquiries, he learned that they did indeed have a young master also called Precious Jade. By the time they has spent the day there, for Lady Truth kept them to a meal, he was quite convinced of this. When he returned home in the evening, Lady King ordered the first-class banquet to be prepared and a celebrated opera company hired to entertain Lady Truth and her daughter. The next day they returned without saying a word.

We might as well move the couch inside tomorrow." Before she finished speaking, Lady King sent someone to call Precious Jade. To know why she wanted him, read the next chapter. Chapter 57 Clever Nightingale Tests Precious Jade’s Feelings, Kindly Aunt Marshgrass Comforts Mascara Jade. After hearing Lady King had called him, Precious Jade hurried to his mother. It turned out that Lady King wanted to take him to visit Lady Truth. Precious Jade changed his clothes cheerfully and followed his mother there. The Truths’ house struck him as much like the Prosperity and Peace mansions, if not slightly grander. After careful inquiries, he learned that they did indeed have a young master also called Precious Jade. By the time they has spent the day there, for Lady Truth kept them to a meal, he was quite convinced of this. When he returned home in the evening, Lady King ordered the first-class banquet to be prepared and a celebrated opera company hired to entertain Lady Truth and her daughter. The next day they returned without saying a word.

==英语笔译李颖 Li Ying 202170081578==

这日宝玉因见湘云渐愈，然后去看黛玉。正值黛玉才歇午觉，宝玉不敢惊动，因紫鹃正在回廊上手里做针线，便上来问他：“昨日夜里咳嗽的可好了？”紫鹃道：“好些了。”宝玉笑道：“阿弥陀佛！宁可好了罢。”紫鹃笑道：“你也念起佛来，真是新闻！”宝玉笑道：“所谓‘病笃乱投医’了。”一面说，一面见他穿着弹墨绫薄绵袄，外面只穿着青缎夹背心，宝玉便伸手向他身上抹了一抹，说道：“穿这样单薄，还在风口里坐着，时气又不好，你再病了，越发难了。”紫鹃便说道：“从此咱们只可说话，别动手动脚的：

When the Mascara Jade take a nap, the Precious Jade did not dare to disturb, because Fine (Nightingale) is sewing on the cloister, then came up and asked him: "How was she? Was her cough any better last night?""Better," Nightingale said. "Amitabha!" he said:"It's time to recover."Nightingale laughed that:"It's strange that you said Buddha,that's a news."He said:" A drawing man can catch at a straw."As well as he looked at her costume that she was wearing a thin padded silk tunic with black dots under a lined blue silk sleeveless jacket, he reached out to feel her clothes, he said:" You wear too thin to sit in a draught here for this time of year. If you go sick too, things here will be even worse." Nightingale retorted:" When we talk to each other, please keep your hand away from me."

That day when he saw Fragrant-cloud recovered gradually, Precious Jade went to visit Mascara Jade. At that moment, she was taking a nap, so Precious Jade did not dare to disturb her, because Nightingale was doing needling work on the cloister. Then he came to and asked her: "How is she? Does she stop coughing?" "Better," Nightingale said. "Amitabha!" he said. "It's time to recover." "It's strange that you should say Buddha," Nightingale laughed. He said: "It's like 'A drawing man can catch at a straw'. Then, he looked at her costume, which was just a thin padded silk tunic with black dots and a lined blue silk sleeveless jacket outside, and then he reached out to feel the thickness of her clothes. "You wear too thin to sit in the place with strong wind for this time of year. If you were also sick, things here would be even worse," he said. Nightingale retorted: "When we talk to each other, please keep your hand away from me."--[[User:Li Yuan|Li Yuan]] ([[User talk:Li Yuan|talk]]) 04:41, 25 May 2022 (UTC)

==英语笔译李媛 Li Yuan 202170081579==

一年大，二年小的，叫人看着不尊重。打紧的那起混帐行子们背地里说你；你总不留心，还只管和小时一般行为，如何使得。姑娘常常吩咐我们，不叫和你说笑。你近来瞧他，远着你还恐远不及呢。”说着，便起身携了针线进别的房里去了。宝玉见了这般景况，心中像浇了一盆冷水一般，只瞅着竹子发了一回呆。因祝妈正在那里挖刨土种竹，扫竹叶子，顿觉一时魂魄失守，随便坐在一块山石上出神，不觉滴下泪来。直呆了一顿饭工夫，千思万想，总不知如何是可。偶值雪雁从王夫人房中取了人参来，从此经过，忽扭头看见桃花树下石上一人，手托着腮颊，正出神呢：

"As we grow up, this kind of behavior will be not proper. Although they have always been speaking ill of you behind your back, you still turn a deaf ear to that and keep doing those things when we were little. This is out of place now. The mistress has always been telling us not to talking and playing with you. She is trying her best to hide from you recently when you come to visit her, and hiding from you will be not enough at all," she said and then got into another room with the needling stuff. Hearing what she said and seeing what she acted, Precious Jade felt like being poured with a basin of cold water in his heart and then just stared at the bamboos pondering. At that moment, Nanny Wish was digging there to plant bamboos and cleaning out the fallen leaves. It was dawned on him that his soul went out of his body. He sat on a rock with his mind wandering, and he then could not help shedding tears. He thought again and again and still did not know what to do until the meal time passed. Snow Goose passed here by accident when she just fetched the ginseng from Lady King's place, and saw the person thinking on the rock with his hand on his cheeks when she suddenly raised her head.

==英语笔译梁思婷 Liang Siting 202170081581==

不是别人，却是宝玉。雪雁疑惑道：“怪冷的，他一个人在这里做什么？春天凡有残疾的人肯犯病，敢是他也犯了呆病了？”一边想，一边便走过来，蹲下来笑道：“你在这里做什么呢？”宝玉忽见了雪雁，便说道：“你又做什么来找我？你难道不是女儿？他既防嫌，不许你们理我，你又来寻我，倘被人看见，岂不又生口舌？你快家去罢。”雪雁听了，只当是他又受了黛玉的委屈，只得回至房中。黛玉未醒，将人参交给紫鹃。紫鹃因问他：“太太做什么呢？”雪雁道：“也睡中觉呢，所以等了这半日。
It was no one else but Precious Jade. Snowgoose asked herself in confusion, "What is he doing here alone in such coldness? I knew that the psycho would be attacked by such disease. Is he also attacked by some unknown disease?" Thinking, she squatted down beside Precious Jade and asked smilingly, "What are you doing here?" Seeing Snowgoose, Precious Jade asked back, "Why are you here again? Aren't you a girl? If you girls were not allowed to talk to me because sex distinction, you would draw gossips. Don't be seen. Go back quick." Snowgoose heard his words and thought that he was wronged by Mascara-Jade. She could only return to her room. At this time, Mascara-Jade was not awake so she could only give the ginseng to Nightingale. Nightingale asked, "What is madam doing?" Snowgoose replied, "Also sleeping. That's why I waited for the half day."

==英语笔译廖诗韵 Liao Shiyun 202170081582==

姐姐，你听笑话儿：我因等太太的工夫，和玉钏儿姐姐坐在下房里说话儿，谁知赵姨奶奶招手儿叫我。我只当有什么话说，原来他和太太告了假，出去给他兄弟伴宿坐夜，明日送殡去。跟他的小丫头子小吉祥儿没衣裳，要借我的月白绫子袄儿。我想：他们一般也有两件子的，往这地方去，恐怕弄坏了，自己的舍不得穿，故此借别人的。借我的，弄坏了也是小事，只是我想他素日有什么好处到咱们跟前，所以我说：我的衣裳簪环，都是姑娘叫紫鹃姐姐收着呢。如今先得去告诉他，还得回姑娘，费多少事，别误了你老人家出门，不如再转借罢。”

“sister, I tell you a story: I chat with Jade Bracelet in the servant's room when waiting the lady to wake up. Who knows concubine Zhao beckoned me. I suppose she has something to say. It turned out that she had taken a leave of absence to go out to sit with her brothers for the night, and sent the funeral tomorrow. As her personal servant girl Little Auspicious has no decent coat, she wanted to borrow my Moon-white Ayako jacket. But I thought they usually have several coats. And they may be afraid their coats will be contaminated in that place, so they are reluctant to wear their own clothes and seek to borrow others. Now that they came to borrow from me. Though it doesn't matter to have my clothes broken, I remember she barely think of us when she get some good things. Then I replied to her: My clothes are all collected by the girl named Purple Crane. Now I have to tell her first and then go back to tell that girl. That process takes your a long time. Why not go to ask others. ”

“sister, let me tell you a story: I chat with Jade Bracelet in the servant's room when waiting the lady to wake up. Who knows concubine Zhao beckoned me. I suppose she has something to say. It turned out that she had taken a leave of absence to go out to sit with her brothers for the night, and sent the funeral tomorrow. As her personal servant girl Little Auspicious has no decent coat, she wanted to borrow my Moon-white Ayako jacket. But I thought they usually have several coats. And they may be afraid their coats will be contaminated in that place, so they are reluctant to wear their own clothes and seek to borrow others. Now that they came to borrow from me. Though it doesn't matter to have my clothes broken, I remember she barely think of us when she get some good things. Then I replied to her: My clothes are all collected by the girl named Purple Crane. Now I have to tell her first and then go back to tell that girl. That process takes your a long time. Why not go to ask others. ”--[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 07:13, 25 May 2022 (UTC)

==英语笔译刘唱 Liu Chang 202170081583==

紫鹃笑道：“你这个小东西儿，倒也巧。你不借给他，你推我和姑娘身上，好叫人怨不着你。他这会子就去啊，还是等明日一早才去呢？”雪雁道“这会子就去的，只怕此时已去了。”紫鹃点头。雪雁道：“姑娘还没醒呢，是谁给了宝玉气受？坐在那里哭呢。”紫鹃听了，忙问：“在那里？”雪雁道：“在沁芳亭后头桃花底下呢。”紫鹃听说，忙放下针线，又嘱咐雪雁：“好生听叫。若问我，答应我就来。”说着，便出了潇湘馆，一径来寻宝玉，走至宝玉跟前，含笑说道：“我不过说了那两句话，为的是大家好，你就一气，跑了这风地里来哭，弄出病来还了得！”

Nightingale smiled:" So smart of you! you didn't borrow it to him and asked him to came to me and the lady so that he wouldn't be angry with you, right? When will he go? Now or tomorrow." Snowgoose said:"he has left just now." Nightingale nodded to Snowgoose and Snowgoose said:"he is watching the peach blossom in the Aroma Pivillion. Heard that, Nightingale just stopped the needlework and said to Snowgoose:" You just stay here and if anybody asks about me, you just say that I'll be here in a minute." Meanwhile, She left the bamboo lodge and went to Precious Jade straightly. She smiled and said:"I said those words for the good of all of us. you shouldn't come here and cry. What if you get sick!" --[[User:Liu Chang|Liu Chang]] ([[User talk:Liu Chang|talk]]) 06:34, 21 May 2022 (UTC)

==英语笔译刘乐乐 Liu Lele 202170081584==

宝玉忙笑道：“谁赌气了！我因为听你说得有理，我想你们既这样说，自然别人也是这样说，将来渐渐的都不理我了，我所以想到这里，自己伤起心来了。”紫鹃也便挨他坐着。宝玉笑道：“方才对面说话，你尚走开，这会子如何又来挨我坐着？”紫鹃道：“你都忘了？几日前，你们姊妹两个正说话，赵姨娘一头走了进来，我才听见他不在家，所以我来问你。正是前日你和他才说了一句‘燕窝’，就歇住了，总没提起，我正想着问你。”宝玉道：“也没什么要紧。不过我想着宝姐姐也是客中，既吃燕窝，又不可间断，若只管和他要，也太托实。

==英语笔译刘双英 Liu Shuangying 202170081585==

虽不便和太太要，我已经在老太太跟前略露了个风声，只怕老太太和凤姐姐说了。我告诉他的，竟不告诉完。如今我听见一日给你们一两燕窝，这也就完了。”紫鹃道：“原来是你说了，这又多谢你费心。我们正疑惑，老太太怎么忽然想起来叫人每一日送一两燕窝来呢？这就是了。”宝玉笑道：“这要天天吃惯了，吃上三二年就好了。”紫鹃道：“在这里吃惯了，明年家去，那里有这闲钱吃这个。”宝玉听了，吃了一惊，忙问：“谁家去？”紫鹃道：“妹妹回苏州去。”宝玉笑道：“你又说白话。苏州虽是原籍，因没了姑母，无人照看，才接了来的；

As it’s no use asking my mother. I dropped a hint to the old lady, and I suspect she must have told Sister Phoenix. That was what I started explaining. I understand an ounce of bird’s nest is being sent over to you every day now, so that’s all right.” “So it was you who suggested that, was it?” said Nightingale “That was very good of you. We’ve been wondering what made the old lady suddenly start sending an ounce every day, so that’s the reason.” Precious Jade said with a smile,“If she takes it regularly every day, after two or three years her health should be much better.” The maid replied, “She can have some every day here, but where will the money come from to continue the cure when she goes home next year?” Precious Jade starlted, “Who’s going to which home?” She responded, “Your cousin—back to Suzhou.” “Nonsense!” Precious Jade chuckled. “Suzhou may be her hometown, but she came here because there was no one there to look after her after her parents’ death.

On the other hand it would be rather awkward to have to ask Sister Phoenix for it; so I dropped a hint to Grandma, and I rather think that she had a word on the subject with Sister Phoenix. That was what I started explaining. I understand an ounce of bird’s nest is being sent over to you every day now, so that’s all right.” “So it was you who suggested that, was it?” said Nightingale “That was very good of you. We’ve been wondering what made the old lady suddenly start sending an ounce every day, so that’s the reason.” Precious Jade said with a smile,“If she takes it regularly every day, after two or three years her health should be much better.” The maid replied, “She can have some every day here, but where will the money come from to continue the cure when she goes home next year?” Precious Jade starlted, “Who’s going to which home?” She responded, “Your cousin—back to Suzhou.” “Nonsense!” Precious Jade chuckled. “Suzhou may be her hometown, but she came here because there was no one there to look after her after her parents’ death.--[[User:Liu Ting|Liu Ting]] ([[User talk:Liu Ting|talk]]) 12:24, 23 May 2022 (UTC)

==英语笔译刘婷 Liu Ting 202170081586==

明年回去找谁？可见是扯谎。”紫鹃冷笑道：“你太看小了人。你们贾家独是大族，人口多的；除了你家，别人只得一父一母，房族中真个再无人了不成？我们姑娘来时，原是老太太心疼他年小，虽有叔伯，不如亲父母，故此接来住几年。大了该出阁时，自然要送还林家的，终不成林家女儿在你贾家一世不成？林家虽贫到没饭吃，也是世代书宦人家，断不肯将他家的人丢与亲戚，落的耻笑，所以早则明年春天，迟则秋天，这里纵不送去，林家亦必有人来接的。前日夜里姑娘和我说了，叫我告诉你，将从前小时玩的东西，有他送你的，叫你都打点出来还他；

Whom could she go back to next year? You must be lying.” “What a poor opinion you have of other people!” Zijuan snorted, “I suppose you think yours is the only big family in the world. According to you, I suppose, other people only have fathers and mothers: they couldn't possibly have uncles and aunts on their father's side like you do. Our young lady was brought here for a few years while she was still only a child, because the old lady felt for her and didn't think her uncles could take the place of her parents. But it was only ever her intention to keep her here for a few years. As soon as she's old enough to be married, she'll have to go back to the Lin family. You could hardly expect a Lin family girl to spend the rest of her days among the Merchant family, now could you? Even if the Lins were desperately poor, for generations they've been a family of scholars and officials: they'd never expose themselves to ridicule by abandoning a daughter to relatives. So next spring or next autumn at the latest, even if your family doesn't send her back, the Lins are sure to send to fetch her. The other evening our young lady told me to ask you for all the little gifts and souvenirs she's given you since you were children.“

Whom could she go back to next year? You must be lying.” “What a poor opinion you have of other people!” Nightingale snorted, “I suppose you think yours is the only big family in the world. According to you, I suppose, other people only have fathers and mothers: they couldn't possibly have uncles and aunts on their father's side like you do. Our young lady was brought here for a few years while she was still only a child, because the old lady felt for her and didn't think her uncles could take the place of her parents. But it was only ever her intention to keep her here for a few years. As soon as she's old enough to be married, she'll have to go back to the Lin family. You could hardly expect a Lin family girl to spend the rest of her days among the Merchant family, now could you? Even if the Lins were desperately poor, for generations they've been a family of scholars and officials: they'd never expose themselves to ridicule by abandoning a daughter to relatives. So next spring or next autumn at the latest, even if your family doesn't send her back, the Lins are sure to send to fetch her. The other evening our young lady told me to ask you for all the little gifts and souvenirs she's given you since you were children.--[[User:Liu Yao|Liu Yao]] ([[User talk:Liu Yao|talk]]) 10:25, 24 May 2022 (UTC)

==英语笔译刘瑶 Liu Yao 202170081587==

他也将你送他的打点在那里呢。”宝玉听了，便如头顶上响了一个焦雷一般。紫鹃看他怎样回答，等了半天，见他只不作声，才要再问，只见晴雯找来，说：“老太太叫你呢。谁知在这里。”紫鹃笑道：“他这里问姑娘的病症。我告诉了他半日，他只不信。你倒拉他去罢。”说着，自己便走回房去了。晴雯见他呆呆的，一头热汗，满脸紫胀，忙拉他的手一直到怡红院中。袭人见了这般，慌起来了，只说时气所感，热身被风扑了。无奈宝玉发热事犹小可，更觉两个眼珠儿直直的起来；口角边津液流出，皆不知觉；给他个枕头，他便睡下；扶他起来，他便坐着；

she means to return all yours to you as well.” Precious Jade was thunderstruck. Nightingale waited for him to answer, but not a word could he utter. And just then Sunny Cloud Formation came up.“so here you are, baoyu!” she cried. “the old lady wants you.”“he’s been inquiring after miss Mascara Jade’s health, and i’ve been reassuring him,” Nightingale remarked. “but he won’t believe me. you’d better take him away.” with that she returned to her room. Sunny Cloud Formation noticed Precious Jade’s distraught look, the hectic flush on his cheeks and the sweat on his forehead. she at once led him by the hand to happy red court where his appearance horrified Aroma, who imagined he must have caught a chill in the wind while overheated. a fever was not too alarming, but his eyes were fixed and staring, saliva was trickling from the corners of his lips, and he seemed in a state of stupefaction. he would lie down if a pillow was put for him, would sit up if pulled,

she means to return all yours to you as well.” Precious Jade was thunderstruck. Nightingale waited for him to answer, but not a word could he utter. And just then Sunny Cloud Formation came up.“so here you are, baoyu!” she cried. “the old lady wants you.”“he’s been inquiring after miss Mascara Jade’s health, and i’ve been reassuring him,” Nightingale remarked. “but he won’t believe me. you’d better take him away.” with that she returned to her room. Sunny Cloud Formation noticed Precious Jade’s distraught look, the hectic flush on his cheeks and the sweat on his forehead. she at once led him by the hand to happy red court where his appearance horrified Aroma, who imagined he must have caught a chill in the wind while overheated. a fever was not too alarming, but his eyes were fixed and staring, saliva was trickling from the corners of his lips, and he seemed in a state of stupefaction. he would lie down if a pillow was put for him, would sit up if pulled,--[[User:Liu Zhen|Liu Zhen]] ([[User talk:Liu Zhen|talk]]) 14:31, 24 May 2022 (UTC)

==英语笔译刘珍 Liu Zhen 202170081588==

倒了茶来，他便吃茶。众人见他这样，一时忙乱起来，又不敢造次去回贾母，先要差人去请李嬷嬷来。一时李嬷嬷来了，看了半日：问他几句话，也无回答；用手向他脉上摸了摸，嘴唇人中上着力掐了两下，掐得指印如许来深，竟也不觉疼。李嬷嬷只说了一声：“可了不得了！”“呀”的一声，便搂头放声大哭起来。急得袭人忙拉他说：“你老人家瞧瞧可怕不怕？且告诉我们，去回老太太、太太去。你老人家怎么先哭起来？”李嬷嬷捶床捣枕说：“这可不中用了！我白操了一世心了！”袭人因他年老多知，所以请他来看；

And drink tea if it was brought.1His condition threw them all into a panic, but not daring to report this too hastily to the Lady Dowager they first sent for his old nurse, Nanny Li.Nanny Li, arriving presently, examined Baoyu carefully.When he made no answer to any of her questions she felt his pulse, then pinched his upper lip so hard that her fingers left deep imprints--yet he felt no pain.At that she gave a great cry of despair and, taking him in her arms, started weeping and wailing.Aroma, beside herself with anxiety, tugged imploringly at her sleeve:‘Nannie, Nannie, have another look at him and tell us how serious it is, so that we know what to say to Their Ladyships.Don't just cry!”Nannie Li hammered the bed with her fists:‘It's all up with him, I tell you.A life-time of care gone for nothing!”Aroma and the girls who, whatever else they might think of Nannie Li, respected her age and experience, assumed that she must know what she was talking about.

==英语笔译马艳焕 Ma Yanhuan 202170081591==

如今见他这般一说，都信以为实，也哭起来了。晴雯便告诉袭人方才如此这般，袭人听了，便忙到潇湘馆来，见紫鹃正伏侍黛玉吃药，也顾不得什么，便走上来问紫鹃道：“你才和我们宝玉说了些什么话？你瞧瞧他去！你回老太太去，我也不管了！”说着，便坐在椅上。黛玉忽见袭人满面急怒，又有泪痕，举止大变，更不免也着了忙，因问：“怎么了？”袭人定了一回，哭道：“不知紫鹃姑奶奶说了些什么话，那个呆子眼也直了，手脚也冷了，话也不说了，李嬷嬷掐着也不疼了，已死了大半个了！

==英语笔译聂薇 Nie Wei 202170081592==

连李嬷嬷都说不中用了，那里放声大哭，只怕这会子都死了！”黛玉听此言，李嬷嬷乃久经老妪，说不中用了，可知必不中用，“哇”的一声，将所服之药，一口呕出，抖肠搜肺、灸胃扇肝的，哑声大嗽了几阵：一时面红发乱，目肿筋浮，喘的抬不起头来。紫鹃忙上来捶背，黛玉伏枕喘息半晌，推紫鹃道：“你不用捶！你竟拿绳子来勒死我，是正经。”紫鹃哭道：“我并没说什么，不过是说了几句玩话，他就认真了。”袭人道：“你还不知道他那傻子，每每玩话认了真。”黛玉道：“你说了什么话？趁早儿去解说，他只怕就醒过来了。”

Even Nanny Li said there is no cure for him. Just listen to the cries from his room, I’m afraid he has died!” Hearing this, Mascara Jade knew that there is definitely nothing can be done to save him now that the sophisticated Nanny Li said so. The bad news made her vomit out all the medicine she had taken and have a fit of coughing before turning in to a red face and swollen eyes, and the severe gasp made it difficult for her to raise her head. Then Purple Cuckoo came up to thump on her back. After gasping on her pillow for quite a long time, she pushed Purple Cuckoo away and said, “ You don’t need to do that! The first priority for you is to strangle me with a rope!” Then her poor maid cried, “ I said nothing bad. I was just joking, but he took it seriously.” Aroma refuted, “ Don’t you understand that blockhead’s temper? He is always taking jokes seriously.” And Mascara Jade asked, “ What did you say to him? Just go to clarify it to him as soon as possible, maybe there is a possibility that he would come to.”

Even Nanny Li said there is no cure for him. Just listen to the cries from his room, I’m afraid he has died!” Hearing this, Mascara Jade knew that there was definitely nothing can be done to save him as the sophisticated Nanny Li said so. The bad news made her vomit out all the medicine she had taken and have a fit of coughing before turning in to a red face and swollen eyes, and the severe gasp made it difficult for her to raise her head. Then Ningtingale came up to thump on her back. After gasping on her pillow for quite a long time, she pushed Ningtingale away and said, “ You don’t need to do that! You just need to strangle me with a rope!” Aroma refuted, “ Don’t you understand that blockhead’s temper? He is always taking jokes seriously.” And Mascara Jade asked, “ What did you say to him? Just go to clarify it to him as soon as possible, maybe there is a possibility that he would come to.”--[[User:Sun Lijun|Sun Lijun]] ([[User talk:Sun Lijun|talk]]) 01:39, 21 May 2022 (UTC)

==英语笔译孙丽君 Sun Lijun 202170081593==

紫鹃听说，忙下床，同袭人到了怡红院。谁知贾母王夫人等已都在那里了。贾母一见了紫鹃，便眼内出火，骂道：“你这小蹄子，和他说了什么？”紫鹃忙道：“并没敢说什么，不过说几句玩话。”谁知宝玉见了紫鹃，方“嗳呀”了一声，哭出来了。众人一见，都放下心来。贾母便拉住紫鹃，只当他得罪了宝玉，所以拉紫鹃命他赔罪。谁知宝玉一把拉住紫鹃，死也不放，说：“要去连我也带了去。”众人不解，细问起来，方知紫鹃说要回苏州去，一句玩话引出来的。贾母流泪道：“我当有什么要紧大事，原来是这句玩话。”

When hearing what Mascara Jade've just said, Ningtingale jumped out of the bed quickly and headed for the Happy Red Court with Aroma. To their surprise, Grandma Merchant, Lady Wang and others were already there. When at the sight of Ningtingale, Grandma Merchant just abused and shouted at her with great fury, "What did you, such a hussy, say to Precious Jade on earth?" "Nothing but a few jokes", Ningtingale hurriedly responded. And who knows that Precious Jade burst into tears right after sighing with Ah the moment he saw Ningtingale. The crowd were all relieved when they saw that. And then keeping hold of her hands and just thinking she dispeased Precious Jade , Grandma Merchant let Ningtingale to make an apology to him. And everyone didn't expect that Precious Jade grabbed Ningtingale and refused to let her go, saying, "If you go, well then take me with you". Being puzzled, everyone questioned them closely what was going on and then realized that all these were caused by one of Ningtingale' s jokes that she would go back to Suzhou for fun. Then Grandma Merchant said with tears welling up from her eyes, "What a major matter I've just thought, it turns out to this joke originally."

When hearing what Mascara Jade've just said, Nightingale jumped out of the bed quickly and headed for the Happy Red Court with Aroma. To their surprise, Grandma Merchant, Lady King and others were already there. At the sight of Nightingale, Grandma Merchant just shouted at her with great fury, " You hussy, what did you say to Precious Jade on earth?" "Nothing but a few jokes", Nightingale hurriedly responded. And Precious Jade finally burst into tears right after sighing with "Ah" the moment he saw Nightingale. The crowd were all relieved when they saw that. And then holding her hands and just thinking she must have displeased Precious Jade, Grandma Merchant ordered Nightingale to make an apology to him. And everyone didn't expect that Precious Jade suddenly grabbed Nightingale and refused to let her go, saying, "If you go, well then take me with you". Being puzzled, everyone asked them what happened and then realized that all those things were caused by one of Nightingale' s jokes that they would go back to Suzhou. Then Grandma Merchant said with tears welling up from her eyes, " I thought it was something important, and it turns out to be this joke."--[[User:Tong Yumeng|Tong Yumeng]] ([[User talk:Tong Yumeng|talk]]) 02:06, 21 May 2022 (UTC)

==英语笔译仝雨梦 Tong Yumeng 202170081594==
又向紫鹃道：“你这孩子，素日是个伶俐聪敏的，你又知道他有个呆根子，平白的哄他作什么？”薛姨妈劝道：“宝玉本来心实，可巧林姑娘又是从小儿来的，他姊妹两个一处长得这么大，比别的姊妹更不同。这会子热刺刺的说一个去，别说他是个实心的傻孩子，便是冷心肠的大人，也要伤心。这并不是什么大病，老太太和姨太太只管万安，吃一两剂药就好了。”正说着，人回：“林之孝家的，赖大家的，都来瞧哥儿来了。”贾母道：“难为他们想着，叫他们来瞧瞧。”宝玉听了一个“林”字，便满床闹起来，

"You've always been a smart girl." then Grandma Merchant told Nightingale, "But why did you tease him for no reason, knowing that he is such a bullheaded boy?" "Precious Jade is born innocent. It happened that Mascara Jade has come here since she was little, and they are naturally different from other siblings as growing up together. Today he was told that she would go back home in an anxious way, and even an indifferent grown-up will feel sad when hearing that, let alone this simpleminded boy. Grandma and Lady King just rest assured. It's nothing serious, and he will recover with one or two doses of medicine." persuaded Aunt Marshgrass aside. While speaking, a message was delivered in that both Filial Piety Forest's wife and Big Rely's wife came here to visit Precious Jade. "It's so kind of them to care about him. Let them in." said Grandma Merchant. However, Precious Jade began to make a scene on the bed as he heard a word "Forest".

==英语笔译童略雅 Tong Lueya 202170081595==

说：“了不得了，林家的人接他们来了，快打出去罢！”贾母听了，也忙说：“打出去罢。”又忙安慰说：“那不是林家的人。林家的人都死绝了，没人来接他的，你只放心罢。”宝玉哭道：“凭他是谁，除了林妹妹，都不许姓林的！”贾母道：“没姓林的来，凡姓林的都打出去了。”一面吩咐众人：“以后别叫林之孝家的进园来，你们也别说‘林’字。孩子们，你们听了我这一句话罢！”众人忙答应，又不敢笑。一时宝玉又一眼看见了十锦槅子上陈设的一双金西洋自行船，便指着乱说：“那不是接他们来的船来了？湾在那里呢！”

he shouted from his bed.“The Forests have come to fetch her.Drive them away!”Hastily chiming in,“Drive them away!”his grandmother assured him.“They’re not from the Forest family.All those Forests are dead. Nobody will ever come to fetch her. Don’t you worry.”“Never mind who they are,”stormed Precious Jade tearfully.“No one but Cousin Mascara Jade should have the name Forest.”“There are no Forests here,”repeated the old lady.“They’re all been driven away.” She ordered the attendants,“In future don’t let Filial Piety Forest's Wife into the Garden.And never mention the name Forest again.Mind you all do as I say like good children.”Suppressing their smiles at this, the others assented.Precious Jade’s eye now fell on a golden boat with an engine, a toy from the West, which was on his cabinet.“Isn’t that the boat coming to fetch them?”he shouted, pointing at it.“It’s mooring there.”

he shouted from his bed. “The Forests have come to fetch her. Drive them away!” Hastily chiming in, “Drive them away!” his grandmother assured him. “They’re not from the Forest family. All those Forests are dead. Nobody will ever come to fetch her. Don’t you worry.” “Never mind who they are,” stormed Precious Jade tearfully. “No one but Cousin Mascara Jade should have the name Forest.” “There are no Forests here,” repeated the old lady. “They’re all been driven away.” She ordered the attendants, “In future don’t let Filial Piety Forest's Wife into the Garden. And never mention the name Forest again. Mind you all do as I say like good children.” Suppressing their smiles at this, the others assented.. Presently Precious Jade 's eye chanced to light on a little metal self-propelling boat - a West Ocean toy - which stood on one of the alcove shelves in the carved partition. Immediately he became excited again. ‘Look!” #4 he said, pointing, ‘the ship that's come to fetch her. “It’s mooring there.”--[[User:Tuo Shumei|Tuo Shumei]] ([[User talk:Tuo Shumei|talk]]) 03:21, 21 May 2022 (UTC)

==英语笔译庹树梅 Tuo Shumei 202170081596==

贾母忙命拿下来。袭人忙拿下来，宝玉伸手要，袭人递过去，宝玉便掖在被中，笑道：“这可去不成了！”一面说，一面死拉着紫鹃不放。一时人回：“大夫来了。”贾母忙命：“快进来。”王夫人、薛姨妈、宝钗等暂避入里间。贾母便端坐在宝玉身旁。王太医进来，见许多的人，忙上去请了贾母的安，拿了宝玉的手，诊了一回。那紫鹃少不得低了头。王太医也不解何意，起身说道：“世兄这症，乃是急痛迷心。古人曾云：‘痰迷有别：有气血亏柔饮食不能熔化痰迷者，有怒恼中痰急而迷者，有急痛壅塞者。’

The Grandma Merchant ordered its instant removal. and when Precious Jade reached out for it Aroma gave it to him. He tucked it under his bedding. “Now they won't be able to sail away,” he laughed. Seizing tight hold of Nightingale he refused to let her go. The doctor's arrival was announced and the old lady ordered him to be brought straight in Lady King, Hairpin Marshgrass and Hairpin Marshgrass withdrew to the inner room while the Grandma Merchant seated herself by Precious Jade. As her attendants also remained, there were a good many people in the room when the doctor entered. It was Dr. Wang. He paid his respects to the old lady before proceeding to take Precious Jade’s pulse, while Nightingale had to stand there with lowered head, to the doctor's astonishment. After feeling the pulse for a while, Dr. Wang rose to his feet. ‘The young gentleman is suffering from delirium caused by a phlegmatic occlusion of the cardiac orifices. The ancients recognized three main types of this form of dementia: in the first type the delirium is associated with an anemic deficiency when the body is failing to absorb its nourishment; in the second, it is brought on by some violent emotional disturbance, such as anger; in the third, the occlusion occurs as a result of shock.

The Grandma Merchant ordered servants to take its instant removal. and when Precious Jade reached out for it Aroma gave it to him. He tucked it under his bedding. “Now they won't be able to sail away,” he laughed. Seizing tight hold of Nightingale he refused to let her go. The doctor's arrival was announced and the old lady ordered him to be brought straight in Lady King, Hairpin Marshgrass and Hairpin Marshgrass withdrew to the inner room while the Grandma Merchant seated herself by Precious Jade. As her attendants also remained, there were a good many people in the room when the Dr.Wang entered. He paid his respects to the old lady before proceeding to take Precious Jade’s pulse, while Nightingale had to stand there with lowered head, to the doctor's astonishment. After feeling the pulse for a while, Dr. Wang stands up and said, ‘The young gentleman is suffering from delirium caused by a phlegmatic occlusion of the cardiac orifices. The ancients recognized three main types of this form of dementia: in the first type the delirium is associated with an anemic deficiency when the body is failing to absorb its nourishment; in the second, it is brought on by some violent emotional disturbance, such as anger; in the third, the occlusion occurs as a result of shock.--[[User:Wang Siqi|Wang Siqi]] ([[User talk:Wang Siqi|talk]]) 13:49, 24 May 2022 (UTC)

==英语笔译王思琪 Wang Siqi 202170081597==

此亦痰迷之症，系急痛所致，不过一时壅蔽，较诸痰迷似轻。”贾母道：“你只说怕不怕，谁同你背药书呢！”王太医忙躬身笑道：“不妨，不妨。”贾母道：“果真不妨？”王太医道：“实在不妨。都在晚生身上。”贾母道：“既如此，请到外面坐，开药方。吃好了，我另外预备好谢礼，叫他亲自捧了，送去磕头；若耽误了，我打发人去拆了太医院大堂。”王太医只躬身笑说：“不敢，不敢。”他原听了说：“另具上等谢礼命宝玉去磕头”，故满口说“不敢”，竟未听见贾母后来说“拆太医院”之戏语，犹说“不敢”，贾母与众人反倒笑了。
This is also a phlegm confusion, which is caused by acute pain, but it is temporarily hidden, and it is lighter than that of phlegm fans. The Grandma Merchant said, "You only said that you are afraid and not afraid, who will carry the medicine book with you?" Dr. Wang hurriedly leaned forward and smiled, "May as well, may as well." The Grandma Merchant said, "Surely?" Doctor Wang said, "It's really okay." All in the late birth. The Grandma Merchant said, "Even so, please sit outside and prescribe medicine." After eating, I prepared another thank you gift, asked him to hold it personally, and sent it to kowtow; if it was delayed, I sent someone to demolish the lobby of the hospital. Dr. Wang only leaned forward and smiled and said, "Don't dare, don't dare." He had originally heard it and said: "Another superior ordered Precious Jade to kowtow", so he said "don't dare", but he did not hear The Grandma Merchant's joke of "demolishing the Hospital" later, and said "don't dare", The Grandma Merchant and the crowd laughed instead.

This is also a phlegm confusion, which is caused by acute pain, but it is temporarily hidden, and it is lighter than that of phlegm fans. The Grandma Merchant said, "You only said that you are afraid or not, who will carry the medicine book with you?" Dr. King hurriedly leaned forward and smiled, "May as well, may as well." The Grandma Merchant said, "Surely?" Doctor King said, "It's really okay." All in the late birth. The Grandma Merchant said, "Even so, please sit outside and prescribe medicine." After eating, I prepared another thank you gift, asked him to hold it personally, and sent it to kowtow; if it was delayed, I sent someone to demolish the lobby of the hospital. Dr. Wang only leaned forward and smiled and said, "Don't dare, don't dare." He had originally heard it and said: "Another superior ordered Precious Jade to kowtow", so he said "don't dare", but he did not hear The Grandma Merchant's joke of "demolishing the Hospital" later, and said "don't dare", The Grandma Merchant and the crowd laughed instead.--[[User:Wang Yajuan|Wang Yajuan]] ([[User talk:Wang Yajuan|talk]]) 14:22, 24 May 2022 (UTC)

==英语笔译王亚娟 Wang Yajuan 202170081598==

一时按方煎药，药来服下，果觉比先安静。无奈宝玉只不肯放紫鹃，只说：“他去了，便是要回苏州去了。”贾母王夫人无法，只得命紫鹃守着他，另将琥珀去伏侍黛玉。黛玉不时遣雪雁来探消息。这晚间宝玉稍安，贾母王夫人等方回去了。一夜还遣人来问信几次。李奶妈带宋妈等几个年老人用心看守，紫鹃、袭人、晴雯等日夜相伴。有时宝玉睡去，必从梦中惊醒，不是哭了，说黛玉已去，便是说有人来接。每一惊时，必得紫鹃安慰一番方罢。彼时贾母又命将祛邪守灵丹及开窍通神散各样上方秘制诸药，按方饮服。

After taking the medicine as prescribed, he felt better than before. But Precious Jade refused to release Nightingale, only said: "Once left, she is to go back to Suzhou." Mother Merchant and Lady King had no choice but to order Nightingale to accompany him, and Amber to serve Jade Forest. Jade Forest sent Snowgoose ask the physical condition of him from time to time. This evening, Lady King and other parties didn’t go back until Precious Jade felt better. A few times a night she sent servants to ask. Nanny Plum with Nanny Sone and several other elderly people to watch with care, Nightingale, Aroma, Sunny Cloud Formation and other elderly people care for him. Sometimes he waked up from a dream, crying Jade Forest has gone, or that someone came to pick him up. Each time the alarm, must have Nightingale comforted. At that time, Mother Merchant ordered him to take all kinds of secret medicine according to the formula.

After taking the medicine as prescribed, Precious Jade felt better than before. Yet he still won’t let go of Nightingale, crying"Once she left, she is bound to go back to Suzhou." Grandma Merchant and Lady King had no choice but to order Nightingale to accompany him and send Amber to serve Mascara Jade. From time to time Jade Forest would send Snowgoose to check the physical condition of Precious Jade. Seeing that Precious Jade was feeling better this evening, Grandma Merchant and Lady King, along with all the elders went back to their quarters respectively. However, they wouldn’t be reassured without the information of Precious Jade’s condition brought by the servants they sent. There were Nanny Plum with Nanny Sone and several other elderly people watching him with care, and Nightingale, Aroma, Sunny Cloud Formation and other little maids taking care for him. Sometimes Precious Jade would wake up from a nightmare either crying that Mascara Jade has gone or that someone came to pick her up. Each time he did this they must have Nightingale comfort him. Meanwhile Grandma Merchant sent him all kinds of secret medicine and ordered the maids to coax Precious Jade into taking them according to the formula.--[[User:Xiao Dongqing|Xiao Dongqing]] ([[User talk:Xiao Dongqing|talk]]) 01:08, 25 May 2022 (UTC)

==英语笔译肖冬晴 Xiao Dongqing 202170081599==

次日又服了王太医药，渐次好了起来。宝玉心下明白，因恐紫鹃回去，倒故意作出佯狂之态。紫鹃自那日也着实后悔，如今日夜辛苦，并没有怨意。袭人等皆心安神定，因向紫鹃笑道：“都是你闹的，还得你来治。也没见我们这位呆子，‘听了风就是雨’，往后怎么好。”暂且按下。且说此时湘云之症已愈，天天过来瞧看，见宝玉明白了，便将他病中狂态形容与他瞧，引得宝玉自己伏枕而笑：原来他起先那样，竟是不知的；如今听人说，还不信。无人时，紫鹃在侧，宝玉又拉他的手，问道：“你为什么唬我？”

After taking the medication prescribed by Doctor King the next day, Precious Jade was on the road to recovery. Conscious of that, Precious Jade pretended to be ill all the same for fear of losing Nightingale, who regretted her lies about Mascara Jade the other day and worked day and night without grudges taking care of him. Servants of Aroma and others now felt much relieved at the scene, smiling "Now let’s see who’s the victim of her own scheming! Poor young master to have believed what you said. What’s left to do with it in the long run?" Details of her jokes shall not be discussed. Now that Fragrant-history had recovered from her disease too, she paid a visit to Precious Jade’s place every day elaborating his rampage in the disease, which made Precious Jade himself laughed against the pillow. It turned out that he had not been aware of what he did and remained skeptical of the story. When nobody else’s around, he would secretly took Nightingale by the hand, asking "Why did you lie to me?"

Next day, after another dose of Dr King's medicine, Precious Jade was distinctly better.Conscious of that, Precious Jade pretended to be ill all the same for fear of losing Nightingale, who regretted her lies about Mascara Jade the other day and worked day and night without grudges taking care of him. Servants of Aroma and others now felt much relieved at the scene, smiling "Now let’s see who’s the victim of her own scheming! Poor young master to have believed what you said. What’s left to do with it in the long run?" Details of her jokes shall not be discussed. Now that Fragrant-history had recovered from her disease too, she paid a visit to Precious Jade’s place every day elaborating his rampage in the disease, which made Precious Jade himself laughed against the pillow. It turned out that he had not been aware of what he did and remained skeptical of the story. When nobody else’s around, he would secretly took Nightingale by the hand, asking "Why did you lie to me?"--[[User:Xiao Jiali|Xiao Jiali]] ([[User talk:Xiao Jiali|talk]]) 16:19, 23 May 2022 (UTC)

==英语笔译肖佳莉 Xiao Jiali 202170081600==

紫鹃道：“不过是哄你玩的，你就认真了。”宝玉道：“你说得那样有情有理，如何是玩话呢？”紫鹃笑道：“那些玩话，都是我编的。林家实没了人口；纵有，也是极远的族中，也都不在苏州住，各省流寓不定。纵有人来接，老太太也必不放去的。”宝玉道：“便老太太放去，我也不依！”紫鹃笑道：“果真的不依？只怕是口里的话。你如今也大了，连亲也定下了，过二三年再娶了亲，你眼里还有谁了？”宝玉听了，又惊问：“谁定了亲，定了谁？”紫鹃笑道：“年里我就听见老太太说要定了琴姑娘呢；不然，那么疼他？”

“I only did it for fun,” Nightingale replied.“But you took it seriously.”“That was no joke,”said Precious Jade. “It was too well-reasoned.Nightingale laughed. ”I made it all up.There is no people in the Forest family.If there is, they're very, very distant relations, and not in SuZhou, either, but scattered all over the place, in different provinces.Even if one of them asked for her, the old lady would never let her go.”“Even if the old lady would let her go, I wouldn't.”said Precious Jade.”I wonder,“said Nightingale.“That's just talk, I'm afraid.You're growing up now and already engaged; in a couple of years you'll be marrying, and then you'll forget other people.”Precious Jade heard her with astonishment. “Betrothed?To whom?””Just before New Year I heard Old Lady say that she was betrothing you to Miss Harp. That's why she makes so much of her, isn't it?”Nightingale replied.

“I only did it for fun,” Nightingale replied.“But you took it seriously.”“You made it sound so convincing, how was I to know it was just a joke?”Precious Jade retorted. Nightingale laughed. “I made it all up. There is no people in the Forest family. If there is, they're very, very distant relations, and not in SuZhou, either, but scattered all over the place, in different provinces. Even if one of them asked for her, the old lady would never let her go.”“Even if the old lady would let her go, I wouldn't.”said Precious Jade.”I wonder,“said Nightingale.“That's just talk, I'm afraid. You're growing up now and already engaged; in a couple of years you'll be marrying, and then you'll forget other people.”Precious Jade heard her with astonishment. “Betrothed? To whom?””Just before New Year I heard Old Lady say that she was betrothing you to Miss Harp. That's why she makes so much of her, isn't it?”Nightingale replied.--[[User:Xie Xiaoying|Xie Xiaoying]] ([[User talk:Xie Xiaoying|talk]]) 01:59, 24 May 2022 (UTC)

==英语笔译谢晓莹 Xie Xiaoying 202170081601==

宝玉笑道：“人人只说我傻，你比我更傻！不过是句玩话，他已经许给梅翰林家了。果然定下了他，我还是这个形景了？先是我发誓赌咒，砸这劳什子，你都没劝过吗？我病的刚刚的这几日才好了，你又来怄我。”一面说，一面咬牙切齿的，又说道：“我只愿这会子立刻我死了，把心迸出来，你们瞧见了，然后连皮带骨，一概都化成一股灰，再化成一股烟，一阵大风，吹得四面八方，都登时散了，这才好！”一面说，一面又滚下泪来。紫鹃忙上来握他的嘴，替他擦眼泪，又忙笑解说道：“你不用着急。这原是我心里着急，故来试你。”

Precious Jade laughed.“People may call me crazy, but you're even crazier! That was just a joke. She's already engaged to the son of Academician Mei. If I were engaged to her, would I be in this state? Didn't you plead with me and say I was mad when I swore that oath and wanted to smash that silly jade? Now you've come to provoke me again just as I'm getting better.”Through clenched teeth he added.“I only wish I could die this very minute and tear out my heart to show you. Then all the rest of me, skin and bones, could be turned into ashes. No, ashes still have form better be turned into smoke. But smoke still congeals and can be seen by men it would have to be scattered in a flash, by a great wind, to the four quarters. That would be a good death.”Tears were running down his cheeks as he spoke. Nightingale hastily put her hand to his mouth, then wiped away his tears.“You needn't worry,”she urged.“I was putting you to the test because I was worried.”

Precious Jade said with a smile.“People says me crazy, but you're even crazier! That was just a joke. She's already engaged to the son of Academician Mei. If I were engaged to her, would I be in this state? Didn't you plead with me and say I was mad when I swore that oath and wanted to smash that silly jade? Now you've come to provoke me again just as I'm getting better.”Through clenched teeth he added.“I only wish I could die this very minute and tear out my heart to show you. Then all the rest of me, skin and bones, could be turned into ashes. No, ashes still have form better be turned into smoke. But smoke still congeals and can be seen by men it would have to be scattered in a flash, by a great wind, to the four quarters. That would be a good death.”Tears were running down his cheeks as he spoke. Nightingale hastily put her hand to his mouth, then wiped away his tears.“You needn't to worry about that,”she urged.“I was putting you to the test because I was worried.”--[[User:Xiong Jialing|Xiong Jialing]] ([[User talk:Xiong Jialing|talk]]) 11:05, 24 May 2022 (UTC)

==英语笔译熊嘉玲 Xiong Jialing 202170081602==

宝玉听了，更又咤异，问道：“你又着什么急？”紫鹃笑道：“你知道，我并不是林家的人，我也和袭人鸳鸯是一伙的，偏把我给了林姑娘使。偏生他又和我极好，比他苏州带来的还好十倍，一时一刻，我们两个离不开。我如今心里却愁他倘或要去了，我必要跟了他去的。我是合家在这里，我若不去，辜负了我们素日的情长；若去，又弃了本家。所以我疑惑，故说出这谎话来问你，谁知你就傻闹起来。”宝玉笑道：“原来是你愁这个，所以你是傻子。从此后再别愁了。我告诉你一句打趸儿的话：活着，咱们一处活着；不活着，咱们一处化灰，化烟。如何？”

Precious Jade asked in surprise，“You worried? Why?”“You know I don’t belong to the Forest family. Like Aroma and Mandarin Duck, I was given to Miss Forest. She treats me ten times better than her own maids brought from Suzhou; we can’t be seperated for a single moment. I’m worried now because, if she leaves, I shall have to go with her; but my whole family’s here. If I don’t go, I’ll be unworthy of all her goodness; if I do, I shall have to abandon my own family. That’s why, in my dilemma, I told you that lie to see how you felt about it. How was I know that you’d take it so hard?”“So that’s what’s worrying you,”Precious Jade smiled. “What a goose you are! Well, set your heart at rest. Let me just put it in a nutshell for you. If we live, we shall live together; and if we die, we shall turn into ashes and smoke together. How do you think？”

Precious Jade was surprised，“You worried? Why?”You know I don’t belong to the Forest family. Like Aroma and Mandarin Duck, I was given to Miss Forest. She treats me ten times better than her own maids brought from Suzhou; we can’t be separated for a single moment. I’m worried now because, if she leaves, I shall have to go with her; but my whole family’s here. If I don’t go, I’ll be unworthy of all her goodness; if I do, I shall have to abandon my own family. That’s why, in my dilemma, I told you that lie to see how you felt about it. How was I know that you’d take it so hard?”“So that’s what’s worrying you,” Precious Jade smiled. “What a goose you are! Well, set your heart at rest. Let me just put it in a nutshell for you. If we live, we shall live together; and if we die, we shall turn into ashes and smoke together. How do you think？”--[[User:Yang Xinyi|Yang Xinyi]] ([[User talk:Yang Xinyi|talk]]) 04:50, 25 May 2022 (UTC)

==英语笔译杨心怡 Yang Xinyi 202170081604==

紫鹃听了，心下暗暗筹画。忽有人回：“环爷兰哥儿问候。”宝玉道：“就说难为他们，我才睡了，不必进来。”婆子答应去了。紫鹃笑道：“你也好了，该放我回去瞧瞧我们那一个去了。”宝玉道：“正是这话。我昨夜就要叫你去的，偏又忘了。我已经大好了，你就去罢。”紫鹃听说，方打迭叠铺盖妆奁之类。宝玉笑道：“我看见你文具里头有两三面镜子，你把那面小菱花的给我留下罢。我搁在枕头旁边，照着好睡，明日出门带着也轻巧。”紫鹃听说，只得与他留下，先命人将东西送过去，然后别了众人，自回潇湘馆来。
Juan listened, and secretly planned a plan. Suddenly someone replied, "Greetings from Huan Ye Lan." Bao Yu said, "I just said it was difficult for them, I just went to bed, and I don't have to come in." The old woman agreed to go. Zijuan smiled and said, "You're fine too, it's time to let me go back and see who we are." Baoyu said, "That's exactly what I said. I was going to ask you to go last night, but I forgot. I'm already fine. If you're done, you just go." Zijuan heard that Fang was putting on layers of bedding and make-up. Baoyu smiled and said, "I saw two or three mirrors in your stationery. You can leave the one with the little ling flower to me. I put it next to the pillow and sleep well. It's easy to take it with you when you go out tomorrow." I heard that I had to stay with him, order someone to send things over, then say goodbye to everyone, and return to the Xiaoxiang Pavilion.

==英语笔译杨紫微 Yang Ziwei 202170081605==

黛玉近日闻得宝玉如此形景，未免又添些病症，多哭几场。今儿紫鹃来了，问其原故，已知大愈，仍遣琥珀去伏侍贾母。夜间人静后，紫鹃已宽衣卧下之时，悄向黛玉笑道：“宝玉的心倒实，听见咱们去，就那样起来。”黛玉不答。紫鹃停了半晌，自言自语的说道：“一动不如一静，我们这里就算好人家，别的都容易，最难得的是从小儿一处长大，脾气情性都彼此知道的了。”黛玉啐道：“你这几天还不乏，趁这会子不歇一歇，还嚼什么蛆！”紫鹃笑道：“倒不是白嚼蛆，我倒是一片真心为姑娘。

Hearing Precious Jade had a bad time, Mascara Jade cried a few more times and was more weak in illness. Today Nightingale came and asked the reason, she got to know that Mascara Jade was much better now, but she still send Amber to serve Merchant Grandma. At tranquil night, when Nightingale was undressed and lying down, she smiled at Mascara Jade and said, "Precious Jade is very sincere. He still struggled to get up when he heard we came." Mascara Jade did not answer. Nightingale stopped for a long time and said to herself, "It is better to keep quiet than to move. We consider ourselves a good family here. Everything else is easy. What is the rarest is that we grew up together in one place, so we know each other’s temperament well.” Mascara Jade scolded her, "Are you not tired in these days? Just take a break now and stop talking the nonsense!" Nightingale said with a smile, "What I am talking about is not nonsense and I have your best interests at heart.”

Hearing Precious Jade had experienced a disorder, Mascara Jade cried a few more times and was more weak in illness. At thins time, Nightingale came back and she asked the reason. She learned that Mascara Jade was much better now and sent Amber to serve Merchant Grandma. At a tranquil night, when Nightingale was undressed and laid down, she whispered to Mascara Jade, “Precious Jade is very sincere. He had fell ill like that when he just heard we were leaving.” Mascara Jade did not response. Nightingale stopped for a while and said to herself, “It is better to keep quiet than to move. This is a good family anyway. Everything else is easy. What is the rarest is that we grew up together in one place, so we know each other’s temperament well.” Mascara Jade scolded her, “Aren’t you tired in these days? Why don’t you sleep instead of talking such nonsense!” “It is not nonsense. I am thinking for you!”--[[User:Zhang Guohao|Zhang Guohao]] ([[User talk:Zhang Guohao|talk]]) 10:35, 20 May 2022 (UTC)

==英语笔译张国浩 Zhang Guohao 202170081606==

替你愁了这几年了：无父母无兄弟，谁是知疼着热的人？趁早儿，老太太还明白硬朗的时节，作定了大事要紧。俗语说，‘老健春寒秋后热。’倘或老太太一时有个好歹，那时虽也完事，只怕耽误了时光，还不得趁心如意呢。公子王孙虽多，那一个不是三房五妾，今儿朝东，明儿朝西？娶一个天仙来，也不过三夜五夜，也就撂在脖子后头了，甚至于怜新弃旧，反目成仇的。若娘家有人有势的，还好些；若姑娘这样的人，有老太太一日还好，一日若没了老太太，也只是凭人去欺负罢了。所以说，拿主意要紧。

I have been worried about you for several years. You have no parents or brothers to care for you. So it is important to settle you marriage affair in a good time, while Grandma Merchant is still healthy and clear-headed. As an old saying goes, “The healthiest old people last as long as a chilly spring or a hot autumn.” If something happens to Grandma Merchant, you marriage will be delayed or you will marry a people you don not wish. There are many young lordlings, but they both want to have many wives and concubines. There affection is not constant and may change from one to another. Even though they get a girl as a fairy as his wife, they may cast her off after several days. Someone may treat her as an enemy for the sake of another new concubine. If her family is powerful and wealthy, it may be not so bad; but for someone like you, you life will be good as long as Grandma Merchant still lives. However, someday once she pass away, you will live under others’ treatment. Therefore, it is important to make up your mind.

“It isn’t nonsense. I was thinking of you. I’ve felt worried for you all these years with no father, mother or brothers to care for you. The important thing is to settle the main affair of your life in good time, while the old lady’s still clear-headed and healthy. The proverb says, ‘The healthiest old people last as long as a chilly spring or a hot autumn.’ If anything should happen to the old lady your marriage might be delayed, or else not turn out in the way you hoped. There’s no lack of young lordlings, but they all want three wives and five concubines and their affections change from one day to the next. They may bring home a wife as lovely as a fairy, yet after four or five nights they cast her off, treating her like an enemy for the sake of a concubine or a slave girl. If her family’s large and powerful, that’s not so bad; and for someone like you, miss, so long as the old lady lives you’ll be all right. Once she’s gone, you’ll have to put up with ill treatment. So it’s important to make up your mind.”--[[User:Zhang Jiaoling|Zhang Jiaoling]] ([[User talk:Zhang Jiaoling|talk]]) 02:47, 22 May 2022 (UTC)

==英语笔译张姣玲 Zhang Jiaoling 202170081607==

姑娘是个明白人，岂不闻俗语说的‘万两黄金容易得，知心一个也难求’！”黛玉听了，便说道：“这丫头今日可疯了，怎么去了几日，忽然变了一个人？我明儿必回老太太，退回你去，我不敢要你了。”紫鹃笑道：“我说的是好话，不过叫你心里留神，并没叫你去为非作歹。何苦回老太太，叫我吃了亏，又有什么好处？”说着，竟自己睡了。黛玉听了这话，口内虽如此说，心内未尝不伤感。待他睡了，便直哭了一夜，至天明，方打了一个盹儿。次日，勉强盥漱了，吃了些燕窝粥。便有贾母等亲来看视了，又嘱咐了许多话。
“You’ve sense enough to understand the saying, ‘The thousand taels of gold are easier come by than an understanding heart.” “The girl’s crazy!” exclaimed Mascara Jade. “A few days away, and you’ve suddenly changed into a different person. Tomorrow I shall ask the old lady to take you back. I no longer dare keep you.” “I meant well,” was the smiling answer. “I just wanted you to look out for yourself, not to do anything wrong. What good will it do if you report me to the old lady and get me into trouble?” With that Nightingale closed her eyes. Although Mascara Jade had spoken so sharply, this talk had distressed her. After Nightingale went to sleep she wept all night, no dozing off until dawn. The next morning she found it an effort to wash herself, rinse her mouth and swallow her bird’s-nest broth. Then the Lady Merchant and others called to see her and urged her to take better care of herself.

“You’ve sensed enough to understand the saying,‘The thousand taels of gold are easier to come by than an understanding heart.” “The girl’s crazy!” exclaimed Mascara Jade. “A few days away, and you’ve suddenly changed into a different person. Tomorrow I shall ask the elder lady to take you back. I no longer dare keep you."“I meant well,” was the smiling answer. “I just wanted you to look out for yourself, not to do anything wrong. What good will it do if you report me to the old lady and get me into trouble?” With that Nightingale closed her eyes. Although Mascara Jade had spoken so sharply, this talk had distressed her. After Nightingale went to sleep she wept all night, no dozing off until dawn. The next morning she found it an effort to wash herself, rinse her mouth and swallow her bird’s-nest broth. Then Lady Merchant and others called to see her and urged her to take better care of herself.--[[User:Zhang Rui|Zhang Rui]] ([[User talk:Zhang Rui|talk]]) 05:21, 23 May 2022 (UTC)

==英语笔译张瑞 Zhang Rui 202170081608==

目今是薛姨妈的生日，自贾母起，诸人皆有祝贺之礼，黛玉也只得备了两色针线送去。是日也定了一班小戏，请贾母与王夫人等。独有宝玉与黛玉二人不曾去得。至晚散时，贾母等顺路又瞧了他二人一遍，方回房去。次日，薛姨妈家又命薛蝌陪诸伙计吃了一天酒，连忙了三四天，方才完备。因薛姨妈看见邢岫烟生得端雅稳重，且家道贫寒，是个钗荆裙布的女儿，便欲说与薛蟠为妻。因薛蟠素昔行止浮奢，又恐遭踏了人家的女儿，正在踌躇之际，忽想起薛蝌未娶，看他二人，恰是一对天生地设的夫妻，因谋之于凤姐儿。

Now that it was Aunt Marshgrass's birthday, everyone,beginning with Grandma Merchant had a congratulatory gift。And Mascara Jade had to prepare two-color needles and threads to send. On the same day, a small drama was also scheduled, and Grandma Merchant and Lady King were invited to watch. It was only Baoyu and Daiyu who didn't arrive. At the end of the night, Grandma Merchant and the others paid a visit to them before they went back to the room. The next day, Aunt Marshgrass's family ordered Tadpole Marshgrass to accompany the families to drink for a day, and it took three or four days to complete. Because Aunt Marshgrass thought that Cave Cloud Marshgrass was born elegant and stable in a poor family. Aunt Marshgrass wanted her to be married to Dragon Marshgrass. Because Dragon Marshgrass had done a lot of extravagance in the past, and was afraid of trampling on the daughter of others, so she was hesitating. Then she suddenly recalled that Tadpole Marshgrass was not yet married, and seeing that the two of them were just a couple born to be set up. Then she went to plan it with Sister Phoenix.

Now that it was Aunt Marshgrass's birthday, everyone, beginning with Grandma Merchant had a congratulatory gift. And Mascara Jade had to prepare two-color needles and threads to send. On the same day, a small drama was also scheduled, and Grandma Merchant and Lady King were invited to watch. It was only Precious Jade and Mascara Jade who didn't arrive. At the end of the night, Grandma Merchant and the others paid a visit to them before they went back to the room. The next day, Aunt Marshgrass's family ordered Tadpole Marshgrass to accompany the families to drink for a day, and it took another three or four days to complete. Because Aunt Marshgrass thought that Cave Cloud City was born elegant and stable in a poor family. Aunt Marshgrass wanted her to be married to Dragon Marshgrass. But because Dragon Marshgrass had done a lot of extravagance in the past, and she was afraid of trampling on the daughter of others, so she was hesitating. Then she suddenly recalled that Tadpole Marshgrass was not yet married, and seeing that the two of them were just a couple born to be set up. Then she went to plan it with Sister Phoenix.--[[User:Zhao Yuxiang|Zhao Yuxiang]] ([[User talk:Zhao Yuxiang|talk]]) 13:33, 23 May 2022 (UTC)

==英语笔译赵宇翔 Zhao Yuxiang 202170081609==

凤姐儿笑道：“姑妈素知我们太太有些左性的，这事等我慢谋。”因贾母去瞧凤姐儿时，凤姐儿便和贾母说：“薛姑妈有件事求老祖宗，只是不好启齿的。”贾母忙问：“何事。”凤姐便将求亲一事说了。贾母笑道：“这有什么不好启齿，这是极好的好事，等我和你婆婆说了，怕他不依？”因回房来，即刻就命人来请邢夫人过来，硬作保山。邢夫人想了一想：薛家根基不错，且现今大富；薛蝌生得又好，且贾母硬作保山，将机就计，便应了。贾母十分喜欢，忙命人请了薛姨妈来。二人见了，自然有许多谦辞。
Sister Phoenix laughed, "You know that my mother-in-low has an eccentric disposition, so we need discuss about this matter slowly." When Grandma Merchant stopped by Siter Phoenix's house, she said to Grand Merchant, "Aunt Marshgrass wants you to do her a favor, but she feels embarrassed to tell you." Grand Merchant asked, "What is it?" Sister Phoenix told her the matter of the Marshgrass Family seeking a marriage alliance. Hearing this, Grand Merchant laughed, "What a wonderful thing it is! Your mother-in-law will agree when I tell her about it." After Grandma Merchant went back to her room, she ordered a servant to invite Lady City to come right now. She told Lady City about the marriage and guaranteed for it. Lady City thought to herself: "The Marshgrass Family has a good foundation and is rich now. And Tadpole Marshgrass is also a man of striking appearance." With the guarantee from Grandma Merchant, she agreed to the marriage between Tadpole Marshgrass and Cave Cloud City. Grandma Merchant was very happy and invited Aunt Marshgrass to come. And there came naturally lots of self-depreciatory words between them.

==英语笔译郑冬琴 Zheng Dongqin 202170081610==

邢夫人即刻命人去告诉邢忠夫妇。他夫妇原是此来投靠邢夫人的，如何不依，早极口的说：“妙极。”贾母笑道：“我最爱管闲事，今儿又管成了一件事，不知得多少谢媒钱？”薛姨妈笑道：“这是自然的。纵抬了整万银子来，只怕不希罕。但只一件，老太太既是作媒，还得一位主亲才好。”贾母笑道：“别的没有，我们家折腿烂手的人还有两个。”说着，便命人去叫过尤氏婆媳二人来。贾母告诉他原故，彼此忙都道喜。贾母吩咐道：“咱们家的规矩，你是尽知的，从没有两亲家‘争礼争面’的。
Lady City lost no time in informing her brother Faithfulness City and his wife; and since they had come there to throw themselves upon her bounty, they were naturally more than happy to give their approval.'I love meddling in other people’s affairs,’ said the Grandma Merchant. ‘Now that I’ve fixed this up, how much are you going to pay your go-between?’‘Don’t worry about that,’ replied Aunt Marshgrass. ‘Even if we brought you a hundred thousand taels of silver, I don’t suppose it would mean much to you. But since you’re the go-between, madam, will you find us someone to take charge of the betrothal ceremony?’‘Whatever else we’re short of, we can produce one or two helpers of a sort, ‘the Grandma Merchant chuckled.She sent for Treasure Merchant’s wife and daughter-in-law. When they heard the news from her they offered their congratulations.‘You know our family ways,’ she told Madam Outstanding. ‘The two families never squabble over betrothal gifts.

Lady City lost no time in informing her brother Faithfulness City and his wife; and since they had come there to throw themselves upon her bounty, they were naturally more than happy to give their approval.'I love meddling in other people’s affairs,’ said the Grandma Merchant. ‘Now that I’ve fixed this up, how much are you going to pay your go-between?’‘Don’t worry about that,’ replied Aunt Marshgrass. ‘Even if we brought you a hundred thousand taels of silver, I don’t suppose it would mean much to you. But since you’re the go-between, madam, will you find us someone to take charge of the betrothal ceremony?’‘Whatever else we’re short of, we can produce one or two helpers of a sort, ‘the Grandma Merchant chuckled.She sent for Treasure Merchant’s wife and daughter-in-law. When they heard the news from her they offered their congratulations.‘You know our family ways,’ she told Madam Outstanding. ‘The two families never squabble over betrothal gifts.--[[User:Zhong Qing|Zhong Qing]] ([[User talk:Zhong Qing|talk]]) 06:17, 25 May 2022 (UTC)

==英语笔译钟青 Zhong Qing 202170081611==

如今你算替我在当中料理，也不可太省，也不可太费，把他两家的事周全了回我。”尤氏忙答应了。薛姨妈喜之不尽，回家命写了请帖，补送过宁府。尤氏深知邢夫人情性，本不欲管，无奈贾母亲自嘱咐，只得应了，惟有忖度邢夫人之意行事。薛姨妈是个无可无不可的人，倒还易说。这且不在话下。如今薛姨妈既定了邢岫烟为媳，合宅皆知。邢夫人本欲接出岫烟去住，贾母因说：“这又何妨，两个孩子又不能见面，就是姨太太和他一个大姑子，一个小姑子，又何妨？况且都是女孩儿，正好亲近些呢。”

"You know our family ways," she told Madam Outstanding. "The two families never squabble over betrothal gifts. You must handle this business for me, neither too stingily nor too lavishly. Report to me when everything is arranged." As soon as Madam Outstanding accepted this task，Aunt Marshgrass went home overjoyed to write invitation cards for the Peace Mansion.Madam You knew Lady City's cantankerous temper and would have preferred to have nothing to do with the business, but she had to fall in with the old lady's wishes. She did her best to please Lady City,aware that Aunt Marshgrass was so easygoing there would be no problem there.But enough of this. Now that the whole household knew that Tadpole Marshgrass was to marry Aunt Marshgrass's nephew, Lady City wanted to move her out of the Garden. "What does it matter if she stays?" demurred the Grandma Merchant."There's no danger of the two young people meeting, and it shouldn't worry you if she sees Aunt Marshgrass and the two cousins of the other family every day. They're all girls, aren't they? They may as well get to know each other better." Madam Outstanding made no further objection then.

==英语笔译周皓熙 Zhou Haoxi 202170081612==

邢夫人方罢。那薛蝌岫烟二人，前次途中，曾有一面之遇，大约二人心中皆如意，只是那岫烟未免比先时拘泥了些，不好与宝钗姐妹共处闲语；又兼湘云是个爱取笑的，更觉不好意思。幸他是个知书达礼的，虽有女儿，还不是那种佯羞诈鬼、一味轻薄造作之辈。宝钗自那日见他起，想他家业贫寒；二则别人的父母皆是年高有德之人，独他的父母偏是酒糟透了的人，于女儿分中平常；邢夫人也不过是脸面之情，亦非真心疼爱；且岫烟为人雅重，迎春是个老实人，连他自己尚未照管齐全，如何能照管到他身上，

Lady City then relented. Tadpole Marshgrass and Cave Cloud Marshgrass had met before in one of their trips. They both were satisfied with each other. It was just that Cave Cloud was shier than the last time and didn't feel relaxed to chat with Precious Hairpin and other ladies. More than that, Fragrant-cloud History loved cracking jokes, which made her felt more uncomfortable. Luckily, she was highly cultured and stepped in propriety. Though a lady, he was not the kind that would cheat or flirt with others. Since the day Precious Hairpin met her, Precious Hairpin knew that she lived in poverty. Also, others parents were all aged and virtuous but hers were bad, which made her unique among all the ladies. Lady City's concern were out of courtesy rather than sincerity. Cave Cloud were elegant and Welcome-Spring were honest. They couldn't even take good care of themselves, how could they concern her.

Lady City then relented. Tadpole Marshgrass and Cave Cloud had met before in one of their trips. They both were satisfied with the match, but that made Cave Cloud shier than before and reserved in the presence of Precious Hairpin and other girls. More than that, Fragrant-cloud History loved cracking jokes, which made her feel even more shy. Luckily, she was well-educated and stepped in propriety. Though a lady, she was not the kind that would cheat or flirt with others.
Since the day Precious Hairpin met her, Precious Hairpin knew that she lived in poverty. Also, others parents were virtuous old people but hers were penniless rats who cared little for their daughter. Lady City’s concern were treating her more out of courtesy, simply making a show of affection. Cave Cloud were elegant and Welcome-Spring were honest. They couldn't even take good care of themselves, let alone look after her counsin.
--[[User:Zhou Zhe|Zhou Zhe]] ([[User talk:Zhou Zhe|talk]]) 03:35, 25 May 2022 (UTC)

==英语笔译周哲 Zhou Zhe 202170081613==

凡闺阁中家常一应需用之物，或有亏乏，无人照管，他又不与人张口。宝钗倒暗中每相体贴接济，也不敢与邢夫人知道，也恐怕是多心闲话之故。如今却是众人意料之外奇缘作成这门亲事。岫烟心中先取中宝钗，有时仍与宝钗闲话，宝钗仍以姊妹相呼。这日宝钗因来瞧黛玉，恰值岫烟也来瞧黛玉，二人在半路相遇。宝钗含笑唤他到跟前，二人同走。至一块石壁后，宝钗笑问他：“这天还冷的很，你怎么倒全换了夹的了？”岫烟见问，低头不答。宝钗便知道又有了原故，因又笑问道：“必定是这个月的月钱又没得？凤姐姐如今也这样没心没计了。”
Whenever Cave Cloud ran short of any daily necessities, there was no one to see to it, and she was too unassuming to mention it. Precious Hairpin Marshgrass accordingly often helped her in secret, not letting Lady City know for fear of giving offence, with the result that now that this unexpected match had been arranged Cave Cloud felt even more closely bound to Precious Hairpin than to Tadpole Marshgrass. She often went to chat with her, and Precious Hairpin continued to address her as "cousin."
One day Precious Hairpin set out to call on Mascara Jade. Happening to meet Cave Cloud on the way, she beckoned her with a smile and they walked on together. As they skirted the back of a rockery, Precious Hairpin inquired: "Why have you changed out of padded clothes into lined ones, when the weather is still so cold?" Cave Cloud hung her head and said nothing.
Sensing some reason for this Precious Hairpin continued, "Don't tell me this month's allowance was held up again? Cousin Phoenix really is growing rather thoughtless."

Whenever Cave Cloud ran short of any daily necessities, there was no one to see to it, and she was too unassuming to mention it. Precious Hairpin Marshgrass accordingly often helped her in secret, not letting Lady City know for fear of giving offence, with the result that now that this unexpected match had been arranged Cave Cloud felt even more closely bound to Precious Hairpin than to Tadpole Marshgrass. She often went to chat with her, and Precious Hairpin continued to address her as "cousin."
One day Precious Hairpin set out to call on Mascara Jade. Happening to meet Cave Cloud on the way, she beckoned her with a smile and they walked on together. As they skirted the back of a rockery, Precious Hairpin inquired: "Why have you changed out of padded clothes into lined ones, when the weather is still so cold?" Cave Cloud hung her head and said nothing.
Sensing some reason for this Precious Hairpin continued, "Don't tell me this month's allowance was held up again? Cousin Phoenix really is growing rather thoughtless."--[[User:Zhu Lijuan|Zhu Lijuan]] ([[User talk:Zhu Lijuan|talk]]) 10:27, 22 May 2022 (UTC)

==英语笔译朱丽娟 Zhu Lijuan 202170081614==
岫烟道：“他倒想着不错日子给，因姑妈打发人和我说道：一个月用不了二两银子，叫我省一两给爹妈送出去；要使什么，横竖有二姐姐的东西，能着些搭着就使了。姐姐想：二姐姐也是个老实人，也不大留心。我使他的东西，他虽不说什么，他那些妈妈丫头，那一个是省事的？那一个是嘴里不尖的？我虽在那屋里，却不敢很使唤他们，过三天五天，我倒得拿出钱来，给他们打酒买点心吃才好。因此一月二两银子还不够使，如今又去了一两。前日我悄悄的把棉衣服叫人当了几吊钱盘缠。”宝钗听了，愁叹道：“偏梅家又合家在任上，后年才进来。
"She issued it on the right date," rejoined Cave Cloud. "But my aunt sent to tell me I shouldn't need two taels a month and must save one for my parents. She said if I was short of anything I could borrow from Spring Pleasure and make do. But, you see,Spring Pleasure is a simple soul who doesn't always think. She wouldn't mind my using her things, but those maids and nannies of hers are all troublemakers — you know what sharp tongues they have. Though I'm staying there, I dare not order them about; infact, every few days I have to spend money on wine and cakes for them. l can't manage even on two taels a month, and now it's been cut to one. So the other day I got someone, on the sly, to pawn my padded clothes for a few strings of cash."
Hearing this, Precious Hairpin frowned and sighed in sympathy. "It's too bad that the Mei family have all gone to the new post and won't be back in the capital till the year after next," she said.

"She issued it on the right date,"rejoined Cave Cloud. "But my aunt sent to tell me I shouldn't need two taels a month and must save one for my parents. She said if I was short of anything I could borrow from Spring Pleasure and make do. But,you see,Spring Pleasure is a simple soul who doesn't always think. She wouldn't mind my using her things,but those maids and nannies of hers are all troublemakers — you know what sharp tongues they have. Though I'm staying there,I dare not order them about; in fact,every few days I have to spend money on wine and cakes for them. I can't manage even on two taels a month,and now it's been cut to one. So the other day I got someone,on the sly,to pawn my padded clothes for a few strings of cash."
Hearing this,Precious Hairpin frowned and sighed in sympathy. "It's too bad that the Mei family have all gone to the new post and won't be back in the capital till the year after next,"she said.--[[User:Duan Xiaodie|Duan Xiaodie]] ([[User talk:Duan Xiaodie|talk]]) 00:26, 25 May 2022 (UTC)

==英语口译段小蝶 Duan Xiaodie 202170081615==

若是在这里，琴儿过去了，好再商议你这事。离了这里就完了。如今不完了他妹妹的事，也断不敢先娶亲的。如今倒是一件难事。再迟两年，我又怕你熬煎出病来。等我和妈妈再商议。”宝钗又指他裙上一个璧玉珮问道：“这是谁给你的？”岫烟道：“这是三姐姐给的。”宝钗点头道：“他见人人皆有，独你一个没有，怕人笑话，故此送一个。这是他聪明细致之处。”岫烟又问：“姐姐此时那里去？”宝钗道：“我到潇湘馆去。你且回去，把那当票子叫丫头送来我那里，悄悄的取出来，晚上再悄悄的送给你去，早晚好穿；
If they were here,we could arrange Precious String'wedding and then yours. Once you leave here you'll be all right. The trouble is that Tadpole Marshgrass won't consider getting married before his younge sister; yet if you have to put up with two more years of this,I'm afraid it may ruin your health. I must talk to my mother and see what can be done. Then Baochai pointed at the green jade pendant hanging from her skirt,"Who gave you that?" "It's a present from Cousin Spring-seeking." Precious Hairpin nodded. "She must have noticed that you were the only one with no jade to wear,so to stop people laughing at you she gave you this. It shows how thoughtful and observant she is. Cave Cloud assented then asked her where she was going. "To Bamboo Lodge," Precious Hairpin told her slip back and send a maid over to our place with the pawn ticket. I'll have the clothes redeemed quietly and sent to you this evening,so that you have something warm to wear.--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 06:02, 25 May 2022 (UTC)

==比较文学与跨文化研究 Mahzad 202021080004==

不然，风闪着还了得！但不知当在那里了？”岫烟道：“叫做什么恒舒典，是鼓楼西大街的。”宝钗笑道：“这闹在一家去了！伙计们倘或知道了，好说‘人没过来，衣裳先过来’了。”岫烟听说，便知是他家的本钱，也不答，红了脸一笑，二人走开。宝钗就往潇湘馆来。恰正值他母亲也来瞧黛玉，正说闲话呢。宝钗笑道：“妈妈多早晚来的？我竟不知道。”薛姨妈道：“我这几天忙，总没来瞧瞧宝玉和他。所以今日瞧他人，都也好了。”黛玉忙让宝钗坐了，因向宝钗道：“天下的事，真是人想不到的。拿着姨妈和大舅母说起，怎么又作一门亲家。”薛姨妈道：“我的儿，你们女孩儿家那里知道？
Otherwise, the wind is still shining! But don't know where it is? "Xiu Yan said: "What is it called Heng Shu Dian, it's from Gulou West Street. " Baochai smiled and said: "This is a family trouble! Guys, if they know, it's easier to say that "the clothes will come first before the people come". When Xiuyan heard it, she knew that it was his family's capital, so she didn't answer, she blushed and the two walked away. Baochai went to Xiaoxiang Pavilion. It was just when his mother came to see Daiyu and was gossiping. Baochai smiled and said, "How sooner or later did my mother come? I didn't know. Aunt Xue said, "I've been busy these days, so I never came to see Baoyu and him." So looking at others today, it's all good. Daiyu hurriedly asked Baochai to sit down, and Yin said to Baochai, "The affairs of the world are really unexpected. Talking about my aunt, how could they be in-laws again. Aunt Xue said, "My son, where do you girls know?"

==外国语言文学 Muhammad Numan 202121080002==

自古道：‘千里姻缘一线牵。’管姻缘的有一
位月下老人，预先注定，暗里只用一根红丝，把这两个人的脚绊住，凭你两家那
怕隔着海国呢，若有姻缘的，终久有机会作了夫妇。这一件事，都是出人意料之
外。凭父母本人都愿意了，或是年年在一处，已为是定了的亲事，若月下老人
不用红线拴的，再不能到一处。比如你姐妹两个的婚姻，此刻也不知在眼前，也
不知在山南海北呢！”宝钗道：“惟有妈妈说动话拉上我们！”一面说，一面伏在
母亲怀里，笑说：“咱们走罢。”黛玉就笑道：“你瞧！这么大了，离了姨妈，他就
是个最老到的；见了姨妈，他就撒娇儿。”

==英语语言文学 TOURE MARIAM 202021080005==

薛姨妈将手摩弄着宝钗，向黛玉叹道：
“你这姐姐，就和凤哥儿在老太太跟前一样：有了正经事，就有话和他商量；没有
了事，幸亏他开我的心。我见了他这样，有多少愁不散的。”黛玉听说，流泪叹道：“他偏在这里这样，分明是气我没娘的人，故意来形
容我！”宝钗笑道：“妈妈，你瞧他这轻狂样儿，倒说我撒娇儿！”薛姨妈道：“也怨
不得他伤心，可怜没父母，到底没个亲人。”又摩娑黛玉，笑道：“好孩子，别哭。
你见我疼你姐姐，你伤心，你知我心里更疼你呢！你姐姐虽没了父亲，到底有我，
有亲哥哥，这就比你强了。我常和你姐姐说，心里很疼你，只是外头不好带出来
的。

==外国语言文学 UDDIN NIZAM 202121080007==

你这里人多嘴杂，说好话的人少，说歹话的人多：不说你无依靠，为人做人
可配人疼；只说我们看老太太疼你了，我们也‘洑上水’去了。”黛玉笑道：“姨妈
既这么说，我明日就认姨妈做娘，姨妈若是弃嫌，便是假意疼我。”薛姨妈道：
“你不厌我，就认了。”宝钗忙道：“认不得的。”黛玉道：“怎么认不得？”宝钗笑
道：“我且问你，我哥哥还没定亲事，为什么反将邢妹妹先说与我兄弟了？是什
么道理？”黛玉道：“他不在家，或是属相生日不对，所以先说与兄弟了。”宝钗笑
道：“不是这样。我哥哥已经相准了，只等来家就放定，也不必提出人来，我说
你认不得娘，你细想去！”说着，便和他母亲挤眼儿发笑。

==翻译学 SAGARA SEYDOU 201911080004 ==

黛玉听了，便一头伏在薛姨妈身上，说道：“姨妈不打他，我不依！”薛姨妈
搂着他笑道：“你别信你姐姐的话，他是和玩你呢。”宝钗笑道：“真个妈妈明儿
和老太太求了，聘作媳妇，岂不比外头寻的好？”黛玉便拢上来要抓他，口内笑
说：“你越发疯了。”薛姨妈忙笑劝，用手分开方罢。又向宝钗道：“连邢女儿我
还怕你哥哥遭踏了他，所以给你兄弟，别说这孩子，我也断不肯给他。前日老太
太因要把你妹妹说给宝玉，偏生又有了人家；不然，倒是门子好亲事。前日我说定
了邢姑娘，老太太还取笑说：‘我原要说他的人，谁知他的人没到手，倒被他说了
我们一个去了。’