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20211229 homework

2021-12-30T13:11:38Z

Wang Yifan21: /* 王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523 */

20211229 homework

2021-12-30T13:09:49Z

Wang Yifan21: /* 王逸凡 Wáng Yìfán 亚非语言文学女 202120081524 */

20211229 homework

2021-12-30T13:09:33Z

Wang Yifan21: /* 王逸凡 Wáng Yìfán 亚非语言文学女 202120081524 */

20211215 homework

2021-12-30T13:03:15Z

Wang Yifan21: /* 王逸凡 Wáng Yìfán 亚非语言文学女 202120081524 */

20211124 homework

2021-12-30T12:58:52Z

Wang Yifan21: /* 王逸凡 Wáng Yìfán 亚非语言文学女 202120081524 */

20211110 homework

2021-12-30T12:51:35Z

Wang Yifan21: /* 王逸凡 Wáng Yìfán 亚非语言文学女 202120081524 */

20211013 homework

2021-12-30T12:47:05Z

Wang Yifan21: /* 王逸凡 Wáng Yìfán 亚非语言文学女 202120081524 */

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==陈静 Chén Jìng 国别女 202020080595==

康、雍、乾三朝时期的汉书翻译及其文化统制意涵*
摘要：清代的汉书翻译是统治者了解、学习和接纳汉文化的重要途径。与清初文化政策的其它单元一样，如官修史书、国语骑射、思想控制等，汉书的翻译、刊刻与颁行也是清代中、前期诸帝治术的独特构成。
On the Translation of ''the Book of Han'' and its Connotation of Cultural Controlling During the Kang-Yong-Qian Period of the Qing Dynasty(683——1796)
Abstract: The translation of ''the Book of Han'' is the important approach for the governor to understand, study and accept the Culture of Han. Like other units of cultural policy in the early Qing Dynasty(Official History Books Policy, Manchu National Language and Ride Policy, Thought Control Policy, etc.), the translation, publication, and promulgation of ''the Book of Han'' were also unique components of the emperors' tactics in the middle and early Qing dynasties. --[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 10:51, 12 October 2021 (UTC)
The translation of Han books in the Kang Xi,Yong Zheng and Qian Long dynasties and its implication of cultural control * Abstract: The translation of Han books in the Qing Dynasty is an important way for rulers to understand, learn and accept Han culture. Like other units of cultural policy in the early Qing Dynasty, such as official history books, national language,riding and shooting, ideological control, etc.the translation, publication and promulgation of Han books are also the unique composition of the governance of emperors in the middle and early Qing Dynasty.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 02:23, 13 October 2021 (UTC)

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

康、乾、雍三朝期间，汉书翻译规模不断扩大，主题日益丰富，目的更加明确，为满洲统治者走出“我族”意识，实现满、汉之间的文化接轨与观念沟通，建构并巩固满洲政权的治统与道统等，做出了重要贡献。汉书翻译的开展与推进源于特定的历史语境，与三朝统治者长期以来耽于汉籍，力主道德教化关系甚巨。自起始之日起，汉书翻译便被赋予德治与教化功能，其目的不是为了“以夷变夏”，或者“以夏变夷”，而是为了在满、汉之间进行交流、沟通与互鉴，政治意义与文化意涵并存。
During the three dynasties of Kang Zheng ,Qian Long and Yong Zheng,the scale of Chinese translation continued to expand, the theme became richer and the purpose became more clear, which made important contributions to the Manchu rulers to get out of the consciousness of "my family", achieve the cultural integration and conceptual communication between Manchu and Han, and construct and consolidate the governance and Taoism of Manchu regime. The development and promotion of Chinese translation originates from the specific historical context. It has a compact relationship with the rulers of the three dynasties who have been big on Chinese books and advocated moral education for a long time. Since its inception, the translation of Chinese books has been endowed with the function of rule of virtue and education. Its purpose is not to "change Foreign into Xia " or "change Xia into Foreign ", but to communicate and learn from each other between Manchu and Han. Its political significance and cultural meaning coexist.--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 05:17, 12 October 2021 (UTC)

During the three dynasties of Kang Zheng ,Qian Long and Yong Zheng,the scale of Chinese translation continued to expand, the theme became richer and the purpose became more clear, which made important contributions to the Manchu rulers to get out of the consciousness of "Isolated national consciousness", achieve the cultural integration and conceptual communication between Manchu and Han, and construct and consolidate the governance and Confucianism of Manchu regime. The development and promotion of Chinese translation originates from the specific historical context. It has a compact relationship with the rulers of the three dynasties who have been indulge in Chinese books and advocated moral education for a long time. Since its inception, the translation of Chinese books has been endowed with the function of rule of virtue and education. Its purpose is not to influence the Chinese nation by other nationalities, or assimilate other nationalities by the Chinese nation which based on the theory of “guarding against the barbarians or the foreigners”,but to communicate and learn from each other between Manchu and Han. Its political significance and cultural meaning coexist.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:26, 13 October 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

关键词：汉书翻译；文化沟通；治术；治统；道统
导论：清初翻译汉书，实有不得已的情由。满洲以少数族群统摄中原，虽然历代君主强调“敬天”、“法祖”，遵循历史经验，然而满洲文化除了“国语骑射”之外，整体简陋贫乏，因此欲从自身民族历史、文化中寻求借镜，必会遭遇不敷应用的困境。

KEY WORDS：Han Classic’s translation; Culture Comunication; Governmentality; Governance Tradition; Confucianism

Introduction: In the early period of Qing Dynasty, Han Classic’s translation is actually a compelling need. Manchu once governed the Central Plains of China by Ethnic minorities. Although China’s Successive monarchs emphasised concepts of “respecting the God” , “learning from ancestor”, and “following history rules”, but, in addition to the "Manchu language, horse-riding and archery", Manchu culture in general appeared poor. As a result, if they want to learn from their own national history and culture, they will encounter the dilemma of insufficient application.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:07, 13 October 2021 (UTC)

Key Word：Han Classic’s translation; Culture Comunication; Governmentality; Governance Tradition; Confucianism

Introduction: In the early period of Qing Dynasty, Han Classic’s translation was actually a compelling need. Manchu once governed the Central Plains of China by Ethnic minorities. Although China’s successive monarchs emphasised concepts of “respecting the God” , “learning from ancestor”, and “following history rules”, however. in addition to the "Manchu language, horse-riding and archery", Manchu culture in general appeared poor. As a result, if they want to learn from their own national history and culture, they will encounter the dilemma of insufficient application.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 10:35, 20 October 2021 (UTC)Chen Huini

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

为了在征服和统治过程中有效运用历史经验，并将其正当化与合法化，汉文化的撷取成为不二选择，而汉籍的翻译便是实现这一目的的重要手段。例如建元初年，太祖努尔哈赤称汗之后，即命大臣翻译汉籍，进讲汉文经史，以便了解汉族历史。继位的太宗皇帝更是性嗜典籍，披览弗倦，有着丰富的汉族历史知识，不仅深明《金史》与《三国志传（通俗演义）》等，认为二者使其耳目明快，而且接纳汉官建议，效法太祖命人翻译汉籍，并通过翻译吸收历史知识，将其运用至现实政治实践中，巩固并扩展政权的统治基础。
In order to effectively use historical experience in the process of conquering and governing and to justify and legitimize it, the extraction of Han Culture is the only means and the translation of Han Classics is an important way to achieve this goal. For exemple, in the early years of the Founding Yuan Dynasty, the offspring of Taizu Nurhaci asked the ministers to translate Han Classics and talk about the history of Chinese books to gain more acquaitance of the history of Han people. Emperor Taizong who succeeded to the throne was even more addicted to classics. He had a wealth of historical knowledge of the Han nationality. He not only had a deep understanding of ''Jin Shi'' and ''Three Kingdoms'' , etc., but also he believed that they both made his ears and eyes bright and clear so that he can accept the suggestions of Han officials, follow the example of Taizu's orders to translate Chinese Classics, absorb historical knowledge through translation, and apply it to practical political practice to consolidate and expand the ruling foundation of the regime.

In order to effectively use historical experience in the process of conquering and governing and to justify and legitimize it, the extraction of Han Culture is the only means and the translation of Han Classics is an important way to achieve this goal. For exemple, in the early years of the Founding Yuan Dynasty, Emporer Taizu Nurhaci asked the ministers to translate Han Classics and talk about the history of Chinese books to gain more acquaitance of the history of Han people. His son Emperor Taizong who succeeded to the throne was even more addicted to classics. He not only had a wealth of historical knowledge of the Han nationality and a deep understanding of ''Jin Shi'' and ''Three Kingdoms'' , etc., in believing that they both made his ears and eyes bright and clear,but also he accepted the suggestions of Han officials to follow the example of Taizu's orders to translate Chinese Classics. And through absorbing historical knowledge,he applied it to practical political practice to consolidate and expand the ruling foundation of the regime.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:29, 12 October 2021 (UTC)

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

太宗对于汉书的翻译屡有训示，要求“读史致用”，翻译的书籍要么属于“勤于求治而国祚昌隆”者，要么则属于“所行悖道而统绪废坠”者，总之必须关乎朝政之要务。[1]9 ([1](清)鄂尔泰等.清实录·太宗文皇帝实录[Z].北京：中华书局，1985.）太宗之后，冲幼即位的顺治帝同样“嗜观史书”，并采纳大学士希福建议，效仿太宗“鉴古之心”，颁赐《辽》、《金》、《元》三史译本，以明政治之得失，民生之休戚，国家之治乱。[2]15-16

The Taizong Emporer had his requirement to the translation of Han books that only books written by Emporer of keen intelligence and excellent judgment, or by Emporer who lost his country because of disobedience. All of them need to be related to affairs of state.[1]9 ([1](Qing)Eertai.Records of Qing Dynasty·Records of the Emperor Taizong[Z].Beijing：Zhonghua Publishing House，1985.）After Taizong，Shunzhi Emporer, who was given the position when was a child, intended to read history books and accepted grand secretary Xifu's advice to follow the example of Taizong Emporer . He recommended the translations of ''Liao'', ''Jin'', ''Yuan'', for the purpose that these books can demonstrate political gains and losses, people's livelihood and the state's effort to combat confusion.

Emperor Taizong of Qing Dynasty had his requirements to the translation of Han books. He required “reading history for use”. The books to be translated either belonged to those who were “diligent in seeking governance and then resulted in the fortune of a nation” or those who were “contrary to the way they put into practice and then governance fallen into depression ”. But in any case, they had to be related to affairs of state.[1]9 ([1] (Qing Dynasty) Eertai et al. Chronicles of Qing Dynasty •Chronicles of Chongde Emperor [Z].Beijing: Chinese Publishing House, 1985.）After Chongde Emperor, Shunzhi Emporer, who inherited the throne when he was a child, intended to read history books as well, and accepted grand secretary Xifu's advice to follow the example of Chongde Emperor’s heart of appreciation of the past. He recommended the translations of Liao, Jin, Yuan, for the purpose that these books can demonstrate political gains and losses, people's livelihood and the state's effort to combat confusion. [2]15-16--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:36, 13 October 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

（[2]（清）鄂尔泰等.清实录·世祖章皇帝实录[Z].北京：中华书局，1985.）尤其是《资治通鉴》一书，顺治帝对其更是情有独钟，认为它有“考百代之是非”的成效。[2]1清初三帝之后，满汉交流日渐频繁，民族融合逐步加强，满洲文化长足发展，嗣后诸帝的汉文化态度随之变化。
([2](Qing Dynasty) Eertai et al. Chronicles of Qing Dynasty •Chronicles of Shunzhi Emperor [Z].Beijing: Chinese Publishing House, 1985.) Particularly Comprehensive Mirror for Aid in Government, this book, Shunzhi Emperor showed special preference to it. He thought it has the effect of “examining the rights and wrongs of hundreds generations.
[2]1 After the three emperors of the early Qing Dynasty, the exchanges between Manchu and Han became increasingly frequent, the national fusion was gradually strengthened, and the culture of Manchu developed rapidly. Henceforth the attitude of emperors changed accordingly. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 08:49, 12 October 2021 (UTC)
([2](Qing Dynasty) Eertai et al. Chronicles of Qing Dynasty •Chronicles of Shunzhi Emperor [Z].Beijing: Chinese Publishing House, 1985.) Particularly Comprehensive Mirror for Aid in Government, this book, Shunzhi Emperor showed special preference to it. He thought it has the effect of “examining the rights and wrongs of hundreds dynasties. [2]1 After three emperors of the Early Qing Dynasty, the exchanges between Manchu and Han became increasingly frequent, the national fusion was gradually strengthened, and the culture of Manchu developed by leaps and bounds. Henceforth the attitude of emperors changed accordingly.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 10:47, 13 October 2021 (UTC)

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

但无论是何种变化，汉书翻译的事业却从未间断，通过翻译汉籍求明道致用的功心也从未革损。如康熙帝“性眈问学”，于听政之暇常取《六经》和《资治通鉴》等书译本，发而读之，以探求圣人之心、治道之切。雍正帝也通过阅读汉籍，论及传统正统论，尤其是其中的“承统之正”与“得国之正”的观点，以此为满洲政权建构统治的理论基础。乾隆帝即位之后，凭借其对于汉籍的熟读与精研，继续推行尊孔崇儒的政策，宣传汉族文化，通过道德学术实现传国久远的理想抱负。
However, no matter what kind of change, the cause of books’ translation of Han Dynasty has never been interrupted. The merit of “Ming Dao Zhi Yong”, that is, to be reasonable to hit the key points and apply to reality, has never been damaged through the translation of Han Dynasty books. Such as Kangxi’s (emperor of Qing Dynasty) "concerns of study". In his leisure time after handling issues of politics, he often takes the "Six Classics" and "Comprehensive Mirror for Aid in Government" and other translations, opens and then reads them, in order to explore the ideas of saints and the urgency of the policy of governing the country. By reading the books of Han Dynasty and discussing the traditional orthodoxy, especially the view of "the rightness of the succession" and "the rightness of the country", which is regarded as the theoretical basis for the construction and rule of the Manchuria regime. After Emperor Qianlong inherited the throne, he continued to carry out the policy of respecting the Confucianism, publicize the Han culture, and realize the long-standing ideal ambition of the country through moral scholarship.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 01:50, 13 October 2021 (UTC)

However, no matter what kind of change, the cause of books’ translation of Han Dynasty has never been interrupted. The utilitarian pursuing for “Ming Dao Zhi Yong”, that is, to be reasonable to hit the key points and apply to reality, has never been damaged through the translation of Han Dynasty books. Taking Kangxi’s (the forth emperor of Qing Dynasty) "concerns of study" for example, in his leisure time after handling issues of politics, he often took the "Six Classics" and "Comprehensive Mirror for Aid in Government" and other translations, opened and then read them, in order to explore the ideas of saints and the urgency of the policy of governing the country. By reading the books of Han Dynasty and discussing the traditional orthodoxy theory, especially the view of "the rightness of the succession" and "the rightness of the country", which is regarded as the theoretical basis for constructing the rule of Manchuria regime. After Emperor Qianlong inherited the throne, by virtue of his delicate reading and deep research in Han Books, he continued to carry out the policy of respecting the Confucianism, publicized the Han culture, and realized the long-standing ambition since the first emperor of Qing dynasty through moral scholarship.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 10:41, 13 October 2021 (UTC)

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

可以认为，清代的汉书翻译既是一种笼络的手段，也是一种治术的形式，其根本目的乃是建构、巩固并维护满洲政权的正当性。一、清初汉书翻译述要鉴于文献所限，清初翻译汉书的准确数字，难以查考。特别是太祖、太宗两朝时期，汉书翻译的具体情况尤难统计。

It can be considered that the translation of Han books is one means of unifying as well as the form of governing, whose fundamental purpose is to construct, consolidate and maintain the legitimacy of Manchurian regime. 一. Han books translation in the early Qing dynasty was confined to the literature and it is hard to examine the accurate figures of it. In particular, during the two dynasties of Taizu and Taizong, the specific conditions of Han books translation is critically difficult to reckon.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 05:34, 12 October 2021 (UTC)

It can be considered that the translation of Chinese books is a means of unifying as well as a form of governing, whose fundamental purpose is to construct, consolidate and maintain the legitimacy of Manchurian regime. Firstly, The Overview of Translation of Chinese Books in the Early Qing Dynasty. In the limit of literature, it is hard to examine the accurate figure. In particular, during the two dynasties of Taizu and Taizong, the specific conditions of the translation are critically difficult to reckon.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:11, 13 October 2021 (UTC)

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

但从《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》和《清代内府刻书目录解题》等文献记载情况看，顺、康、雍、乾四朝官方刊刻的汉书满文译本共计五十三种。其中，除去既有满文本，又有满汉合璧本的《三国志（通俗演义）》和《大学衍义》，以及刊刻次数在两次及以上的满文本《诗经》、满汉合璧本《孝经（御制翻译孝经）》，以及满汉合璧本《潘氏（通鉴）总论》等，汉籍满文译书实为四十七种。以朝代统计，则分别是：顺治朝九种：《辽史》、《金史》、《元史》、《洪武要训》、《三国志（通俗演义）》、《诗经》、《表忠录》、《孝经》（阿什坦译）和《六韬三略》；

However, from the record of literature such as ''The General Catalogue of Rare and Ancient Books in The National Palace Museum'', ''The World Bibliography of Manchu Literature'', ''The National Union Catalogue of Books and Reference Materials of Manchu'' and ''The Bibliography for the Interpretation of Titles of the Engraving Books of the Imperial Storehouse in Qing Dynasty'', translation of Chinese books by Manchu that officially engraved by the four dynasties of Emperor Shunzhi, Emperor Kangxi, Emperor Yongzheng and Emperor Qianlong add up to fifty-three. Among these books, besides Manchu or the Chinese-Manchu bilingual ''The Romance of the Three Kingdoms'' and ''Interpretation of The Great Learning'', the Manchu script ''The Book of Songs'' that was printed more than twice, the bilingual ''The Book of Filial Piety''(made by the emperor order) , the bilingual ''The General Instruction From Pan Rong'' and so on, translation of Chinese books by Manchu actually add up to forty-seven.According to statistics of dynasties, they include nine books in the reign of Shunzhi: ''History of the Liao Dynasty'', ''History of the Jin Dynasty'' , ''History of the Yuan Dynasty'', ''The Sermon of the Hongwu Period'', ''The Romance of the Three Kingdoms'', ''The Book of Songs'',''Book for Loyalty'', ''The Book of Filial Piety''(translated by Asitan) and ''Books on the Art of War''.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 19:23, 12 October 2021 (UTC)

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

康熙朝十二种：《纲鉴汇纂》、《大学衍义》、《日讲四书解义》、《日讲书经解义》、《日讲易经解义》、《御选古文渊鉴》、《资治通鉴纲目》、《黄石公素书》、《醒世要言》、《潘氏（通鉴）总论》、《菜根谭》和《薛文清先生要语》；雍正朝五种：《孝经集注》、《小学合解》、《小学》及《四体翻译心经》；④ 乾隆朝二十二种：《日讲春秋解义》、《御制翻译四书》（鄂尔泰等奉敕译，满文本，乾隆六年）、《御制翻译四书》（乾隆皇帝敕译，满汉合璧本，乾隆二十年）、《御制翻译书经集传》、《御制翻译周易》、《御制翻译诗经》、《御制翻译名义集》、《御制大悲心忏法仪轨经》、《大藏经全咒》、《御制楞严经》、《御制翻译礼记》、《御制翻译春秋》、《心经》、《大藏经》、《御制翻译孝经》、《翻译潘氏（通鉴）总论》、《般若波罗蜜多心经》、《御译大云轮请雨经》、《吉祥偈》、《佛说四十二章经》、《金刚般若波罗密多经》及《沐浴经》。
There are 12 Manchu versions of the Chinese classics during the Emperor Kangxi in Qing Dynasty. They are Gangjian Compilation, a historical book of general history; Ta-hsueh yen-I, Interpretation of Four Books of the Day, Interpretation of Books of History, Interpretation of the Books of Changes, Authorized Selection of Ancient Literature, Comprehensive Mirror for Aid in Government, Master Huang’s Plain Book, Awaking to People, Pan General, Caigen Tan and Quotation from Master Xue Wenqing. There are five versions during the Emperor Yongzheng. They are The Book of Filial piety, Xiaoxue Hejie, a kind of dictionary, Xiaoxue,and Heart Sutra of Four Bodies translation. There are 22 versions during the Emperor Qianlong, including A teaching record of Chunqiu (a confucian classics), Authorized Translations of Sishu(Eertai were demander to translate to Manchu version in the sixth years during Qianlong), Authorized Translation of Sishu(it was on the demand of Emperor Qianlong and a combination of Chinese and Manchu in the twelfth year, Authorized Translation Translation of Shujing, Authorized Translation of Zhouyi, Authorized Translatio of Book of Songs, Authorized Translation of Mingyiji, The Whole curse of Finance, a Buddhist book, Authorized Lengyan Scriptures, Authorized Translation of Chunqiu, Heart Sutra, Tripitake, Authorized Translation of the book of Filial Piety, Pan’s General Theory of Translation, Prajna Paramita Sutra, Authorized Translation of Dayun Wheel Asking for Rain Sutra, Auspicious Verse, Buddhist Forty-two Chapters, Vajra Prajna Paramita Sutra and Bath Meridian
There are 12 Manchu versions of the Chinese classics during the period of Emperor Kangxi in Qing Dynasty. They are ''Gangjian Compilation, a historical book of general history; Ta-hsüeh yen-I, Interpretation of ‘the Four Books’, Interpretation of ‘the Book of History’, Interpretation of ‘Book of Changes’, Authorized Selection of Ancient Literature, Comprehensive Mirror for Aid in Government, Master Huang’s Plain Book, Awaking to People, Pan General, Caigen Tan and Quotation from Master Xue Wenqing''. There are five versions during the period of Emperor Yongzheng. They are ''The Book of ‘The Classic of Filial Piety’ variorum , Xiaoxue Hejie, a kind of dictionary, Xiaoxue,and Heart Sutra of Four Bodies translation.'' ④There are 22 versions during the period of Emperor Qianlong, including ''Interpretation of ‘The Spring and Autumn Annals’ (a confucian classics), Authorized Translations of ‘the Four Books’ (Eertai were demander to translate to Manchu version in the sixth years during Qianlong), Authorized Translation of ‘the Four Books’(it was on the demand of Emperor Qianlong and a combination of Chinese and Manchu in the twelfth year, Authorized Translation Translation of ‘the Book of History’, Authorized Translation of ‘the Book of Changes’, Authorized Translation of ‘Book of Songs’, Authorized Translation of formula names, The Whole curse of Finance, a Buddhist book, Authorized Lengyan Scriptures, Authorized Translation of ‘The Spring and Autumn Annals’, Heart Sutra, Tripitake, Authorized Translation of ‘the Classic of Filial Piety’, Pan’s General Theory of Translation, Prajna Paramita Sutra, Authorized Translation of Dayun Wheel Asking for Rain Sutra, Auspicious Verse, Buddhist Forty-two Chapters, Vajra Prajna Paramita Sutra and Bath Meridian.''--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 23:17, 15 October 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

上述译本中，虽然《三国志（通俗演义）》和《大学衍义》分别于顺治七年、康熙十一年刊印两次，但各自的底本相同，区别只在于一次为满文本，另一次则为满汉合璧本。此外，《孝经》曾于顺治、康熙、雍正朝各刊刻一次，但底本各不相同，其中顺治年间的刊行本为阿什坦译本、康熙年间的刊行本为和素译校本，雍正时期的版本则译者未明，只是注明“雍正皇帝敕译”。值得注意的是，虽然世祖顺治帝笃信佛教，论佛谈法，但从现有文献看，未见有顺治朝翻译的汉文经书，反倒是禁教严厉的高宗时期，翻译汉文经书多达九部，其中缘由，值得深思。
In above-mentioned translations, although ''The Romance of the Three Kingdoms'' and ''Interpretation of The Great Learning'' were published twice in the seventh year of Shunzhi and the eleventh year of Kangxi respectively, their original versions were the same. The only difference was that one was completely in Manchu and the other was a combination of Chinese and Manchu. In addition, ''The Classic of Filial piety'' was once published in the period of Shunzhi, Kangxi and Yongzheng respectively, but the original versions were varied. And the published version in Shunzhi period was translated by Ashton, the version in Kangxi period was translated and revised by Hesu, and the version in Yongzheng period whose translator was unknown was marked with ‘imperial translation of Yongzheng emperor’. It is worth nothing that although the emperor Shunzhi believed in and advocated Buddhism ,there were no scriptures translated into Chinese in the Shunzhi period according to the existing literature. On the contrary, in the Gaozong period when religions were strictly forbidden, there were as many as nine scriptures translated into Chinese. And the reasons of this are worth considering. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 15:25, 11 October 2021 (UTC)

In the above-mentioned translations, although ''Records of the Three Kingdoms'' and ''Daxue yanyi'' were published twice in the seventh year of Shunzhi and in the eleventh year of Kangxi respectively, their original versions were the same. The only difference was that one was completely in Manchu and the other was a combination of Chinese and Manchu. In addition, ''The Classic of Filial Piety'' was once published in the period of Shunzhi, Kangxi and Yongzheng respectively, but the original versions were varied. And the published version in Shunzhi period was translated by Ashton, the version in Kangxi period was translated and revised by Hesu, and the version in Yongzheng period whose translator was unknown was marked with ‘imperial translation of Yongzheng emperor’. It is worth noting that although the emperor Shunzhi believed in and advocated Buddhism, there were no scriptures translated into Chinese in the Shunzhi period according to the existing literature. On the contrary, in the Gaozong period when Buddhism was strictly forbidden, there were as many as nine scriptures translated into Chinese. And the reasons for this are worth pondering.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:07, 12 October 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

尤其值得关注的是《诗经》与《孝经》的满文译本。以《诗经》为例，该书翻译成书后，顺治帝曾为其亲制序文，赞誉该部作品意旨深厚，能使人明性意，崇礼义，“其言之深者，可用于庙堂；言之浅者，可用于身家。以之事君，必忠；以之事父，必孝。更可以敦厚人伦，端正教化。”[3]72-73（[3]叶高树.清朝前期的文化政策[M].台北：稻乡出版社，2002.）

The Chinese-Manchu translations of ''The Book of Songs'' and T''he Classic of Filial Piety'' call for special attention. Take ''The Book of Songs'' as an example. When the book had been translated, Shunzhi Emperor personally wrote a preface to it, in which he praised the work for its deep meaning that enabled people to understand human nature and respect etiquettes, quote, “Some of its profound words can be used at the imperial court; some of its shallow words can be used for oneself and one’s family. Under the guidance of it, one will be faithful to the emperor and filial to his or her father. What’s more, it can improve human relations and correct moral cultivation.” [3]72-73（[3]Ye Gaoshu. Cultural policies in early Qing dynasty [M].Taipei：Dao Xiang press，2002.）--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 13:57, 12 October 2021 (UTC)

The Chinese-Manchu translation of ''The Book of Songs'' and T''he Classic of Filial Piety'' calls for special attention. Take ''The Book of Songs'' as an example. When the book had been translated, Shunzhi Emperor personally wrote a preface to it, in which he praised the work for its deep meaning that enabled people to understand human nature and respect etiquettes, quote, “Some of its profound words can be used at the imperial court; some of its shallow words can be used for oneself and one’s family. Under the guidance of it, one will be faithful to the emperor and filial to his or her father. What’s more, it can improve honest and sincere, human relations of people and correct moral cultivation.”--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:35, 13 October 2021 (UTC)

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

从教化的角度思考《诗经》的翻译，既是顺治帝本人的自觉认识，也是以他为首的统治者在面对稗（bài）官小说盛行，而满洲人竞相翻译时所做的一种被动调整。正如顺治九年进士、刑科给事中阿什坦担心的那样：学者立志，宜以圣贤为期，读书务以经史为中。

Thinking about the translation of The Book of Songs from the perspective of enlightenment is not only Shunzhi Emperor's self-conscious awareness, but also a passive adjustment made by the rulers headed by Shunzhi when they were faced with the popularity of tares officer novels and the manchurian people competing in translation. Just as Ashtan-Jinshi in the Shunzhi period of nine years in the Criminal Section for things was worried: scholars resolve, should take sages as their example of study, and take classics and history as main aspect.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 01:53, 13 October 2021 (UTC)

In terms of educational function of translating ''The Book of Songs'', it is on one hand Emperor Shunzhi’s spontaneous awareness and on the other a passive adjustment by Shunzhi and his counterparts to the situation where Manchuria translators competed to translate the prevailing novels of unofficial histories. As Ashton, a scholar in the ninth year of Shunzhi’s reign and official in the department of justice, stated that scholars should resolve to make sages as their goal and focus on reading history and classics.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:50, 13 October 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

此外杂书无益之言，必概废之而不睹。则庶乎学业日隆，而邪慝（tè）之心无由而入。近见满洲译书内，多有小说秽言，非惟无益，恐流行渐染，则人心易致于邪慝。

, while the other kinds of books which are of no benefit should be discarded. In this way, scholars might achieve positive results in academy and get rid of evil thoughts. I have noticed much falsifying and obscenity among the books translated into Manchu language. I am afraid that those books of no good can be prevailing and contagious, eroding people’s thinking.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:12, 12 October 2021 (UTC)

Besides, other kinds of books with profitless words all should be discarded. Hence scholars can almost do increasingly better in their scholastic attainment, and evil thoughts disappear. Recently, I have noticed that among translated books in Manchu, there are many novels with bestial words, not only useless, but also easily imputing negative thoughts if they prevail.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 00:44, 13 October 2021 (UTC)

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

况圣贤古训，日详究之，犹恐不及，何暇费日时于无用之地？[4]5339（[4](清)鄂尔泰等修，李洵等点校.八旗通志·初集[Z].长春：东北师范大学出版社，1989.）阿什坦认为，读书必以经史为要，摒弃杂书，尤其是污言秽语之书。

Moreover, the old maxims of sages are studied in detail everyday, but people still fear that they can’t approach that height. Why should we employ our time in useless places? ([4](Qing Dynasty) Modification of Eertai et al. Punctuation and Collation of Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.) Ashitan thinks we should choose classics and history to read rather other books, especially those with bestial words.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:09, 12 October 2021 (UTC)

As for the maxims from ancient sages, people studied them everyday in detail but still worried they couldn’t comprehend, so why should they do worthless work? ([4](Qing Dynasty) Modification of Eertai et al. Punctuation and Collation of Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.) Ashitan thought people would read classical books and get rid of informal books especially those with bestial words.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 12:17, 12 October 2021 (UTC)

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

因此，他奏请皇上对旗人读书严加限制，要求嗣后翻译书籍只应针对“关圣贤义理，古今治乱之书”，对于“此外杂书秽言”，则“概为禁饬，不许翻译”。[4]5339（[4](清)鄂尔泰等修，李洵等点校.八旗通志·初集[Z].长春：东北师范大学出版社，1989.）正是缘于这样的认识，《大学》、《中庸》、《孝经》、《潘氏（通鉴）总论》和《太公家教》等被陆续译成。

Therefore, he presented a proposal to the dominator that a restriction on Qi people’s education should be made. He also claimed that people could only translate those books about men’s virtue and dominator’s pacification, while those informal books with bestial words should be banned. [4] (Qing dynasty) Modified by Eertai et al. Proofread by Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.) Due to that kind of comprehension, the Great Learning, the Middle Way, the Classic of Filial Piety, Pan’s General View and the Family Motto of Taigong were successively translated.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:00, 12 October 2021 (UTC)

Therefore, he presented a proposal to the emperor that a strict restriction on Qi people’s education should be made which allowed people to translate books about men’s virtue and dominator’s pacification and prohibited translations of informal books with foul language. [4] (Qing dynasty) Modified by Eertai et al. Proofread by Li Xun et al. General Annals of the Eight Banners• the First Collection [z]. Changchun: Northeast Normal University Press, 1988.) Due to that kind of awareness, the Great Learning, the Doctrine of the Mean, the Classic of Filial Piety, Pan’s General View and the Family Motto of Taigong were successively translated.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 11:44, 12 October 2021 (UTC)

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

顺治帝对于《孝经》的翻译亦甚重视，曾亲自撰写《御注孝经》，令儒臣博采群书，加以论断，编纂《孝经衍义》。顺治帝指出，自古治平天下，莫大于孝，而《孝经》立意正大，“孝”更是“五常百行之原”，如不能取古人言行，将其推广，则不足以彰显其义，同时也与其本人“以孝治天下”的愿景相悖。[2]1-2;[5]140-141（[2]（清）鄂尔泰等.清实录·世祖章皇帝实录[Z].北京：中华书局，1985.）

Emperor Shunzhi also attached great importance to the translation of The Classic of Filial Piety for which he once wrote the notes himself. Moreover, he ordered the Confucian officials to evaluated this book and compiled The Extended Explanation of The Classic of Filial Piety according to a variety of books. Emperor Shunzhi pointed out that nothing was more important than filial piety to govern the country. And he believed that The Classic of Filial Piety embodied this quality well. As the origin of the five essential moral qualities(kindness, righteousness, propriety, wisdom and trust) and good deeds, filial piety should be promoted otherwise its meaning can't be manifested completely. Meanwhile it would be contrary to the Emperor's vision to govern the country with filial piety. [2]1-2;[5]140-141([2](Qing Dynasty)Eertai et al.Records of Qing Dynasty •Records of the Emperor Shizhi[Z].Beijing: Zhonghua Publishing House, 1985.)--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:06, 11 October 2021 (UTC)

Emperor Shunzhi also attached great importance to the translation of ''The Classic of Filial Piety'' for which he once wrote the notes himself. Moreover, he ordered the officials who are faithfully converted to Confucianism to evaluated this book and compiled ''The Extended Explanation'' of ''The Classic of Filial Piety'' according to a variety of books. Emperor Shunzhi pointed out that nothing was more important than filial piety to govern the country. And he believed that ''The Classic of Filial Piety'' embodied this quality well. As the origin of the five essential moral qualities(kindness, righteousness, propriety, wisdom and trust) and good deeds, filial piety should be promoted otherwise its meaning can't be manifested completely. Meanwhile it would be contrary to the Emperor's vision to govern the country with filial piety. [2]1-2;[5]140-141([2](Qing Dynasty)Eertai et al.''Records of Qing Dynasty •Records of the Emperor Shizhi''[Z].Beijing: Zhonghua Publishing House, 1985.)--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:26, 20 October 2021 (UTC)Huang Zhuliang

==null==

（[5]宋德宣.满族哲学思想研究[M].沈阳：辽宁大学出版社，1994.）顺治年间翻译的其它汉文典籍，如《洪武宝训》、《表忠录》、《诗经》与《孝经》等，也各具代表性。以《洪武宝训》为例，该书系明朝皇权政治的象征，反映了明太祖朱元璋治国理政的理念和方针。顺治三年三月，《洪武宝训》完成满文翻译，成为清朝入关后的首部汉籍译作，顺治帝对此极为重视，不仅赏赐了刚林、宁完我、范文程等译者，而且由摄政王钦命汉官代笔，以世祖名义制作序文，颁行全国。

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

世祖认为，历代贤君莫如洪武，希望通过翻译此书，学习中原汉族王朝正统，巩固满清统治，所谓“彝宪格言，深裨治理”，即是此书翻译目的之体现。[2]1（[2]（清）鄂尔泰等.清实录·世祖章皇帝实录[Z].北京：中华书局，1985.）二、康熙朝的汉书翻译。康熙朝的汉籍翻译可分为两部分：一部分为整理、刊行前朝译本；另一部分则着手翻译其它各类汉文书籍As far as Emperor Shitzu of Qing Dynasty concerned, Each emperor in Chinese history is not so sagacious as Taitzu(Emperor ''Hongwu'') of Great Ming Empire, so, he hopes that by translating ''Hongwu Baojian'', the orthodox tradition and customs of all dynasties created by the Han ethnic groups in the Middle part of China can be studied and acquired, the goal, which is to consolidate of the newly born dynasty, can be achieved. The purpose of translating ''Hongwu Baojian'' is that Emperor Shunzhi thinks that it can "refresh the country and make great contributions to his ruling."
[2]1([2](Qing) E Ertai et al., ''the Imperial Archives of Emperor Shitzu(1638-1661, posthumously titled Zhang Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1985.)
II. The Translation of Books Created by Han Ethnic Group in the Period of Kangxi(1661-1722) The translation of Books created by Han ethnic group in the Period of Kangxi(1661-1722) can be divided into two parts: the first is neaten, print and publish the former translated version; the second is setting about translating other books written by Han Character.
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 02:14, 13 October 2021 (UTC)Huang Zhuliang

As far as Emperor Shizu of Qing Dynasty concerned, there is no sagacious emperor in Chinese history than Taitzu(Emperor Hongwu) of Great Ming Dynasty, so he hopes that by translating Hongwu Baojian, the orthodox tradition and customs of all dynasties created by the Han ethnic in the Central Plains of China can be studied and acquired, the goal, which is to consolidate the newly born dynasty, can be achieved. The purpose of translating Hongwu Baojian is that Emperor Shizu thinks that it can "refresh the country and make great contributions to his ruling." [2]1([2](Qing) E Ertai et al., the Imperial Archives of Emperor Shizu(1638-1661, posthumously titled Zhang Huang Di) of the Qing Dynasty, Peking, Zhonghua Book Company, 1985.)
II. The Translation of Books Created in Kangxi Dynasty.(1661-1722) The translation of Books created in Kangxi Dynasty(1661-1722) can be divided into two parts: the first is to neaten, print and publish the former translated version; the second consist in translating other books written by Han Character. --[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:25, 13 October 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

其中，前者如《纲鉴汇纂》（康熙三年）、《黄石公素书》（康熙四十三年）和《潘氏（通鉴）总论》（康熙四十六年）等，后者则如《大学衍义》等，数目更多。康熙十一年，翰林院掌院学士兼礼部侍郎傅达礼翻译《大学衍义》成书，次年进呈皇帝，获太皇太后和圣祖嘉奖。孝庄太皇太后在亲览傅礼达《大学衍义》译本后，大赞此书“法戒毕陈，诚为且要”，并对康熙帝钦命儒臣翻译、刊刻、颁赐此书给诸臣，予以充分肯定。[6]82
Among them, the former, such as ''Gang Jian Hui Zuan''(a book of historical records in the third year of emperor Kang Xi), ''Su Shu of Huang Shigong''(a book about Taoisme in the 43th year of emperor Kang Xi) and ''the General treatise of the Pan family''(Tong Jian:a history book)(in 46th year of emperor Kang Xi),etc…the latter, such as ''Da Xue Yan Yi''(the Deduction meaning of great learning),are more numerous. In the 11th year of emperor Kang Xi,Bo Dali, the master bachelor of national academy and assistant minister，translated ''Da Xue Yan Yi'' which was submitted to the emperor the next year，with the great prize by grandma-empress and ancestor.After personally reading Bo Dali's version of ''Da Xue Yan Yi'', grandma-empress Xiao Zhuang lavished praise that laws by chen is so genuine on it, satisfying with the translations, prints and awards which were given to ministers by emperor Kang Xi.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:24, 12 October 2021 (UTC)

Among them, the former, such as ''Gang Jian Hui Zuan''(a book of historical records in the third year of the Emperor Kang Xi), ''Su Shu of Huang Shigong''(a book about Taoism in the 43th year of the Emperor Kang Xi) and ''the General treatise of the Pan family''(Tong Jian:a history book)(in 46th year of the Emperor Kang Xi),etc…the latter, such as ''Da Xue Yan Yi''(the Deduction meaning of great learning),are more numerous. In the 11th year of the Emperor Kang Xi,Bo Dali, the master bachelor of national academy and assistant minister，translated ''Da Xue Yan Yi'' which was submitted to the emperor the next year，with the great prize by grandma-empress and ancestor.After personally reading Bo Dali's version of ''Da Xue Yan Yi'', grandma-empress Xiao Zhuang lavished praise that laws by chen is so genuine on it, satisfying with the translations, prints and awards which were given to ministers by emperor Kang Xi.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:09, 13 October 2021 (UTC)

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

（[6]中国第一历史档案馆.康熙起居注[Z].北京：中华书局，1984.）《大学衍义》译毕后，康熙帝又在康熙十六年、十九年、二十二年，分别命人将《四书》、《五经》等的经筵讲义加以刊印，先后集成《日讲四书解义》、《日讲书经讲义》和《日讲易经讲义》。这些讲义虽不是直接译自清代以前的汉文典籍，然而作为阐释经典的作品，也经历了由汉文翻译成满文的过程，且书中又将原典逐字逐句译出，故仍然属于汉籍翻译的范畴，对高宗年间的儒家经典重译也产生了重要、深刻的影响。

([6]The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company, 1984.)After the translation of ''Spreading Meaning of The Great Learning'' was finished, the Emperor Kangxi gave an order to publish the doctrine of ''The Four books'' and ''The Five Classics'' respectively in 16th, 19th, and 22th year of Kanxi, which were successively integrated into ''Lecture on the Four Books'', ''Lecture on the Book of History'', ''Lecture on the Book of Changes''.These doctrines are not directly transalted from those Chinese classics since the dynasty of Qing, however as the works of interpreting classics, also going through the process of the translating from Chinese to Manchu language.Moreover, the sentences of original classics were translated literally, so the translation also belongs to Chinese classics translation, which exerted important and profound influence on the re-translation of Confucian Classics in the period of emperor Tang Gaozong.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 02:53, 13 October 2021 (UTC)

([6] The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company, 1984.) After the translation of Spreading Meaning of The Great Learning was finished, the Emperor Kangxi gave an order to publish the doctrine of ''The Four books'' and ''The Five Classics'' respectively in 16th, 19th, and 22th year in the period of Emperor Kangxi, which were successively integrated into ''Lecture on the Four Books'', ''Lecture on the Book of History'', ''Lecture on the Book of Changes''. Although, these doctrines are not directly translated from those Chinese classics since the dynasty of Qing, as the works of interpreting classics, it also went through the process of the translating from Chinese to Manchu language. Moreover, the sentences of original classics were translated literally, so the translation also belongs to Chinese classics translation, which exerted important and profound influence on the re-translation of Confucian Classics in the period of emperor Tang Gaozong--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:41, 13 October 2021 (UTC)

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

与此同时，康熙帝即位后，也缵述世祖遗绪，命儒臣编纂《孝经衍义》，只是由于该书达一百卷之多，篇帙繁复，读者未必领会周全，因而康熙帝钦命专译其经文，以利读者习诵。康熙帝对汉书翻译的重视也体现在《通鉴纲目》的翻译上。据《康熙起居注》中载，康熙帝耽于《资治通鉴》，自二十四年起便对《资治通鉴》、《资治通鉴纲目》（又名《通鉴纲目》）、《纲目大全》三书“以硃笔亲加点定”，不但将书中错误悉数改正，而且对缺失者也加以增补。[6]1339-1340
At the same time, after Emperor Kangxi ascended the throne, he also inherited and reported the meritorious deeds of Emperor Qing Shi Zu and ordered Scholar-Officials to compile the ''Classic of Filial Piety''. However, the readers may not understand it well because there are as many as 100 heavy and complicated volumes. Therefore, Emperor Kangxi ordered experts to translate the scriptures for the benefit of the readers. Emperor Kangxi's attention to the translation of Chinese books is also reflected in the translation of the ''Compendium of History as a Mirror''. According to the ''Records of Emperor Kangxi’s Daily Activities'', Emperor Kangxi devoted himself to ''History as a Mirror''. Since the 24th year in the period of Emperor Kangxi, Emperor Kangxi “had used the Chinese brush with cinnabar ink to revise” the three books, the ''History as a Mirror'', the ''Compendium of History as a Mirror'', and the ''Compendium'', not only corrected all the errors in the book, but also supplemented the missing ones. [6]1339-1340--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 15:06, 12 October 2021 (UTC)

At the same time, after Emperor Kangxi accepted the imperial succession, he also inherited and edited the meritorious works of Shizu, Qing Emperor and commanded the Scholar-Officials to compile ''The Meaning Supplement of Filial Piety''. However, the readers may not understand it so well because this book consisted of more than 100 volumes, with complicated sections and chapters. Therefore, Emperor Kangxi ordered experts to translate the classical works for the benefit of the readers. Emperor Kangxi attached importance of Han classics to the translation of ''Compendium of History as a Mirror''. According to ''Record on Emperor Kangxi's Daily Life'', he was so fond of ''History as a Mirror''. Since the 24th year after reign, Emperor Kangxi has used the Chinese brush with cinnabar ink to revise ''History as a Mirror'', ''Compendium of History as a Mirror'', and ''Compendium'', not only correct all the mistakes in the book, but also supplement the missing ones. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 03:03, 13 October 2021 (UTC)

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

（[6]中国第一历史档案馆.康熙起居注[Z].北京：中华书局，1984.）而康熙帝对于《通鉴纲目》的关注尤甚，达到了“循环披览，手未释卷”的程度。[7]2-3（[7]（清）玄烨.康熙帝御制文集[M].台北：台湾学生书局，1966.）

([6]The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company,1984) And Emperor Kangxi was so concerned about ''The Compendium of History as a Mirror'' that he read it over and over again, unwilling to put it aside. [7]2-3 ([7]Qing Dynasty)Aisin Gioro Xuanye, ''Collected Works of Emperor Kangxi''[M].Taipei: Taiwan Student Book Company, 1966.）--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 06:22, 12 October 2021 (UTC)

([6]The First Historical Archives of China. ''Record on Emperor Kangxi's Daily Life''[Z]. Beijing: Zhonghua Book Company,1984) And Emperor Kangxi was so fond of ''The Compendium of History as a Mirror'' that he read it over and over again, unwilling to put it aside. [7]2-3 ([7]Qing Dynasty)Aisin Gioro Xuanye, ''Collected Works of Emperor Kangxi''[M].Taipei: Taiwan Student Book Company, 1966.）--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:22, 13 October 2021 (UTC)

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

故此，康熙三十年，圣祖命阿什坦之子，翻书房总裁和素将《通鉴纲目》译文满文，由武英殿内府刊刻，该译本现存于中国民族图书馆，共三十册（三函），虽然内容上并不完整，但仍然包含了《资治通鉴纲目》（朱熹）、《订正通鉴纲目前编》（南轩），以及《续资治通鉴》（商辂）等三部作品的基本内容。难得的是，该部汉籍的满文译本曾入选第四批《国家古籍珍贵名录》（编号：11326），可见其在翻译史、满语史乃至中国史上的重要地位。康熙年间，除翻译汉文经、史外，也编译汉书，如《御选古文渊鉴》的编译等，即属此类。

Therefore, in the 30th year of Kangxi's reign period(1691), the emperor asked the son of A'shitan, the chief executive of translation department named HeSu to translate ''TongJian of Materia Medica'' into the language of the Manchus and ordered the Martial Valor to print it. The translated version, which consists of 30 vomumes, is now kept in the Library of Chinese Nationalities.Though not covering all contents, it does contain the basic contents of ''History as a Mirror''(by Zhu Xi), ''Revised Prequel of TongJian of Materia Medica'' (by Nan Xuan) and ''The Sequel of History as a Mirror''(by Shang Lu). What's worth noting is that, this translated script was once selected into the fourth batch of ''National Rare Catalogue of Ancient Books''(SE:11326). Thus, we can see that it plays an important role in the history of translation, the history of the Manchus language and even the history of Chinese history. During the period of Kangxi's reign, besides the translation of ancient Chinese classics and histories, the translation and edition of Chinese books also prevailed, such as ''Imperial Selection of Ancient Chinese Proses'' and the like.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:16, 13 October 2021 (UTC)

Therefore, in the 30th year of Kangxi's reign period(1691), the emperor asked the son of A'shitan, the chief executive of translation department named HeSu to translate ''General Compendium'' into the language of the Manchus and ordered the Martial Valor to print it. The translated version, which consists of 30 volumes, is now kept in the Library of Chinese Nationalities.Though not covering all contents, it does contain the basic contents of ''Outline of Comprehensive Mirror for Aid in Government''(by Zhu Xi), ''Revised Prequel of Comprehensive Mirror for Aid in Government'' (by Nan Xuan) and ''The Sequel of Comprehensive Mirror for Aid in Government''(by Shang Lu). What's worth is that, this translated script was once selected into the fourth batch of ''List of National Rare Ancient Books''(SE:11326). Thus, we can see that it plays an important role in the history of translation, the history of the Manchus language and even the Chinese history. During the period of Kangxi's reign, besides the translation of ancient Chinese classics and histories, the translation and edition of Chinese books also prevailed, such as ''Imperial Selection of Ancient Chinese Proses'' and the like.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 10:50, 13 October 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

《御选古文渊鉴》由康熙九年进士徐乾学编注，全书共六十四卷选文，收录时间自春秋至宋末，偏重于先秦、两汉古文，以及唐宋八大家散文。关于《御选古文渊鉴》的缘起，《康熙帝御制文集》中有详细记载，概言之便是康熙帝常思“文以载道”，认为文章之事源远流长，所谓“今古错综，盛衰或通于千载，损益无关于一朝”，因而命儒臣选辑“辞义精纯，可以鼓吹《六经》者，汇为正集”，“间有瑰丽之篇，……则列之别集”，而“旁采诸子，录其要论，以为外集。”[7]17-18（[7]（清）玄烨.康熙帝御制文集[M].台北：台湾学生书局，1966.）

''The Appreciation of Ancient Writings Selected by Emperor Kangxi'' was compiled and annotated by Xu Qianxue who succeeded in the highest imperial examinations in Kangxi’s ninth year in the throne. The book contains 64 volumes of articles from the Spring and Autumn period to the end of Song Dynasty, including especially those of Pre-Qin period and Han Dynasty as well as proses of eight great prose masters of the Tang and Song. In regard to its origin, it was recorded in detail in ''The Collected Works of Emperor Kangxi''. In short, the reason is that Kangxi thought that articles were made to explain the truth, which had such a long history that it underwent all the ebb and flow from ancient times to present and that we couldn’t attribute gains and losses to one dynasty. Kangxi therefore commanded officials to select those with excellent contents and forms which advocate ''Six Classics'' for the principle set, euphuistical articles for another set and records of litterateurs’ writings for the complementary set. [7]17-18([7] (Qing Dynasty)Xuanye, ''The Collected Works of Emperor Kangxi''[M]. Taipei: Taiwan Student Book Bureau, 1966.)--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 13 October 2021 (UTC)

The Appreciation of Ancient Writings Selected by Emperor Kangxi was compiled and annotated by Xu Qianxue who succeeded in the highest imperial examinations in 1670. The book contains 64 volumes of articles from the Spring and Autumn period to the end of Song Dynasty, including especially those of Pre-Qin period and Han Dynasty as well as proses of the eight great prose masters in Tang and Song. In regard to its origin, it was recorded in detail in The Collected Works of Emperor Kangxi. In short, the reason is that Kangxi thought that articles were made to explain the truth, which had such a long history that it underwent all the ebb and flow from ancient times to present and that we couldn’t attribute gains and losses to one dynasty. Kangxi, therefore, commanded civil officials to select those with excellent contents and forms which advocate Six Classics for the principle set, euphuistical articles for another set and records of litterateurs’ writings for the complementary set. [7]17-18([7] (Qing Dynasty)Xuanye, The Collected Works of Emperor Kangxi[M]. Taipei: Taiwan Student Book Bureau, 1966.)--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:53, 13 October 2021 (UTC)

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

按照康熙帝自己的设想，该书的编纂着眼于“文治”，使帝王之道“大化以成”，而圣贤之业“性功以备”，既强调“质文互用”，又强调“博约并施”。[7]18（[7]（清）玄烨.康熙帝御制文集[M].台北：台湾学生书局，1966.）康熙二十四年，该书先以汉文刊印，两年后又以满文翻译成书，由内府刊刻。

According to the Emperor Kangxi in Qing dynasty, the book was compiled with a focus of governing the country through civil affairs. In this way, the whole ability of the emperor can be approved, while saints’ career should both be composed of nature and virtue. Not only did it emphasize the mutual application of polite behavior and inner goodness, but also it stressed both strict and loose control. [7]18 ([7] (Qing Dynasty). Xuanye. ''The Special Made Collected Works of the Emperor Kangxi'' [M]. Taibei: the student book office in Taiwan Province, China, 1966.) In 1695, the book firstly printed in Chinese. Two years later, it was translated into Manchu script and compiled.

According to the Emperor Kangxi in Qing dynasty, the book was compiled with a focus on governing the country by “civil affairs”. In this way, the comprehensive ability of the emperor can be improved, while saints’ career should be composed of nature and virtue. Not only did it emphasize the mutual application of polite behavior and inner goodness, but also it stressed both strict and loose control. [7]18 ([7] (Qing Dynasty). Xuanye. ''The Special Made Collected Works of the Emperor Kangxi'' [M]. Taibei: the student book office in Taiwan Province, China, 1966.) In 1695, the book firstly printed in Chinese. Two years later, it was translated into Manchu script and compiled. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 07:38, 12 --[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:42, 12 October 2021 (UTC)October 2021 (UTC)

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

《御选古文渊鉴》的编译对于康熙朝的汉籍翻译影响甚大。以此书为界，康熙朝的汉籍翻译在前后两个阶段中，对于对象的选取有着明显不同的诉求。其中，前一阶段的翻译文本多与《四书》、《五经》及宋代以前的作品有关，仅有《纲鉴汇纂》（达海等译）一部涉及前明，而康熙中、后期之后，由明代儒士作品翻译的情况明显增多，如吕坤的《醒世要言》、洪应明的《菜根谭》，以及薛瑄的《薛文清先生要语》等。
The compilation of The Selection of Ancient Classics had a great influence on the translation of books in the Kangxi Dynasty. Taking it as a boundary, the translation in the Kangxi Dynasty had obviously different demands on the selection of objects in the two stages. For example, the translation before the compilation of The Selection of Ancient Classics was related to works before Song Dynasty,like The Four Books and the Five Classics .Only Gang Jian Hui Zuan ( translated by Daihai,etc) talked about the former Ming Dynasty. However, in the middle and late Kangxi Dynasty, works translated by talents of Ming Dynasty increased greatly, such as Xing Shi Yao Yán translated by Lv Kun,Cai Gen Tan translated by Hong Yingming and The Words of Xue Wenqing translated by Xue Xuan.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:38, 12 October 2021 (UTC)

The compilation of the "Royal Selection of ancient texts" had a great influence on the Chinese translation of Kangxi Dynasty. With this book as the boundary, Kangxi Dynasty's Chinese translation in the two stages before and after, for the selection of objects have obviously different demands. Among them, the translation text of the previous stage is mostly related to the "Four Books", "Five Book" and previous works of the Song Dynasty, only "GangQi" (Dahai et al.) a related to the pre-Ming, and Kangxi middle and later, by the Ming Dynasty Confucian works translated by the situation significantly increased, such as Lu Kun's "Wake up the World", Hong Yingming's "CookIng Tan", and Xue Wei's "Mr. Xue Wenqing".--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 09:45, 13 October 2021 (UTC)[[File:Example.jpg]]

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

虽然如此，但康熙一朝的翻译目的并无明显改变，仍以劝善除恶、裨益治道者为先。
三、雍正朝的汉书翻译。雍正年间，汉籍翻译与出版仍在发展，但种类与数量和康熙朝比稍嫌单调、稀少。之所以如此，与雍正年间的政治形势不无关联。雍正二年，朝廷颁布《朋党论》和《雍正上谕》，暴露出统治集团内部的激烈斗争。

Nevertheless, the translation purpose of Kangxi Dynasty has not changed significantly, and it is still to persuade the good to get rid of evil and to benefit the people who govern. Third, the translation of Han books from the Zheng Dynasty. During the Yu Zheng years, Han translation and publishing are still developing, but the type and quantity and Kangxi Dynasty than slightly monotonous, rare. The reason for this is not unrelated to the political situation in the Yu Zheng dynasty. In the second year of Yongzheng, the imperial court issued The Treatise on Cliques and the Encyclical of Yongzheng, which revealed the fierce struggle within the ruling cliques.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 11:00, 12 October 2021 (UTC)

Nevertheless, the translation purpose of Kangxi Dynasty has not changed significantly, and it is still to persuade the good to get rid of evil and to benefit the people who govern.
Third, the translation of ''Han History'' from the Yongzheng Dynasty. During the Yongzheng years, translation and publication of books in the Han Dynasty are still developing, but compared with Kangxi dynasty, the types and quantity of books in Han Dynasty were monotonous and rare.The reason for this is not unrelated to the political situation in the Yongzheng dynasty. In the second year of Yongzheng, the imperial court issued ''The Treatise on Cliques'' and ''the Encyclical of Yongzheng'', which revealed the fierce struggle within the ruling cliques.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 10:53, 13 October 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

同年，世宗又对圣祖“上谕十六条”进行演绎和注解，并与后者一道合成《圣谕广训》，由武英殿刊刻，颁行天下，以加强伦理道德教育。不久之后，朝廷遵圣谕又相继颁布《上谕八旗》和《上谕旗务议复》，表明雍正帝急欲加强皇权统治，削弱王公旗主权势。正是这样的政治环境，给汉籍的翻译施加了限制。
In the same year, King Sejong also interpreted and annotated the 16th Encyclical of Sage Patriarch, and together with the latter, compiled the Encyclical Instruction, which was printed in the Hall of Martial Valor and presented to the world to strengthen moral education. Soon after, the imperial court in compliance with the encyclical and issued the ''"Encyclical Eight Banners'' and ''Encyclical Banner Affairs Review'' , indicating that Emperor Yongzheng was anxious to strengthen the imperial rule, weaken the sovereign potential of the royal banner. It is this political environment that imposes restrictions on the translation of Chinese books.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 11:07, 12 October 2021 (UTC)

In the same year, Shizong emperor also interpreted and annotated the ''Sixteen Encyclicals'' of emperor Taizu. Then they compiled the ''Encyclical Instructions'' together, which was printed in the Hall of Wuying and presented to the country to strengthen moral education. Soon after, the imperial court in compliance with the command of emperor issued the ''Encyclical of Eight Banners'' and ''Encyclical Review on Banner Affairs'', indicating Emperor Yongzheng's anxiety to strengthen the imperial rule and weaken the power of the royal banners. It is this political environment that imposes restrictions on the translation of Chinese classics.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:20, 12 October 2021 (UTC)

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

雍正朝汉书翻译的单调与稀少还有另外一个原因，那就是翻译人才的相对紧缺。众所周知，清初之际，政府对于翻译的重视不只是体现在语言学习和公文的处理上，也体现在官修书籍的翻译与编纂上。例如，自雍正五年开始修纂，乾隆三十七年成书的《八旗通志》，作为研究满洲贵族特权和司法特权，以及旗地旗产制度的重要文献，便被翻译成蒙语。
There was another reason for the monotony and scarcity of translation in Yongzheng dynasty, that is, the relative shortage of translation talents. As we all know, in the early Qing dynasty, the government attached great importance to translation not only in language learning and official documents processing, but also in the translation and compilation of official books. For example, the ''General Annals of Eight Banners'' compiled in the fifth year of Yongzheng's reign and completed in the 37th year of Qianlong's reign, was translated into Mongolian as an important document for the study of manchurian aristocratics and judicial privileges, as well as the system of banner land and banner property.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:59, 12 October 2021 (UTC)

During Yongzheng Period, another causation for the monotony and scarcity of translation of Han classics is the relative shortage of translation talents. As is known to all, in the early Qing dynasty, the government attached great importance to translation not only in language learning and official documents processing, but also in the translation and compilation of official books. For instance, ''The General Annals of Eight Banners'' started to be compiled in the fifth year of Yongzheng's reign and completed in the 37th year of Qianlong's reign, and it was then translated into Mongolian as an important document for the study of manchurian aristocratics and judicial privileges as well as the system of banner land and banner property.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:40, 13 October 2021 (UTC)

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

另一部记录蒙古、回部等部落如何归附清朝，并跟随努尔哈赤及其继承者建国立业的《蒙古回部王公表传》，也被译成满文。这些书籍的翻译先由理藩院或内阁实录馆奏呈皇帝，获准后再从理藩院各司中抽调“笔帖式”，或从其它内阁机构中征调翻译人员，按相关规定与程序加以完成。然而，尽管清朝建国以来，朝廷对于翻译人员的数量要求有所增加，但直到顺治和康熙年间，兼通满、蒙两种语言的八旗族人尚能满足朝廷需求，可雍正在位期间，情形随之变化，出现了译员不足的局面。雍正帝曾说：
Another book, ''The Biography of Emperor of the Mongolian and Uighur Tribes '', was also translated into the Manchu script. This book recorded how Mongol, Uyghur and other tribes attached to the Qing Dynasty, and followed Nuerhachi as well as his successors to establish a state. The translation of these books was first presented to the emperor by Court of Colonial Affairs or Cabinet Record Hall. After approval, the “bithesi” transferred from each department of the Court of Colonial Affairs, or translators recruited from other cabinet institutions completed them in accordance with relevant regulations and procedures. However, although the imperial court’s demand for the number of translators had increased since the founding of the Qing Dynasty, people among the Eight Banners who had a good command of Manchu and Mongolian couldn’t meet the needs of the court until the Emperor Shunzhi and Emperor Kangxi Period. But, during the reign of Emperor Yongzheng, the situation changed and there was a shortage of translators. Emperor Yongzheng once said:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:06, 13 October 2021 (UTC)

An another book,''The Biography of Emperor of the Mongolian and the Hui tribes'', which records how the Mongolian and Hui tribes submitted the Qing dynasty and followed Nurhachi and his successors to establish the state, was also translated into Manchu.The translation of these books was first presented to the emperor by the Court of Colonial Affairs or the Cabinet Record Hall. After approval, the “bithesi”(A name for an official of the Qing Dynasty. It refers to people who were engaged in translating Manchu and Han memorials and characters in the Qing Dynasty) was transferred from each department of the Court of Colonial Affairs, or Recruiting translators from other cabinet agencies to complete them in accordance with relevant regulations and procedures.However, since the founding of the Qing Dynasty, the court's requirements for the number of translators had increased,but the talents of The Eight Banners who are proficient in Manchu and Mongolian could not meet the needs of the imperial court until the reign of the Emperor Shunzhi and Kangxi Period,During the reign of the Emperor Yongzheng Period, the situation changed and there were a shortage of interpreters.the Emperor Yongzheng once said: --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:34, 16 October 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

近见蒙古旗分能蒙古语言翻译者甚少, 沿习日久则蒙古语言文字必渐至废弃。应照考试清文翻译例考试蒙古翻译, 取生员、举人、进士以备理藩院之用。 ……如此则蒙古旗分之人益加鼓励勤学, 蒙古语言文字不至废弃, 而理藩院亦收得人之效矣。[8]203

Recently, there are few people who can translate Mongolian in Mongolia,Along with it for a long time, the Mongolian will gradually be obsoleted. The Mongolian translation should be tested refering to the Qingwen translation examination,and students(who is studying in Imperial College and other places in the feudal imperial)、Juren(successful candidates in the imperial examinations at the provincial level) and Jinshi(successful candidates in the highest imperial examinations) should be selected to the court of Colonial Affairs. ……In this way, the Mongols will be encouraged to study harder, the Mongolian language and characters will not be abandoned, and the court of Colonial Affairs will also recuit talents. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:42, 11 October 2021 (UTC)Liu Wei

Recently, few Mongols could do Mongolian-Chinese translation, as a result of which the Mongolian would gradually be obsoleted in a time. The Mongolian-Chinese translation should be tested just as the Manchu-Chinese translation to admit xiucai, juren and jinshi, those who have passed the exam at the county, provincial and the highest level respectively, into the Lifan Court, the highest authority on affairs of national minorities. ……Thus, the Mongols would be encouraged to learn more, the Mongolian not abandoned, and the Lifan Court recruiting talents. [8]203--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 07:38, 12 October 2021 (UTC)

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

（[8]中国第一历史档案馆.雍正朝汉文谕旨汇编[Z].桂林：广西师范大学出版社，2008.）为解决此困局，雍正帝即位之初即敕令朝廷各部院衙门分别采取措施，在八旗蒙古人中培养翻译人才。如1723年，即雍正元年，皇帝诏谕八旗蒙古各部建立官学，并命理藩院与吏部考录通晓蒙语者，允许其“考试笔帖式补用”。[9]243

([8] The First Historical Archives of China. ''Complication of Emperor Yongzgheng's Edicts''[Z]. Guilin: Guangxi Normal University Press, 2008.) To solve this dilemma, at the beginning of his reign, the emperor Yongzheng commanded the feudal government offices to take measures respectively to cultivate translation talents among Mongols of Eight Banners. In 1723, the first year under the reign of Yongzheng, the emperor ordered Mongols of Eight Banners to establish official schools, and the Lifan Court, the highest authority on affairs of national minorities, and the Ministry of Civil Affairs to admit people who mastered the Mongolian to work as alternatives of bithesis, officials who were engaged in copying and translating Mongolian and Chinese. [9], 243--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 11:12, 20 October 2021 (UTC)

([8] The First Historical Archives of China. ''Complication of Emperor Yongzgheng's Edicts''[Z]. Guilin: Guangxi Normal University Press, 2008.) To solve this dilemma, at the beginning of his reign, the emperor Yongzheng commanded the feudal government offices to take measures respectively to cultivate translation talents among Mongols of Eight Banners. In 1723, Emperor Yongzheng reign, he ordered Mongols of Eight Banners to establish official schools, and the Lifan Court, the highest authority on affairs of national minorities, and the Ministry of Civil Affairs to admit people who mastered the Mongolian to work as alternatives of bithesis, officials who were engaged in copying and translating Mongolian and Chinese. [9], 243--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:22, 13 October 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

雍正六年，吏部经过议复，同意了理藩院尚书特古忒的意见，认为今后理藩院中专门负责蒙古事物的官员，必须懂得蒙古文。同时，吏部将会同理藩院，在蒙古各部官学中选拔通晓满、蒙语言的学生和监生，充任翻译工作，“以各部院蒙古笔帖式，换次补用”。[9]290以上诸种虽就蒙古语译员而言，但满、汉之间的翻译亦与此同，由此造成了汉籍满译的相对颓势。
The 6th year Yongzheng ruling period（1728）,after the discussion， the Ministry of Personnel agreed with the opinion of Tegute, the minister of court of Colonial Affairs， that the officials in charge of Mongolia affairs in the court of Colonial Affairs must know Mongolian language in the future. At the same time, the Ministry of Personnel will work with the court of Colonial Affairs to select students and supervisors who are familiar with Manchu and Mongolian languages from various Mongolian ministries and schools to serve as translators. [9]290 Although the above types of Mongolian translators are concerned, the translation between Manchu and Chinese is the same, resulting in the relative decline of Chinese manchu translation.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:19, 13 October 2021 (UTC)

In the sixth year of Yongzheng Emperor’s reign, the Ministry of Personnel rediscussed and approved the proposal of Tegute, the minister of the Court of Colonial Affairs, that from now on the officials in charge of Mongolia affairs in the Court of Colonial Affairs must know Mongolian. At the same time, the Ministry of Personnel would work with the Court of Colonial Affairs to select students and supervisors who are proficient in Manchu language and Mongolian from various Mongolian ministries and schools to serve as translators. “Admitting the waitlisted Mongolian bithesi to replace the incompetent.” [9]290 Although the measures mentioned above are concerned with Mongolian translator, the translation between Manchu language and Han is the same, resulting in the relative decline of Han-Manchu language translation.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 03:54, 13 October 2021 (UTC)

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

四、乾隆朝的汉书翻译。乾隆朝期间，汉字书籍的翻译与顺、康、雍三朝多有类似，所译作品大体分为两类：一类为儒家经典，另一类为佛教典籍。乾隆帝认为，经义之教可以启迪人心，其翻（重）译虽然废时耗工，但仍属必要。

Fourth, the translation of Han books during the reign of Qianlong Emperor. During his administration, the translations of Han books share great similarities with those produced when Shunzhi Emperor, Kangxi Emperor and Yongzheng Emperor were in control. The translations comprise two categories: one is the Confucian classics and the other is sutras. Qianlong Emperor believed that despite the considerable time and effort required in the process, translation (retranslation) is necessary for the teachings of classics could enlighten the people.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:10, 12 October 2021 (UTC)

4. The translation of Han books during the reign of Qianlong Emperor.
During Emperor Qianlong' s administration, translations of Han books shared great similarities with those produced in the reign of Shunzhi Emperor, Kangxi Emperor and Yongzheng Emperor. The translations included two categories: the Confucian classics and Buddhist sutras. Qianlong Emperor believed that despite a great deal of time and effort was required in the process, translation (retranslation) of classics is still necessary, for which could enlighten people.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 01:21, 13 October 2021 (UTC)

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

以《御制翻译四书》为例，该书由大学士鄂尔泰奉敕在厘定满文本《日讲四书解义》的基础上纂成，于乾隆六年由武英殿首次刊刻，后又于乾隆二十年刊刻满、汉合璧本。关于该书翻译的动机，《御制翻译四书·序》中有着明确的记载：朕于御极之初，命大学士鄂尔泰重加厘定，凡其文义之异同，意旨之深浅，语气之轻重，稍有未协者，皆令更正之。然抑扬虚实之间，其别甚微，苟不能按节揣称，求合于毫芒，而尽祛其疑似，于人心终有未慊然者。

Let' s take the example of ''Royal Translation of the Four Books''. By Ortai the grand secretary on emperor' s demand, This version was compiled based on the reorganizatoin of ''Daily Interpretation of the Four Books'' in Manchu. It was printed and published by Wuying Hall in the sixth year of Emperor Qianlong (1741), and reprinted in Manchu-Chinese in 1761.
The motivation of translating this book was clearly recorded in its iintroduction: After acceded to the throne, I ordered Ortai the grand secretary to review the translation. Consulted the source text and the formal translation, there should be some corrections for the reorganized one to divergences in meaning, differences in implication and changes in tone. However, the actual situation could be suboptimal. The differences were too subtle to translate. And it‘ s hard to convey detailedly the cleverness of the source, though the translators contrived to eliminate the uncertains. Nonetheless, the dissatisfied always exsist.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 00:53, 13 October 2021 (UTC)

For instance,the book of ''Royal Translation of the Four Books'',which was compiled on the basic of the reorganizatoin of ''Daily Interpretation of the Four Books'' in Manchu by Ortai the grand secretary on emperor' s demand.It was printed and published by Wuying Hall in the sixth year of Emperor Qianlong (1741), and reprinted in Manchu-Chinese in 1761.
As for the motivation of the translation of the book,which was recorded clearly in "the preface of Royal Translation of the Four Books":shortly after my inauguration,I ordered Ortai to review the translation to find the digression from the source text about the meaning,theme,and tone and correct them. However, the actual situation could be suboptimal. The differences were too subtle to translate. And it‘ s hard to convey detailedly the cleverness of the source, though the translators contrived to eliminate the uncertains. Nonetheless, the dissatisfied always exsist.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:45, 13 October 2021 (UTC)（Luo Xi 罗曦）

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

几暇玩索，覆检旧编，则文义、意旨、语气之未能吻合者，仍不免焉。乃亲指授翻译诸臣，参考寻绎（yì），单词只字，昭晰周到，无毫发遗憾而后已。[10]（[10]清高宗敕译.御制翻译四书·序[M].清乾隆二十年武英殿满汉合璧本，无页码.台北：国立故宫博物院藏.）

After being thought over and checked by my retrieving some old references，those versions which were incongruous in meaning、theme and tone still need further improvement.Thus，I ordered and instructed official translators in person，searching many references and considering words over and over again，not getting it done until every word being perfect.【10】（10）translated by Gao Zongchi in Qing dynasty.Made by emperor and drawed from four translation books·the first version【M】.The complied version from the palace of Wu Ying in the twentieth year of Qian Long，blank page number. Tai Bei：National imperial Palace.）--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:47, 13 October 2021 (UTC)（Luo Xi罗曦）

Even after being thought for several times and checked through retrieving some old references, those versions still needed further improvement that didn't match original ones in terms of textuality, intention and tone. Thus, I commanded and gave instruction to all translators in person, searching many old references and exploring every word to make sure the clarity and accuracy of translation, no getting it done until there are no regrets left. [10] ([10] Translated by Emperor Gaozong of the Qing Dynasty. The Translation of the Four Books by Imperial Order. Preface[M]. The complied version published in the Hall of Martial Valor in 1755, the 20th year under the reign of Qianlong, blank page number. Taipei: National Palace Museum.)--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:51, 13 October 2021 (UTC)

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

由此可见，鄂尔泰奉敕进行厘定，目的是为了确保译文准确，使译文和原文在“文义”、“意旨”和“语气”上保持一致。乾隆三十三年，高宗敕译《诗经》，共八卷四册，亦由武英殿刊刻。然而，与《御制翻译四书》追求译文精准不同，《御制翻译诗经》则别有目的。

It can be seen that the reason why Eertai was ordered by the Emperor to adjust the translation was to make it and the original text consistent in terms of "textuality", "intention" and "tone". In the 33th year of Qianlong's reign, Emperor Gaozong had commanded to translate ''The Book of Songs'' consisted of eight volumes and four books, which was also published and engraved by Hall of Martial Valor. ''The Translation of The Book of Songs by Imperial Order'', however, had a different purpose compared with ''The Translation of The Four Books by Imperial Order'' which pursued the accuracy of translation.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 06:40, 12 October 2021 (UTC)

Another version:
It can be seen that Ertai, the famous minister in Qing Dynasty, was ordered by the Emperor to collate and stipulate translation criteria, with the aim of ensuring the accurate translation, so as to keep it consistent with the original text in terms of “textuality”, “intention” and “tone”. In 1768, the 33rd year under the reign of Qianlong, the Emperor Gaozong gave the command to translate ''The Books of Songs'' into 8 volumes and 4 books, which were printed and published in the Hall of Martial Valor. ''The Translation of The Books of Songs by Imperial Order'', however, had different purposes, compared with ''The Translation of The Four Books by Imperial Order'' whose emphasis was put on the precision of translation. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:45, 12 October 2021 (UTC)

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

《御制翻译诗经·序》中说：是经于世祖章皇帝顺治十一年译定初本，体裁已备。阅时兹久，凡《清文鉴》所未赅（gāi）皙者，参采新定国语，侔（móu）揣务极精详。因命分册籖（qiān）题，几馀复为折衷是正。[11]

It is said in ''The Translation of The Books of Songs by Imperial Order · Preface'' that the original translation of ''The Books of Songs'' whose genres were comprehensive was finished in 1654, the eleventh year under the reign of Emperor Shunzhi. Having been used for a long time, ''The Manchurian Dictionary in Qing Dynasty'' contains some unintelligible expressions with incomplete meanings which should adopt the new national language, so as to render it detailed and precise. As ministers in Literature Institute were ordered by the Emperor to draft titles of the books by volume, after several revisions, a favorable compromise was obtained.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:05, 12 October 2021 (UTC)

It is said in ''The Translation of The Books of Songs by Imperial Order · Preface'' that ''The Books of Songs'' was first translated in the eleventh year of the reign of Emperor Shunzhi. Having been used for a long time, ''The Manchurian Dictionary in Qing Dynasty'' contains some unintelligible expressions with incomplete meanings which should adopt the new national language, so as to render it detailed and precise. As ministers in Literature Institute were ordered by the Emperor to draft titles of the books by volume, after several revisions, a favorable compromise was obtained.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:10, 16 October 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

（[11]清高宗敕译.御制翻译诗经·序[M].清乾隆三十三年武英殿满汉合璧本，无页码.台北：国立故宫博物院藏.）上文中提及“是经”（即《诗经》）的初次翻译，即顺治十一年的顺治帝敕译本，该译本共二十卷二十册，由内府刊刻。然而，自顺治至康熙，满文的字词和语法等已经发生一定变化，用以规范满、汉文互用的辞书相继问世，这一点既给满语学习注入了活力，也给汉书翻译及其重新厘定提出了要求与条件。

([11] Translated by Emperor Gaozong of the Qing Dynasty. The imperial translation of The Book of songs - preface [M]. The Manchu-Chinese version of the Wu Ying Hall in the 33rd year of the Qing dynasty, without pagination. (Taipei: National Palace Museum Collection.) The first translation of the Shi Jing (i.e., the Book of Songs) mentioned above was the imperial translation by the Shunzhi emperor in the eleventh year of the reign of Shunzhi, which consisted of twenty volumes and twenty books and was published by the imperial government. However, since the Shunzhi to Kangxi, the words and grammar of Manchu has undergone certain changes to regulate the use of Manchu and Chinese dictionaries came out one after another, this point both to the Manchu language learning injected vitality, but also to the Chinese translation and its re-definition of the requirements and conditions.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 07:21, 12 October 2021 (UTC)

([11] Translated by Emperor Gaozong of the Qing Dynasty. The imperial translation of The Book of songs - preface [M]. The Manchu-Chinese version of the Wu Ying Hall in the 33rd year of the Qing dynasty, without pagination. (Taipei: National Palace Museum Collection.) The first translation of the Shi Jing (i.e., the Book of Songs) mentioned above was the imperial translation by the Shunzhi emperor in the eleventh year of the reign of Shunzhi, which consisted of twenty volumes and twenty books and was published by the imperial government. However, from Shunzhi to Kangxi, the words and grammar of Manchu had undergone certain changes. To regulate the mutual-use of Manchu and Chinese dictionaries came out one after another, which not only invigorated Manchu language learning, but also put forward requirements and conditions for the Chinese literature translation and its re-definition. --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:15, 13 October 2021 (UTC)

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

如康熙九年，正黄旗教习廖纶玑翻译（明）张自烈所撰《正字通》。康熙二十二年，沈启亮修成《大清全书》（实际是满汉词典），该书的修纂加深了人们对于满字的认识，也使学者更易明辨翻译之理。康熙四十五年，正白旗人桑格翻译《满汉同文分类全书》。

For instance, Liao Lunji, a tutor of Pure Yellow Banner, translated Zheng Zi Tong written by Zhang Zilie (Ming Dynasty). In the twenty-second year of Kangxi reign period, Shen Qiliang accomplished The Great Qing Encyclopedia( actually, The Dictionary of Chinese and Manchu Language), which had deepened people’s understanding of Manchu characters and helped scholars to distinguish the theories and methods of translation. In the forty-five year of Kangxi period, Sanger from Pure White Banner translated A Classification Book of Manchu and Chinese Identical Texts.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 October 2021 (UTC)

For instance, in the ninth year of Kangxi reign, Liao Lunji, a tutor of Pure Yellow Banner, translated ''Zheng Zi Tong'' written by Zhang Zilie (Ming Dynasty). In the twenty-second year of Kangxi reign, Shen Qiliang accomplished ''The Great Qing Encyclopedia''( actually, a dictionary of Chinese and Manchu ), which had deepened people’s understanding of Manchu characters and helped scholars to discern the theories and methods of translation. In the forty-fifth year of Kangxi period, Sanger from Pure White Banner translated the ''Manchu-Chinese Bilingual Classification Dictionary''.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 01:51, 13 October 2021 (UTC)

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

上述三种之外，康熙朝期间另有多种其它满语词典，如康熙二十八年的《清书十二字头》（听松楼刻本）、二十九年的《满汉同文全书》（秘书阁刻本）、三十二年的《同文广汇全书》（天绘阁刻本）、三十八年的《清书全集》（听松楼重刻本）、三十九年的《满汉类书》以及四十年的《满汉类书全集》，等等。康熙四十六年，《御制清文鉴》成书，全书共四函二十二卷，卷首有清圣祖玄烨御制序言，书末有编译者跋两篇。作为有清一代唯一一部由皇帝主持编纂的满文词典，《御制清文鉴》体例精湛，编排合理，在满语的发展史上具有划时代的历史意义。

In addition to the above three, there are a variety of other Manchu dictionaries in the Kangxi reign of the Qing dynasty, such as the ''Twelve Syllabic Characters of Manchu'' (Ting Song Lou carved book) in the 28th year of Kangxi Reign, the ''Manchu-Chinese Bilingual Dictionary'' (Mi Shu Ge carved book) in the 29th year, the ''Manchu-Chinese Classification Dictionary'' (Tian Hui Ge carved book) in the 32th year, the ''Complete Manchu-Chinese Dictionary'' (Ting Song Lou re-carved book) in the 38th year, the ''Manchu-Chinese Encyclopedia'' in the 39th year and the ''Complete Manchu-Chinese Encyclopedia'' in the 40th, etc. In the 46th year of the Kangxi reign, the ''Imperial Dictionary of Manchu'' was accomplished in four letters and twenty-two volumes, with an imperial preface by the Kangxi Emperor Aisin Gioro Xuanye, whose temple name is “Shengzu” (Sagacious Progenitor) of the Qing, and two postscripts by the compiler at the end of the book. As the only Manchu dictionary compiled by the emperor in the Qing dynasty, the ''Imperial Manchu Dictionary'' is superb in style and reasonable in arrangement, and has epoch-making historical significance in the history of the development of the Manchu language.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 01:52, 13 October 2021 (UTC)

Except the above mentioned three, there are other Manchu dictionaries in the Kangxi reign of the Qing dynasty, such as the ''Twelve Syllabic Characters of Manchu'' (Ting Song Lou carved book) in the 28th year of Kangxi Reign, the ''Manchu-Chinese Bilingual Dictionary'' (Mi Shu Ge carved book) in the 29th year, the ''Manchu-Chinese Classification Dictionary'' (Tian Hui Ge carved book) in the 32th year, the ''Complete Manchu-Chinese Dictionary'' (Ting Song Lou re-carved book) in the 38th year, the ''Manchu-Chinese Encyclopedia'' in the 39th year and the ''Complete Manchu-Chinese Encyclopedia'' in the 40th, etc. In the 46th year of the Kangxi’s reign, the ''Imperial Dictionary of Manchu'' was accomplished in four letters and twenty-two volumes, with an imperial preface by the Kangxi Emperor Aisin Gioro Xuanye, whose temple name is “Shengzu” (Sagacious Progenitor) of the Qing, and two postscripts by the compiler at the end of the book. As the only Manchu dictionary compiled by the emperor in the Qing dynasty, the ''Imperial Manchu Dictionary'' is superb in style and reasonable in arrangement which has epoch-making historical significance in the history of the development of the Manchu language.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 10:11, 13 October 2021 (UTC)

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

关于康熙帝敕谕傅达礼编译此书的目的，《清实录》（卷四二）和《清史列传》（第375页）中皆有记载，但不及《康熙起居注》中详实。据《康熙起居注》中所载，康熙十二年四月十二日：上谓侍臣曰：“此时满洲，朕不虑其不知满语，但恐后生子弟渐习汉语，竟忘满语，亦未可知。且满汉文义照字翻译，可通用者甚多。

The purposes of Emperor Kangxi which were he empowered Fu Dali to edit and translate this book were recorded in ''Factual Record of Qing Dynasty'' of Volume IV and II and in ''the Biographies in the Qing Dynasty'' of page 375. But they were more circumstantial in ''Record on Kangxi’s Daily Life''. According to 'Record on Kangxi’s Daily Life'', the emperor said to chancellors on April 12,1673: I’m not afraid the contemporary Manchuria's ignorance towards Manchu language, but I’m not sure about whether the following generations will be accustomed to the Chinese by degrees and forget the Manchu language. And also the Manchu language is verbatim translated into Chinese, such translation can be used by many people.

The purposes of Emperor Kangxi commanding Fu Dali to compile this book were recorded in ''Factual Record of Qing Dynasty'' （volume 42）and ''Biographies of the Qing Dynasty''(page 375) but the purposes logged in the ''Record of Emperor Kangxi’s Daily Office''were more detailed and real. According to this book, the emperor said to those courtiers on April 12,1673: "what I'm worried about is not the contemporary Manchurians’ ignorance of the Manchu language, but rather about whether the following generations will forget the Manchu language or not if they are gradually accustomed to Chinese. In addition, there are plenty of characters which can be in common use when translation is done word by word.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 16:25, 12 October 2021 (UTC)

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

今之翻译者尚知辞意，酌而用之，后生子弟未必知此，不特差失大意，抑且言语欠当，关系不小。”因顾谓翰林院学士傅达礼曰：“尔任翰苑之职，可体朕此意，将满语照汉文字汇发明，某字应如何用，某字当某处用，集成一书，使有易于后学。”傅达礼奏曰：“皇上此旨，诚立教善后之盛心也。

Today's translators still know the meaning of those words and use them after deliberating, but for children of the future, they may not understand. Not only will they differ greatly from the original meaning, but also they will use them in an inappropriate way. And it will matter a lot.” So the emperor said to Fu Lida, the academician of Imperial Academy: “ Since you occupy the office in the Imperial Academy, you should be able to read between my lines. Manchu language needs to be further developed according to Chinese characters. By doing this, it will be much easier for our posterity to learn the Manchu language if there are detailed instructions compiled in a book on how and where to use a character.” Fu Dali replied reverently to the emperor: “The will of Your Majesty that improving the education for the convenient learning of later generations really shows your generosity.”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 14:47, 12 October 2021 (UTC)

"Nowadays, translators still know the meaning of those words and use them after careful consideration, while for the youth, they may not understand. Not only will they use those words inappropriately, but also the meanings of those words will be quite different from the original one. And it will matter a lot.” So the emperor said to Fu Lida, who was the academician of Imperial Academy at that time, “ Since you occupy the office in the Imperial Academy, you are able to understand my intention. Manchu language needs to be further developed according to Chinese characters. By doing this, it will be much easier for our posterity to learn the Manchu language if there are detailed instructions compiled in a book on how and where to use a character.” Fu Dali replied reverently to the emperor, “The will of Your Majesty that improving the education for the convenient learning of later generations really shows your generosity.”--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 11:15, 13 October 2021 (UTC)

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

臣等虽不才，当祗尊俞旨，编辑成书，敬呈御览。”上谕曰：“此书不必太急，宜详慎为之，务致永远可传，方为善也。”[6]93-94由于当时的满文尚处在发展阶段，康熙帝担心随着满人逐渐汉化，满语使用的氛围也将逐渐消失，久而久之必致满语废止，这一点与康熙帝以清语为本的立场背道而驰。

"Although we courtiers have limited ability, we will compile them into a book according to the your intention, and submit it to you for previewing".The emperor indicated that, "this work should not be advanced too quickly but completed in detail and carefully，so that the book can be handed down forever, then the work is said to be finished well." As the Manchu language was still in the development stage at that time, Emperor Kangxi worried that with the gradual sinicization of Manchu people, the atmosphere of using Manchu language would disappear in the process of time, which would inevitably lead to the abolition of Manchu language over time. And this situation ran counter to Emperor Kangxi's position based on Qing language.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 06:16, 12 October 2021 (UTC)

"Although we courtiers are not talented, we will compile them into a book in accordance with your mandate, and submit it for your previewing".The emperor indicated that, "this work should not be advanced too quickly but completed detailedly and carefully，so that the book can be handed down forever, then the work is said to be finished well." [6] 93-94 As the Manchu language was still in the development stage at that time, Emperor Kangxi worried that with the gradual sinicization of Manchu people, the atmosphere of using Manchu language would disappear in the process of time, which would inevitably lead to the abolition of Manchu language over time. And this situation ran counter to Emperor Kangxi's position based on Qing language.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 06:35, 12 October 2021 (UTC)

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

为了确保本书编译的严谨，康熙帝要求“解诂之疑,似者必晰同异于毫芒；引据之阙，遗者必援经史以互证。”[12]1（[12]清圣祖御制.御制清文鉴[M].康熙四十七年武英殿刻本.北京：中国民族图书馆藏.）需要指出，上文中所引“是经”即《御制翻译诗经》，该译本成书于乾隆三十三年。
In order to ensure the rigor of the compilation of this book, Emperor Kangxi required: “ To interpret the doubts of exegesis, the similarities must be clear and the differences puny; if there is a lack of quotations, successors must cite the ancient classics to verify them.” [12]1 ( [12] Emperor Shengzu of Qing Dynasty. Imperial Qing Literature [M]. The engraving of Wuying Palace in the forty-seventh year of Kangxi. Beijing: Collection of National Library of China.) It should be pointed out that the “Shi Jing” quoted above is the “Royal Translation Book of Songs”, which was translated into a book in the thirty-third year of Qianlong.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:43, 12 October 2021 (UTC)

In order to ensure the preciseness of the compilation of this book, Emperor Kangxi required: “ To interpret the doubts of exegesis, the similarities must be clear and the differences puny; if there is a lack of quotations, successors must cite the ancient classics to verify them.” [12]1 ( [12] Emperor Shengzu of Qing Dynasty. Imperial Qing Literature [M]. The engraving of Wuying Palace in the forty-seventh year of Kangxi. Beijing: Collection of National Library of China.) It should be pointed out that the “Shi Jing” quoted above is the “Royal Translation Book of Songs”, which was translated into a book in the thirty-third year of Qianlong.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 10:47, 13 October 2021 (UTC)

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

此时，虽然《御制四体清文鉴》和《御制五体清文鉴》的编译尚未启动，但经乾隆帝御制，已在康熙朝《御制清文鉴》和《清文合蒙古鉴》等早期词典的基础上，完成编纂《御制增订清文鉴》，进一步规范了满文的使用。且，顺治至乾隆的百余年间，满语发展的确出现了若干变化，原有汉书译本中的不少词汇和语法此时已不符合通行要求，因而“参采新定国语”，对旧译本重加厘定，使其“折衷为正”，乃时势所趋。而上述辞书的相继出现，说明满文已经发展到一个新的高度，为旧籍的重译与改译营造了条件。

At this time, although the compilation of the ''Four Institutions of the Imperial Dynasty'' and the ''Five Dynasties'' has not yet started, the compilation of the ''Complement of the Qing Dynasty's Dictionary'' was completed based on the early dictionaries of the Qing Dynasty and the Kangxi Dynasty with the help of Qianlong emperor, which further standardizes the use of Manchu literature.Moreover, during the more than 100 years from Shunzhi to Qianlong, several changes in the development of Manchu indeed appeared. Many vocabulary and grammar in the original Han translation did not meet the prevailing requirements at that time. Therefore, it was the trend to "participate in the new language" and determine the old translation, so that it was "positive".The emergence of the above dictionaries shows that Manchu has developed to a new height, creating conditions for the retranslation and translation of the old nationality.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:52, 12 October 2021 (UTC)

At this time, although the compilation of the ''Four Institutions of the Imperial Dynasty'' and the ''Five Dynasties'' has not yet started, the compilation of the ''Imperial Revised Qing Dynasty's Dictionary'' was completed based on the early dictionaries such as ''Imperial Qing Dynasty’s Dictionary'' in the Kangxi Dynasty, which further standardizes the use of Manchu. Moreover, during the more than 100 years from Shunzhi to Qianlong, several changes in the development of Manchu indeed appeared. Many vocabularies and grammar in the original Chinese translation did not meet the common requirements at this time. Therefore, it was the trend to "adopt the new national language" and redefined the old translation to make it “compromise to right”. The emergence of the above dictionaries shows that Manchu has developed to a new level, creating conditions for the retranslation and translation of old books.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:04, 12 October 2021 (UTC)

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

乾隆三十七年，高宗敕令于“禁中”设立“清字经馆”，以满、汉文佛经译本有失本真为由，令重译佛经为满文。据高文德所考，这些佛经典籍初被译为蒙古，后经蒙文转译成满文，前后历时十余载，使满、蒙、汉、藏四体经文始备。[13]2110（[13]高文德.中国少数民族史大辞典[Z].长春：吉林教育出版社，1995.）

In the thirty-seventh year of Qianlong, Emperor Gaozong decreed to set up a “Manchu sutra hall” in the palace he lived, and ordered the retranslation of Buddhist sutras into Manchu on the grounds that the previous Manchu and Chinese versions were deviated from the true meaning. According to Gao Wende, these Buddhist classics were first translated into Mongolian, through which the Manchu version was then translated. It took more than ten years to prepare the editions in four languages: Manchu, Mongolia, Chinese and Tibet. [13]2110（[13]Gao Wende.Dictionary of Chinese Minority History[Z].Changchun: Jilin Education Press, 1995.）--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:08, 12 October 2021 (UTC)
--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 07:48, 13 October 2021 (UTC)
Annotation:
First:In the 37th of Emperor Qianlong’ s reign,…
Second:According to Gao Wende, these Buddhist scriptures were first translated into Mongolian and then into Manchu, which lasted for more than ten years, and the manchu, Mongolian, Han and Tibetan scriptures began to be prepared. [13] Gao Wende. A Dictionary of Chinese Minority History [Z]. Changchun: Jilin Education Press, 1995.)

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

众所周知，佛教经典原以梵文书写，但清朝前期用作翻译的底本，多为汉文译本。从此意义上讲，佛经的翻译与先秦、两汉时期汉文经、史的翻译一样，也属汉书翻译之列。康熙年间，圣祖即令翻译《心经》，但雍正年间《四体翻译心经》译本方才成书，刊刻。

As we all know, Buddhist classics were originally written in Sanskrit, but they were mostly translated into Chinese in the early Qing Dynasty. In this sense, the translation of Buddhist scriptures, like the translation of Chinese scriptures and history in the pre-Qin and Han dynasties, also belongs to the translation of Han Books. During the reign of Emperor Kangxi, Emperor Shengzu ordered the translation of The Heart Sutra, but during the reign of Emperor Yongzheng, the four-body Translation of the Heart Sutra was just completed and printed.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 12:47, 30 December 2021 (UTC)

As we all know,Buddhist classics were originally written in Sanskrit,but most of texts that used to translate in the early Qing Dynasty were Chinese translation versions. In this sense,the translation of Buddhist scriptures,just like the translation of Chinese scriptures and history in the Pre-Qin and Han Dynasties, also belongs to the translation of Chinese books. During the reign of Kangxi, Emperor Shengzu ordered the translation of the Heart Sutra, but the translation of the four body translation of the Heart Sutra was only published and engraved during the reign of Yongzheng. edited by Wang Zhenlong

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

所谓“四体”即满、蒙、汉、藏四种文字，佛经翻译之所以要采用四种语言，是因为四大族群皆普遍信仰佛教，因而四体合璧的译本便于信众诵读。乾隆在位六十年，对于佛经翻译甚为热衷，御制翻译经书十种，为顺、康、雍、乾四朝之最。《翻译四体楞严经序》中，乾隆帝曾自称“朕于几政之暇，每爱以国语翻译经书，如《易》、《书》、《诗》及《四子书》，无不蒇（chǎn）事”，希望循康、雍之例，推动佛经翻译，并在敕译《诗经》的同时，完成第一部佛经作品的翻译，即《御制翻译名义集》。[14]15

The so-called "four styles" are Manchu, Mongolian, Chinese and Tibetan. The reason why Buddhist scriptures are translated in four languages is that the four ethnic groups generally believe in Buddhism, so the translation of four styles is convenient for believers to read. During the reign of Emperor Qianlong for 60 years, he was very keen on the translation of Buddhist scriptures and translated ten kinds of scriptures, which is the most among the four dynasties of Shun, Kang, Yong and Qian. In ''the preface to translating the four body Shurangama Sutra'', Emperor Qianlong once claimed that "in my spare time, I love to translate scriptures in Manchu, such as Yi, Shu, Shi and Si Zi Shu ,which are all well finished. I hope to follow the example of Kang and Yong to promote the translation of Buddhist scriptures, and complete the translation of the first Buddhist scriptures, namely the collection of imperial translation while the Book of Songs is translated. -- translated by Wang Zhenlong

The so-called "four styles" are Manchu, Mongolian, Chinese and Tibetan. The reason why Buddhist scriptures are translated in four languages is that the four ethnic groups generally believe in Buddhism, so the translation of the combination of four styles is convenient for believers to read. During the reign of Emperor Qianlong for 60 years, he had strong passion on the translation of Buddhist scriptures. He translated ten kinds of scriptures totally, which is the most among the four emperors of Shun, Kang, Yong and Qian. In the preface to ''Translating Four Style Shurangama Sutra'', Emperor Qianlong once claimed that "in my spare time, I love to translate scriptures in Manchu, such as ''Yi'', ''Shu'', ''Shi'' and ''Si Zi Shu'' , which are all well finished. I hope to follow the example of Kang and Yong to promote the translation of Buddhist scriptures, and complete the translation of the first Buddhist scriptures, namely ''The Collection of Translation of Sanskrit Names by Imperial Order'' while ''the Book of Songs'' is translated.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:41, 13 October 2021 (UTC)

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

（[14]清高宗御制.清高宗（乾隆）御制诗文全集[M].北京：中国人民大学出版社，1993.）所谓《翻译名义集》系南宋高僧法云于绍兴十三年（即1143年）编订的佛学翻译工具书，其中收录汉译梵文佛学名词千余条。雍正年间，世宗曾命人对此书的内容进行过节选，但未能成书。

([14] ''The Collective Works of Poetry and Essays written by Imperial Order of Qing Gao Zong, Qianlong Empire''[M]. Beijing: Renmin University of China Press, 1933.) The so-called ''The Collection of Translation of Sanskrit Names'' is a Buddhist translation reference book compiled by an eminent monk in Southern Song Dynasty in Shaoxing thirteenth year (1143 year), in which collected thousands of Chinese translation of Sanskrit Buddhist terms. During Yongzheng years, Shizong once ordered ministers to choose the excerpt from the book, but finally cannot compile into a book.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 15:51, 12 October 2021 (UTC)

([14] ''The Collective Works of Poetry and Essays by Imperial Order of Qinggaozong, Qianlong Emperor''[M]. Beijing: Renmin University of China Press, 1933.) The so-called ''The Collection of Translation of Sanskrit Names'' is a reference book of Buddhist translation compiled by an eminent monk in Southern Song Dynasty in Shaoxing thirteenth year (1143 year), which collected thousands of Chinese translation of Sanskrit Buddhist terms. During Yongzheng years, Shizong once ordered the ministers to choose the excerpts from the book to compile a book but failed.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 11:00, 13 October 2021 (UTC)

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

至乾隆三十三年，高宗再次敕译此书，最终译成四体《御制翻译名义集》共二十卷，此书现藏于北京大学图书馆，并收入至《清代内府刻书目录解题》。与此同时，乾隆帝有感于“所译之汉经，藏地无不有，而独无《楞严》”，遂在章嘉国师的议请下，命允禄和章嘉国师等将该经“由汉而译清，由清而译蒙古，由蒙古而译土伯忒。”[14]15章嘉国师原名章嘉·若贝多杰，四岁被认定为转世灵童，八岁奉雍正帝圣谕赴京，十五岁给雍正帝灌顶，十八岁授封“灌顶普惠广慈大国师”。

In the 33th year of the dynasty of Qianlong, the emperor ordered to translate the book again. Finally, the book ''The collection of Translation of Sanskrit Names by Imperial Order'' was translated into Manchu, Mongolian, Chinese and Tibetan in altogether twenty volumes. The book now is collected in Peking University Library and included in ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty''. At the same time, after Qianlong emperor knew that there were all translations of Chinese scriptures except ''Lengyan'' in Tibet, under the advice of the Grand Maester Zhangjia he ordered Yunlu and the Grand Maester to translate the Chinese scripture into Manchu, then translate the Manchu to Mongolian, finally translate the Mongolian to Tibetan. The original name of the Grand Maester Zhangjia is Zhangjia•Ruobeduoje. When he was four years old, he was regarded as a holy reincarnation. At his eight years old he went to the capital because of the order of Yongzheng emperor. When he was fifteen years old, he did Abhisheka for Yongzheng emperor. At his eighteen years old the title of Grand Maester of Abhisheka, Generosity and Benevolence was conferred to him.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 15:16, 12 October 2021 (UTC)

During the 33th year of Qianlong, Gaozong ordered to translate this book again. At last, the book ''The Collection of Translation of Sanskrit Made by the Emperor Order'' was translated into Manchu, Mongolian, Chinese and Tibetan, including twenty volumes. This book now is collected in Peking University Library and recorded in ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty''. Meanwhile, Emperor Qianlong was inspired by "All the Chinese sutras translated are available in Tibet, except the Surangama Sutra." As a result, the emperor ordered Yunlu and the Grand Maester Zhangjia to translate this sutra from Chinese into Qing, from Qing into Mongol, then from Mongol under the advice of the Master Zhangjia. The primitive name of Maester Zhangjia was Zhangjia•Ruobeiduoje. He was regarded as a reincarnated soul boy at four years old. At eight years old, he went to the capital city because of the order of Yongzheng emperor. When he was fifteen years old, he did Abhisheka for Yongzheng emperor. At his eighteen years old, he was canonized as "The Enlightened, Inclusive and Philanthropic Grand Master."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:29, 13 October 2021 (UTC)

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

章嘉国师博览群书，通晓汉、藏、满、蒙文字，著述颇丰，既撰写佛经作品逾二百部，又翻译佛经若干，如乾隆五年将大藏经《丹珠尔》译成蒙文，并编纂佛经翻译工具书《智慧之源》。章嘉国师发现《楞严经》后，于乾隆十七年奉旨协助庄亲王将该书译为满蒙、藏三种文字，并于乾隆三十八年译成四体合璧本。乾隆帝敕译此书的目的，也是出于政治方面的考虑，简单来说便是为了向藏族宣告其统治的正当性。

Master Zhangjia was well-read, thoroughly understanding Chinese, Tibetan, Manchu and Mongolian. He has written a prodigious number of famous works, including not only more than two hundred Buddhist works, but also numerous Buddhist texts. For instance, he translated the ''Tanjur'' into Mongolian during the fifth year of Qian Long and compiled ''The Source of Wisdom'', a Buddhist translation reference book. After Master Zhangjia found ''Surangama Sutra'', he assisted Prince Zhuang in translating this book into Manchu, Mongolian and Tibetan during the seventieth year of Qianlong under the order of Qian Long. Besides, he accomplished an overall translation of it which contained all Chinese, Tibetan, Manchu and Mongolian versions during the thirty-eighth year of Qian Long. The emperor Qian Long ordered the translation of this book was for the political reasons. To put it simply, he aimed to declare the legitimacy of his rule to the Tibetans.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:37, 12 October 2021 (UTC)

Master Zhang Jiaguo was familiar in Han, Tibetan, Manchu and Mongolian writings. He wrote more than 200 works of Buddhist scriptures, and at the same time also translated several Buddhist scriptures. For example, in the fifth year of Qianlong translated the Tibetan Sutra into Mongolian, and compiled the translation tool book The Source of Wisdom. After Master Zhang Jiaguo discovered the Leng Yan Sutra, in the seventeenth year of Qianlong, he assisted the translation of Mongolia and Tibet, and into the combination of the four bodies in the 38-th year of Qianlong. The purpose of Emperor Qianlong's translation of this book was also for political considerations, but simply to declare the legitimacy of his rule to the Tibetan people. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 07:50, 12 October 2021 (UTC)

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

这一点与《大藏经》的翻译有所不同，后者除了政治目的之外，另有文化建设方面的考虑，乾隆帝甚至将其视为与《四库全书》一样的重大文化建设工程。如《清文翻译全藏经序》中所说：若订《四库全书》及以国语译《汉全藏经》二事，胥举于癸巳年六旬之后，既而悔之，恐难观其成。越十余载，而《全书》成；兹未逮二十载，而所译《汉全藏经》又毕蒇。

This point is different from the translation of the ''Tibetan Tripitaka'' ''Italic text'' --[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC), which had political purposes in addition to cultural construction. Emperor Qianlong even regarded as a major cultural construction project as the ''Four Libraries''--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC). As said in the preface of the ''Complete Tibetan Sutra of the Qing Dynasty''--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC), if the Four liberals book ''Complete Collection of Four Treasuries''--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 14:44, 12 October 2021 (UTC) and the Complete Han Tibetan Sutra were translated in Chinese after the 60s of Guisi, it may not be difficult to see it. More than ten years, and the book, which was not caught twenty years, and the translation of the <Han Sutra> had been finished.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 15:18, 11 October 2021 (UTC)

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

夫耳顺、古希已为人生所艰致，而况八旬哉？兹以六旬后所创为之典，逮八旬而得观国语《大藏》之全成，非昊乾嘉庇，其孰能与于斯？[14]8-9《四库全书》之“四库”系指该书分经、史、子、集四部，故名“四库”。
At the age of 60 or 70, life has reached a difficult stage. What's more, at the age of 80? I was preparing to propose to create this classic in my 60s, so I could see the complete Manchu version of Da Zang in my 80s. If there was no heaven's protection during the Qianlong and Jiaqing dynasties, how could it be so far? “Si Ku" in Si Ku Quan Shu means that the book is divided into four parts: classics, history, Zi and Ji, so it is called "Si Ku".

For those who are in their 60s or 70s, life has reached a difficult stage, let alone 80s. However, now Emperor Qianlong successfully created this classic in his 60s, and witnessed the completion of the Manchu version of ''Tibetan Tripitaka'' in his 80s. If without heaven's protection and endowment, who could have achieved so far? The “four branches” in the ''Complete Library in the Four Branches of Literature'' refers to its four parts: classics, history, philosophy and belles-lettres, thus given the name.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 02:40, 13 October 2021 (UTC)

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

作为古代中国最大的文化工程，《四库全书》是中华传统文化最丰富、最完备的集成之作，最能体现乾隆帝的文治武功。而上文中，乾隆帝意欲将《大藏经》（即《汉全藏经》）的翻译与《四库全书》相比，可见此事关系之重大。由上可知，《大藏经》的翻译始于乾隆“癸巳年”，即乾隆三十八年（1773年），至全书译成，“未逮二十载”，而此时高宗已近八旬，早已步入人生艰困之期。

As the largest cultural project of the ancient China, the ''Complete Library of the four Branches of Literature'' is the richest and most comprehensive collection of Chinese traditional culture, which best represents the great achievement of Emperor Qianlong's civil administration. As mentioned before, Emperor Qianlong wanted to compare the translation of ''Tibetan Tripitaka'' to that of the ''Complete Library of the four Branches of Literature'', which reflects the significance of this translation project. From above, it can be seen that this project started from 1773, the 38th year of Qianlong's reign and took less than 20 years to be fully completed, when Emperor Qianlong was nearly in his 80s, and had already entered a difficult time of his life.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:51, 13 October 2021 (UTC)

As the largest cultural project of the ancient China, the ''Complete Library of the Four Branches of Literature'' is the richest and most completed collection of Chinese traditional culture, which best represents the political and military achievements of Emperor Qianlong's civil administration. As mentioned above, Qianlong wanted to compare the translation of ''Tibetan Tripitaka'' to that of the ''Complete Library of the Four Branches of Literature'', which reflects the significance of this translation project. From above, it can be seen that this project started from 1773（the 38th year of Qianlong's reign） and took less than 20 years to be fully completed, while Qianlong was nearly in his 80s, and had already entered a difficult time of his life.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 04:01, 13 October 2021 (UTC)

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

关于乾隆帝敕译《大藏经》一事，《啸亭杂录·续录》中也有记载，不过在翻译的起始时间，以及全书翻译的耗时上，与上文所述有所不同。其中写道：乾隆壬辰，上以《大藏佛经》有天竺番字、汉文、蒙古诸翻译，然其禅悟深邃，故汉经中咒偈，为代以翻切，并未译得其秘指，清文句意明畅，反可得其三味，故设清字经馆于西华门内，命章嘉国师经理其事，达天、连筏诸僧人助之，考取满謄录、纂修若干员翻译经卷。先后凡十余年，《大藏》告蒇，然后四体经自始备焉。[15]385

As for Qianlong's order to translate Tripitaka, it is also recorded in the The continuation of Xiaoting Miscellany. However, the starting and ending time of the translation and the time of the whole book's translation consumed, which are quite different from those mentioned above. It is written that Qianlong thought Tripitaka had Hindi, Chinese and Mongolian versions, but the teachings in Sutra are profound.Therefore, the translation of Buddhist Chants in Han Sutra didn't seek the profound meaning. So Qianlong set up Manchu Lection Department in Xihua gate because of the clearness of Manchu to understand the meaning of the Buddhist Sutra, ordering Zhangjia to charge this translation work with assistance of monks such as Datian, Lianfa and selecting some Manchu to transcribe compile scriptures. For more than ten years, the translation work of Tripitaka was completed，and since then the four scriptures are complete.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 02:55, 13 October 2021 (UTC)

As for Qianlong's order to translate Tripitaka, it is also recorded in the The continuation of Xiaoting Miscellany. However, the starting and ending time of the translation and the time of the whole book's translation consumed, which are quite different from those mentioned above. It is written that Qianlong thought Tripitaka had Hindi, Chinese and Mongolian versions, but the teachings in Sutra are profound.Therefore, the translation of Buddhist Chants in Han Sutra didn't seek the profound meaning. So Qianlong set up Manchu Lection Department in Xihua gate because of the clearness of Manchu to understand the meaning of the Buddhist Sutra, ordering Zhangjia to charge this translation work with assistance of monks such as Datian, Lianfa and selecting some Manchu to transcribe compile scriptures. For more than ten years, the translation work of Tripitaka was completed，and since then the four scriptures are completed.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 03:11, 13 October 2021 (UTC)

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

（[15]（清）昭梿.啸亭杂录·续录[M].上海：上海古籍出版社，2012.）将《清文翻译全藏经序》和《啸亭杂录·续录》两相对比后可发现，二者关于《大藏经》翻译的起始时间不同，其中前者记载的时间是乾隆“癸巳年”，即乾隆三十八年，而后者则明确是“乾隆壬辰”，即乾隆三十七年，孰是孰非，有待考证。另外，关于《大藏经》翻译的实践跨度，二者的出入较大，前者的用词是“未逮二十载”，后者则说“先后凡十余年”，综合其它文献可知，前一种说法更为准确。

([15] (Qing) Zhaofan. Miscellaneous Records - Sequel [M]. (Shanghai: Shanghai Ancient Books Publishing House, 2012.) After comparing the "Preface to the Qing Translation of the Complete Tibetan Sutra" with the "Xiao Ting Miscellaneous Records - Continuing Records", we can find that the start time of the translation of the Dazang Sutra in this two books is differant, of which the former is recorded in the Qianlong "kaisi year", that is, the thirty-eighth year of the Qianlong era, while the latter is clearly "Qianlong renchen", i.e., the thirty-seventh year of the Qianlong reign, which is correct or incorrect, remains to be verified. In addition, there is a large discrepancy between the two regarding the practical span of the translation of the Dazangjing, with the former using the phrase 'before it had been twenty years' and the latter saying 'for more than ten years in succession', which, when combined with other documents, is more accurate.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 14:08, 11 October 2021 (UTC)

([15] (Qing) Zhaofan. Miscellaneous Records - Sequel [M]. (Shanghai: Shanghai Ancient Books Press, 2012.) After comparing the "Preface to Tripitaka in Manchu" with the "Xiao Ting Miscellaneous Records - Sequel",we can find that the starting time of the translation of the Dazang Sutra in these two books is differant, of which the former is recorded in the Qianlong "kaisi year", that is, the thirty-eighth year of the Qianlong reign, while the latter is specifically "Qianlong renchen", i.e., the thirty-seventh year of the Qianlong reign, which is correct or incorrect remains to be verified. In addition, there is a large discrepancy between the two regarding the practical span of the translation of the Dazangjing, with the former using the phrase 'before it had been twenty years' and the latter saying 'for more than ten years in succession', which, when combined with other documents, is more accurate.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 02:04, 13 October 2021 (UTC)

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

乾隆五十五年，满文本《大藏经》译成，初定名《清文全藏经》，其中“全藏”二字即“大藏之全”的意思。《清文全藏经》共计二千五百三十五卷、一百零八函，收入佛教典籍六百九十九部。为了翻译此书，乾隆帝不仅钦派章嘉国师主持，而且派皇子、大臣，以及通晓满、汉、蒙、藏文者共百余人参与其中，其中绝大多数为翻译人员。

During the 40th year of the Qianlong Emperor,the translation of "Tripitaka" first called "Tripitaka in Manchu" was completed, among which "quan zang" means "all-sided masterpiece". The translation had 2535 volumes and 108 han, including 699 Buddhist classics.In order to translate the work, Qianlong Emperor not only assigned Zhang Jiaguoshi to be in charge and asked his sons, ministers and hundreds of people who were proficient in Manchu, Chinese and Tibetan to be involved. And most of them were translator.

During the 40th year of the Qianlong Emperor, the translation of "Da Zang Jing" first called "Qing Wen Quan Zang Jing" was completed, among which "Quan Zang" means "all-sided masterpiece". The translation had 2535 volumes and 108 letters, including 699 Buddhist classics. In order to translate the work, Qianlong Emperor not only assigned Zhang Jia, the imperial monk, but also assigned more than 100 people, most of whom were translators, to participate in the translation, including the emperor's sons, ministers, and people who were proficient with Manchu, Chinese, Mongolian and Tibetan.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 02:15, 13 October 2021 (UTC)

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

乾隆五十五年十二月，因清字经馆遭遇火灾，《清文全藏经》的部分经版和已经刊刻的经文译文被毁，后经重新雕版印刷，于乾隆五十九年全部完成，并交内府刊刻。据考，《清文全藏经》共计印刷十二部，目前存世仅两部，其中一部存于西藏布达拉宫（缺一册），另一部则由北京、台北两地故宫博物院共同收藏，其中北京收藏七十六函，台北收藏三十二函。如前所述，乾隆帝敕译此经，有着明确的文化建设的用意，希望通过翻译佛经推广佛教文化，并同时推广作为国语的满文，实现宣扬教化的目的。

In December of the 55th year during the period of Emperor Qianlong, due to a fire in the Qing Zi Classics library, some base plate of "Qing Wen Quan Zang Jing" and translated texts already printed were destroyed. After re-engraving and printing, it was completed in the 59th year of the reign of Emperor Qianlong and handed over to the imperial Palace for printing. According to a research, there are a total of twelve copies of the "Qing Wen Quan Zang Jing" printed, of which only two are in existence. One is stored in the Potala Palace in Tibet (one volume is missing), and the other is jointly collected by the Palace Museums in Beijing and Taipei, of which 76 letters are in Beijing and 32 letters are in Taipei. As mentioned above, Emperor Qianlong translated the Sutra with a clear intention of cultural construction, He hoped to promote Buddhist culture through the translation of Buddhist scriptures, and at the same time promote Manchu as the national language, so as to achieve the purpose of propagating and enlightening.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 01:23, 13 October 2021 (UTC)

In December of the 55th year during the period of Emperor Qianlong, due to a fire in the Manchu Langugage Classics Library, some base plates of ''the Manchu Language Translation of Tripitaka'' and translated texts that already printed were destroyed. After re-engraving and printing, it was completed in the 59th year of the reign of Emperor Qianlong and handed over to the Imperial Palace for printing. According to a research, there are a total of twelve copies of the ''the Manchu Language Translation of Tripitaka'' printed, of which only two are in existence. One is stored in the Potala Palace in Tibet (one volume is missing), and the other is jointly collected by the Palace Museums in Beijing and Taipei, of which 76 letters are in Beijing and 32 letters are in Taipei. As mentioned above, Emperor Qianlong issued the edict to translate the ''Tripitaka'' with a clear intention of cultural construction. He hoped to promote Buddhist culture through the translation of Buddhist scriptures, and at the same time to promote Manchu language as the national language, so as to achieve the purpose of propagating and enlightening.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 05:38, 13 October 2021 (UTC)

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

正如乾隆帝在《清文翻译全藏经序》中指出的那样：以国语译《大藏》，恐人以为惑于祸福之说，则不可不明示其意。夫以祸福趋避教人，非佛之第一义谛也。第一义谛，佛且本无，而况乎祸福乎？
As Emperor Qianlong pointed out in ''the Preface to the Manchu Language Translation of the Whole Tripitaka'' : if we translate ''Tripitaka'' in Manchu language, I am afraid of that people misunderstand us for being confused by misfortunes and blessings. So we must express our intension clearly. It is not the absolute truth of Buddha to teach people with avoiding misfortunes and chasing after blessings. The absolute truth is that there is no Buddha, let alone misfortunes and blessings?--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 01:00, 13 October 2021 (UTC)

if we translate ''Tripitaka'' in Manchu language, I am afraid that people misunderstand us for being confused by misfortunes and blessings.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 00:55, 13 October 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

我们不可以因为第一义训的原因，用因缘祸福作为引导逐渐深入。我的目的并不在此，梵经首先是被翻译成外语，再翻译成汉语，最后才翻译成蒙古语，而我们清朝统治中国一百多年，他们三方长期以来都归我们管，如果唯独缺满语的《大藏经》可以吗？

We can't use reason, misfortune and blessing as a guide to gradually deepen because of the first righteous precept. My purpose is not here. The ''Sanskrit'' scriptures were first translated into a foreign language, then translated into Chinese, and finally translated into Mongolian. And our Qing Dynasty ruled China for more than 100 years. They have been under our control for a long time. Is the ''Tripitaka'' without Manchu language okay?
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 00:48, 13 October 2021 (UTC)

If only the ''Dazangjing'', which lacks Manchu language, is okay?--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 02:52, 13 October 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

以汉译国语，俾中外胥习国语，既不解佛之第一义谛，而皆知尊君亲上、去恶从善，不亦可乎？是则朕以国语译《大藏》之本意，在此不在彼也。[14]9;[16]28（[16]庄吉发.国立故宫博物院典藏《大藏经》满文译本研究[A].庄吉发.清史论集（三）[C].台北：文史哲出版社，1998：27-96.）

They translated the book from Chinese into Manchu Language, Let everyone learn Manchu Laguage, Even if they don’t understand the First Substance of the Buddhist scriptures, will still know that the emperor himself on the linem，To remove the bad parts and follow the good parts，Isn't it a good thing? That’s why I wanted to translate the ''Tripitaka'' in Manchu Language. [14]9;[16]28（[16] Chuang Chi-fa. A Study of the Manchu Language Version of ''Tripitaka'' from the Collection of the Palace Museum [A]. Chuang Chi-fa. Collection of Qing History (III)[C].Taipei：Literature ,History and philosophy Press，1998：pp 27-96.)--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 02:43, 13 October 2021 (UTC)

Translate the Tripitaka from Mandarin into Manchu so that everyone can learn Manchu. Although they do not understand the true meaning of Buddhist scripts, they all know that they should respect the monarch and do good. Isn't that also useful?Therefore, the original intention of my order to translate the Tibetan Tripitaka into Manchu is for this goal.[14]9;[16]28 ([16] Zhuang Jifa. A Study of the Manchu Language Version of ''the Tibetan Tripitaka''from the Collection of thePalace Museum [A]. Zhuang Jifa. Collection of Qing History (III)[C].Taipei：Literature ,History and philosophy Press，1998：pp 27-96.)--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:35, 13 October 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

上文中，清楚地表明了乾隆帝谕令翻译此经的用意，总结起来无外乎三点：其一，《大藏经》已有汉、藏、蒙语三种译本，独缺满文本，这一点与满洲为天下主的社会现实格格不入；其二，满语既为国语，则必须维持，并强化其学习，翻译《大藏经》这样的佛教经典乃是达成此目的的重要途径；其三，《大藏经》的翻译虽不能使人东西佛之第一义谛，但通过研习其中教义，也能使人尊君亲上，去恶扬善，培养人伦纲常观念。固然，《大藏经》的翻译并非乾隆朝佛经翻译的全部，但却是其中关系最切，最具代表性者，它所蕴含的政治、文化目的贯穿于所有佛教经典的翻译之中。

The above clearly shows the intention of Emperor Qianlong's order to translate this sutra. To sum up, there are no more than three points:First, there are three versions of the Tibetan Tripitaka in Chinese, Tibetan and Mongolian, but there is a lack of full texts, which is incompatible with the social reality that Manchuria is the master of the world.Second, since Manchu has been the national language, it is necessary to maintain and strengthen its learning, and the translation of Buddhist scriptures such as the Tibetan Tripitaka is an important way to achieve this goal.Third, although the translation of the Tibetan Tripitaka can not make people understand the true meaning of Buddha, through the study of its teachings, it can also make people respect the monarch and relatives, eliminate evil and promote good, and cultivate the concept of human relations.Of course, the translation of the Tripitaka is not the whole translation of Buddhist sutras in Emperor Qianlong Period, but it is the most relevant and representative one, and its political and cultural purpose runs through all the translation of Buddhist scriptures.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 06:42, 13 October 2021 (UTC)

The above clearly expresses Emperor Qianlong's intentions to tranlate Tripitaka.To sum up, there are no more than three points. Firstly, Tripitaka was already translated in Chinese, Tibetan and Mongolian. But it was never translated in Manchu, which was incompatible with the fact that Manchu was the master of China. Secondly, as Manchu was the offical language, it was nessary to maintain its position and promote its leanring by others. Translating the Buddhist calssic work "Tripitaka" was an important way to achieve this goal. Thirdlly, translating Tripitaka could not enable people to understand its true meaning, but it push people to respect the emperor and parents, promote goodnes and get rid of bad behaviors, and cultivate ethical codes. However, Tripitaka, not the only Buddhist classic work translated in the period of Emperor Qianlong,is the closest translation work and the most representative one. Its political and cultural purpose behind translation runs through all the translations of Buddhist classics.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 10:21, 17 October 2021 (UTC)

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

五、汉书翻译的文化统制意涵。清初统治者对待汉文化的整体态度不尽相同，这一点毋庸置疑。日本学者安部健夫曾将清代中、前期的文化政策分为三个阶段，分别是“偶然华化期”、“积极华化期”和“消极华化期”。其中，太祖、太宗时期的文化政策属于第一个阶段，顺治、康熙二朝属于第二个阶段，雍、乾、嘉、道四朝则属于第三个阶段。[17]5-11

Five: The culture dominates the meaning in the process of translating Chinese classics. It is generally admitted that the rulers of the Qing Dynasty have slightly different attitudes toward Han Culture. The cultural policies of the early and middle Qing Dynasty once were divided into three stages by Japanese scholar Anbu Jianfu. They are "Accidental Chinese Transformation", "Active Chinese Transformation" and "Passive Chinese Transforamtion". Thereinto, the cultural policy of Qing Taizu and Qing Taizong belongs to the first stage, Shunzhi and Kangxi's the second stage and Yongzheng, Qianlong, Jiaqing and Daoguang's the third stage. {17}5-11 --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 15:53, 15 October 2021 (UTC)

Five: The culture dominates the meaning in the process of translating Chinese classics. There is no doubt that the overall attitude of the rulers in the early Qing Dynasty towards Han Culture was different. Japanese scholar Abe Takeo has divided the cultural policies of the Middle and Early Qing Dynasties into three stages, namely, "Accidental Chinese Transformation", "Positive Chinese Transformation" and "Passive Chinese Transforamtion". Among them, the cultural policy of Taizu and Taizong in Qing Dynasty belongs to the first stage, Shunzhi and Kangxi's the second stage and Yongzheng, Qianlong, Jiaqing and Daoguang's the third stage.{17}5-11--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 13:27, 17 October 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

（[17]安部健夫.清朝史の構造とその動因[A].安倍健夫.清代史の研究[C].東京：創文社，1981：5-11.）然而，统治者态度由积极转向消极，并不意味着满、汉文化接触的广度与深度由高走低，而只能说明统治者面对满、汉文化地位的此消彼长，所产生的民族文化意识的觉醒。虽然满洲统治者为了维护满洲文化于不坠，提倡“清语骑射”的基本国策，但又不得不进行文化整合，选择以汉文化作为国家的主流价值。

（[17]Abe Takeo.The structure of Qing Dynasty history and its causes[A].Abe Takeo.Research on the History of Qing Dynasty[C].Tokyo:Creation Society，1981：5-11.）However, the change of the ruler's attitude from positive to negative does not mean that the breadth and depth of cultural contact between Manchuria and Han has changed from high to low, but only indicates the awakening of the ruler's national cultural consciousness when facing the change of manchuria and Han's cultural status.Although manchurian rulers advocated the basic state policy of ''Chinese riding and shooting'' in order to maintain Manchurian culture, they had to carry out cultural integration and chose Han culture as the mainstream value of the country.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 01:57, 13 October 2021 (UTC)

（[17] Anbu Jianfu. The Structure and Formative Agent of Qing Dynasty History[A].Anbu Jianfu. The Research of the History of Qing Dynasty[C].Tokyo：Chuangwen Club,1981：5-11.） However,governor's attitude changing from positive to negative didn't mean that the contact between Manchu culture and Han culture decreased in breadth and depth, but only showed that governor's ethical cultural consciousness awakened in the face of the changing culrural status of Manchu and Han. Although Manchu governor advocated "Manchu language and equestrian archery" as the basic state polic in order to protect Manchu culture from decling, they had to carry on cultural integration in which Han culture was choosed as the mainstream value of the country.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 02:06, 13 October 2021 (UTC)

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

正是在这样一种看似矛盾，而又颇显自然的文化态度中，以文化“统制”和文化建设为目的的汉书翻译事业得以进行。事实上，早在太宗时期，由于满人尚居关外，不识汉字，又罔知政体，汉书的翻译可用于“临政规范”，以及国家的治理模式。[4]5325顺治年间，阿什坦译成《大学》、《中庸》等书后，世祖以它们作为倡导礼义教化的工具。

It is in such a seemingly contradictionary but quite natural cultural attitude that the translation of Han Shu could be proceeded aiming at cultural "harmonization and regualtion" and cultural development. Actually, as early as Taizong Period, transalation of Han Shu could be used for the "standard form of handling affairs" and also the governance model of the country, because Manchu didn't know Chinses characters or regime as they lived outside of Shanhai Pass. [4]5325 During the reign of Shunzhi, Emporer regarded ''The Great Learning'' and ''The Doctrine of the Mean''translated by A Shitan as the tool to advocate moral tool.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 14:37, 11 October 2021 (UTC)

It is exactly in such a seemingly contradictory but also natural attitude towards culture can the translation of Han Book with the purpose of cultural "unification" and cultural construction proceed. In fact, at the period of Taizong, the transalation of Han Book could be used for the "standard form of handling affairs" and also the governance model of the country, because Manchu didn't know Chinses characters or regime as they lived outside of Shanhai Pass. [4]5325 During the Shunzhi period, Emperor regarded ''The Great Learning'' and ''The Doctrine of the Mean'' translated by A'Shitan as the tool to advocate morality.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 10:36, 20 October 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

总之，汉文经、史的译印有助于端正满洲的人心风俗，使满、汉文化互通有无。就连《诗经》中提到的各种花草树木、鸟兽虫鱼等，也对拓展满人见闻，增进满、汉交流颇有助益。[18]222-223（[18]叶高树.《诗经》满文译本比较研究——以《周南》、《召南》为例[J].国立台湾师范大学历史学报，1992（20）：219-234.）

In short, the translation and prints of Chinese classics and history can help correct Manchurian's morality and custom, and furthermore strengthen the mutual understanding between Manchu and Han culture. Even the flowers,trees,birds,beasts,insects,fish etc mentioned in the ''Book of Songs'' somewhat have helped expand Manchurian's knowledge and enhance the intercommunication between Manchu and Han.[18]p.222-223. (Ye,Gaoshu. ''The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan.'', Bulletin of Historical Research of National Taiwan Normal University, No.20(1992):p.219-234.)--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 02:38, 13 October 2021 (UTC)

In short, the translation and prints of Han classical and historical works can help correct Manchurian’s morality and custom, and furthermore strengthen the mutual understanding between Manchu and Han culture. Even various kinds of flowers, trees, birds, beasts, insects, fish mentioned in the “Book of Songs” somewhat have helped expand Manchurian’s knowledge and enhance the inter communication between Manchu and Han.[18]222-223([18]Ye Gaoshu. “The Comparative Study of the Manchu Translations of Book of Songs—Case Study of Zhounan and Zhaonan.”Journal of the History of National Taiwan Normal University No.20(1992):p.219-234.)--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:58, 13 October 2021 (UTC)Yi Yangfan

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

诚然，有清一代，并非只有官方组织翻译汉书，私人译书也很盛行。据《世界满文文献目录》可知，清代的私人译书历时悠久，范围广泛，于经、史、子、集皆有涉猎，且翻译成书之后，往往有不同刻本、抄本。仅以小说、戏曲为例，二者的满文译本便多达四十六种。[19]47-53

To be sure, it was not only official organizations that translated Chinese books, but private person also liked to do that during Qing Dynasty. According to the Catalogue of Manchu Documents in the World, the private translation of books in the Qing Dynasty has a long history and a wide range, covering a subset of Classic historical. And after being translated into books, they often had different engraved books and copies. Taking novels and operas as examples, there were as many as forty six Manchu versions of them.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 15:29, 12 October 2021 (UTC)Yi Yangfan

To be sure, it was not only official organizations that translated Han Shu, but private person also liked to do that during Qing Dynasty. According to the Catalogue of Manchu Documents in the World, the private translation of books in the Qing Dynasty has a long history and a wide range, covering classical works, historical works, philosophical works, and prose and poetry, the four categories of a traditional Chinese library. And after being translated into books, they often had different engraved books and transcripts. Taking novels and operas as examples, there were as many as forty six Manchu versions of them.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 01:49, 13 October 2021 (UTC)

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

（[19]富力.世界满文文献目录[Z].北京：中国民族古文字研究会，1983.）但官方翻译汉书与私人译书不同，无论在译书的取材上，还是在译书的组织管理上，又或在译书的颁行上，都有其不同于私人译书的特殊考量。即便是《三国志（通俗演义）》这样的通俗文学作品，译成满文后也被赋予了兵法与战略意义。

（[19] Fuli. The Catalogue of Manchu Documents in the World [Z]. Beijing: Chinese Association for Ancient Scripts of National Minorities, 1983.)
However, official translation of Han Shu was different from private translation. There were special considerations different from private translation, whether in the selection of materials, the organization of translation, or the promulgation of translation. Even popular literary works such as the Three Kingdoms (Popular Romance) had been given military and strategic significance after being translated into Manchu.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 15:13, 12 October 2021 (UTC)

Fuli. The Catalogue of Manchu Documents in the World [Z]. Beijing: Chinese Association for Ancient Scripts of National Minorities, 1983.)
However,different from private translations of Han Books,the official one was special in the selection of materials, the organization or the promulgation of translation. Even such popular literary works as the ''Three Kingdoms'' (Popular Romance) had been given military and strategic significance after being translated into Manchu script.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 02:52, 13 October 2021 (UTC)

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

显然，以满文遍译汉书，尤其是经、史、子、集等，并不是为了显示满语语文系统的优越性，所谓“精微巧妙，实小学家所未有”，而是为了“表章经学，天下从风”，通过翻译“研究微言，讲求古义”，进行文化沟通。[3]91藉由汉文典籍的翻译，满洲统治者不仅了解了汉族文化，而且在接触与学习中获得了“统制”汉民的重要经验，使满洲政权在性质上逐渐向“中原政权”转化，最终实现治统与道统的合一。而乾隆朝时期，尤其是乾、嘉二朝年间，统治者对于汉籍翻译的成效，也的确颇感自豪。

Obviously, the purpose of translating Han Books into Manchu scripts,especially the confucian classics,historical books,works of pre-Qin period as well as poetry collections ,was not to show the superiority of the Manchu language system,but to"make the study of Confucian classics known and followed by the world",as was said" other schools can never be as profound and subtle as the Confucianism", to enable cultural communication by means of"studying the profound and subtle language in search of reasons and moral principles"
With the help of translation, Manchu rulers could not only understood the Han culture, but also gained important experience in "governing and controlling" the Han people in the process of contact and learning, which gradually transformed the nature of the Manchurian regime into"the regime of the central plains" and realized the unity of governance and Taoism. During the reign of emperor Qianlong, the rulers were indeed proud of the achievement in the translation of Han books.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 13:44, 13 October 2021 (UTC)

Obviously, the purpose of translating the books of Han into Manchu scripts,especially the confucian classics, historical books, works of pre-Qin period as well as poetry collections ,was not to show the superiority of the Manchu language system, but to"make the study of Confucian classics known and followed by the world",as was said" other schools can never be as profound and subtle as the Confucianism", to enable cultural communication by translating"studying the profound and subtle language in search of reasons and moral principles"
With the help of translation, Manchu rulers could not only understood the Han culture, but also gained important experience in "governing and controlling" Han people in the process of contacting and learning, which gradually transformed the nature of the Manchurian regime into"the regime of the central plains" and realized the unity of governance of ruling and Taoism. During the reign of Emperor Qianlong, the rulers were indeed proud of the achievement in the translation of Han books.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 14:57, 13 October 2021 (UTC)

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

《钦定八旗通志》中说：列圣以来，表章经学，天下从风，莫不研究微言，讲求古义，尤非前代之所及。故先译《四书》，示初学之津梁。至于《五经》、《易》则略象数之跡，示其吉凶；《书》则疏佶屈之词，归于显易；《诗》则曲摹其咏叹，而句外之寄讬可思；《春秋》则细核其异同，而一字之劝惩毕见；《礼记》则名物度数考订必详，精理名言推求必当，尤足破讲家之聚讼。
Imperially Commisioned "Genealogies of Eight Banners" said: "Since the previous dynasties, ''Six meridians''highly praised, the whole society were indulged and made a study of it. Never before has there been such a study of ancient meanings in any dynasty." Therefore, The Four Books was translated first as the bridge for the beginners. As for ''The Five Classics'' and ''The Book of Changes'', they slightly speculated about changes in the universe or human life to indicate the good luck and bad luck; ''The Book of History''explained the hard and difficult words and turned them into intelligible content; ''The Book of Songs''imitates the aria but worth thinking about the implications between the lines; while ''Spring and Autumn Annals'' examines its similarities and differences so the advice and punishment can be seen; In ''Book of Rites'', everything's name and information must be detailed and principles and sayings must be appropriate, especially various and different opinion.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:49, 13 October 2021 (UTC)

Imperially Commisioned "Genealogies of Eight Banners" said: "Since the previous dynasties, “Six meridians”highly praised, the whole society were indulged and studied it. Never before has there been such a study of ancient meanings in any dynasty." Therefore, The Four Books was translated first as the bridge for the beginners. As for “The Five Classics”and “The Book of Changes”, they slightly speculated about changes in the universe or human life to indicate the fate; “The Book of History”explained the hard and difficult words in an intelligible way; “The Book of Songs”imitates the aria but worth thinking about the implications between the lines; while ''Spring and Autumn Annals'' examines its similarities and differences so the advice and punishment can totally be seen; In “Book of Rites”, everything's name and other information must be detailed.Besides,principles and sayings must be appropriate, especially various and different opinions.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:46, 13 October 2021 (UTC)

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

盖先儒之诂经，多株守其文，故拘泥而鲜通；此篇之诂经，则疏通其意，故明白而无误。不立笺（jiān）传之名，不用注疏之体，而唇吻轻重之间，自然契删述之微旨，厥有由矣。……其有裨于文教，均为至大。虽尧帝之文章，尼山之删定，又何以加于兹哉。[20]5-6

It was said that most of previous confucionists'classical texts stuck to the original words, so the texts were not clear and coherent enough to make it understood:And this classical text was written clearly to convey the meaning which can make readers understand the meaning accurately. The text was not in the name of notes, not in the style of notes, but in a detailed and appropriate way to explain the connotation and theme of the text.So when readers opened their mouth and read it, they can automatically understand the profound meaning which was omitted.It all made sense ......It was of great benefit to culture and education which were the most important aspect in society. Although Emperor Yao wrote the article and Ni Shan revised it, but how can it surpass this article?--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:49, 13 October 2021 (UTC)

mostly abide by its text, so it is rigid and fresh--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 07:16, 13 October 2021 (UTC)

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

（[20]（清）铁保等.钦定八旗通志[Z].景印清嘉庆四年刻本.台北：台湾学生书局，1968.）上文提到的《四书》等汉文典籍多为乾隆朝所译，其中《四书》译成于乾隆二十年，《易》（即《周易》）、《诗》（即《诗经》）、《礼记》和《春秋》等分别译成于乾隆三十年、三十三年、四十八年和四十九年。官方在翻译上述书籍的过程中，将经典的章句训诂含扩于译文之内，目的就是为了化解时人对于经义的歧见，统一学术，帮助统治者实现文化“统制”。[3]87

（[20]（Qing）Tie Bao et al. Imperial Eight Banners Tongzhi [Z]. Jing Yin Qing Jiaqing four years engraved edition. Taipei: Taiwan students publishing company, 1968.) Above the "four books" and so on Chinese classics translation in the qianlong dynasty, the "Four books" into in qianlong 20 years, "Yi" (i.e. I Ching), "Poem" （i.e. The book of songs), "The rites" and "The spring and autumn" and so on are translated in qianlong 30 years, 33 years, 48 and 49 years. In the process of the translation of the above-mentioned books, the official included the classic chapters and sentences into the translation, in order to resolve the differences of people's opinions on the classics, unify the academic, and help the rulers to realize the cultural "control".--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 00:53, 13 October 2021 (UTC)

（[20]（Qing）Tie Bao et al. Imperial Eight Banners Tongzhi [Z]. Jing Yin Qing Jiaqing the fourth year engraved edition. Taipei: Taiwan students publishing company, 1968.) Above the "four books" and so on Chinese classics were mostly translated in Qianlong period, in which the "Four books" were translated in the 20th year ruled by Qianlong, "Yi" (i.e. I Ching), "Poem" （i.e. The book of songs), "The rites" and "The spring and autumn" and so on are respectively translated in the year 30, 33, 48 and 49 under the reign of Qianlong. In the process of the translation of the above-mentioned books, the official included the classic chapters and sentences into the translation in order to resolve the differences of people's opinions on the classics, unify the academic, and help the rulers to realize the cultural "reign".[3]87--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 01:57, 13 October 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

如康熙四十七年，《清文鉴》编成，此举使满文的“大经大法，咸有依据；一话一言，式循典制。”[7]13康熙五十六年，为整理并规范蒙古语文，圣祖敕令以蒙文翻译《清文鉴》，纂成《清文合蒙古鉴》。然而，逮乾隆三十八年，高宗以“语言文字之传，不能不随方随时，代为变易”为由，纂成《御制增订清文鉴》。
For example, in the forty-seventh year under the reign of Kangxi during Qing dynasty, the book ''Qing Wen Jian'' was composed, which made "every article and code in Man has its basis, and each sentence and word in Man in accordance with a typical system."[7]13 In the fifty-sixth year ruled by Kangxi, in order to organize and standardize Mongolian language, the emperor ordered to translate ''Qing Wen Jian'' with Mongolian so that ''Qing Wen Jian With Mongolian'' was composed. However, in the year thirty-eight reined by Qianlong, Gaozong the emperor wrote ''Qing Wen Jian the Official and Revised Edition'' on the excuse that "the transmitting way of language and characters has to be kept changing as time goes by and places change".
--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 01:48, 13 October 2021 (UTC)
For example, in the forty-seventh year under the reign of Kangxi emperor during Qing dynasty, the book ''Qing Wen Jian'' was composed, which made "every article and code in Manchu has its basis, and each sentence and word in Manchu in accordance with a typical system."[7]13 In the fifty-sixth year ruled by Kangxi emperor, in order to organize and standardize Mongolian language, the emperor ordered to translate ''Qing Wen Jian'' with Mongolian so that ''Qing Wen Jian With Mongolian'' was composed. However, in the year thirty-eight reined by Qianlong, Gaozong the emperor wrote ''Qing Wen Jian the Official and Revised Edition'' on the excuse that "the transmitting way of language and characters has to be kept changing as time goes by and places change".--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 02:20, 13 October 2021 (UTC)

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

该书以词目分类，以满汉合璧形式呈现，所谓“国书之左，译以汉音”，而“汉书之右，译以国书”，以便“读者因汉文可以通国书，因国书可以通汉文”，使人人共晓，并“昭示来兹，为万万世同文之准”。[21]1-2（[21]（清）傅恒等.御制增订清文鉴[M].台北：台湾商务印书馆，1986.）《御制增订清文鉴》成书后，乾隆帝又以“前书只载国语、汉语，而未及蒙古”为由，仿前例敕撰《满洲蒙古汉字三合切音清文鉴》，并于嗣后相继编成《御制四体清文鉴》和《御制五体清文鉴》。
The book is categorised by words and presented in a combined Manchu-Chinese format, so that "in this book on the left side of the Manchu language, there is a column with Chinese pronunciation to comment", and "on the right side of the Chinese language, there is a column translated into Manchu",so that "readers can see the Chinese to understand the Manchu language, see the Manchu language can understand the Chinese language", so that all people can understand the two languages, and "to future generations of the world to show that such a writing becomes the table of reference for all ages". [21]1-2 ([21] (Qing) Fu Heng et al. Yuzhi zengding Qingwen jian [M]. (Taipei: Taiwan Commercial Press, 1986.) After the completion of the ''Yuzhi zengding Qingwen jian'' , Emperor Qianlong, on the grounds that "The first book only recorded Manchu and Chinese, but not Mongolian", hereby compiled ''Manzhou Menggu Hanzi sanhe qieyin Qingwen jian'', which was subsequently compiled into ''Manchu Polyglot Dictionary''and ''Pentaglot Dictionary''.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 16:03, 12 October 2021 (UTC)

The book is classified by words and presented in a combined Manchu-Chinese form，so that "in this book on the left side of the Manchu language, there is a column with Chinese pronunciation to comment", and "on the right side of the Chinese language, there is a column translated into Manchu",so that "readers can see the Chinese characters to understand the Manchu language, see the Manchu language can understand the Chinese language likewise", so all people can understand the two languages, and "to future generations of the world to show such a writing becomes the table of reference for all ages". [21]1-2 ([21] (Qing) Fu Heng et al. Yuzhi zengding Qingwen jian [M]. (Taipei: Taiwan Commercial Press, 1986.) After the completion of the ''Yuzhi zengding Qingwen jian'' , Emperor Qianlong, on the grounds that "The first book only recorded Manchu and Chinese, but not Mongolian", hereby compiled ''Manzhou Menggu Hanzi sanhe qieyin Qingwen jian'', which was subsequently compiled into ''Manchu Polyglot Dictionary''and ''Pentaglot Dictionary''.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 01:02, 13 October 2021 (UTC)

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

在上述书籍的翻译与编纂过程中，乾隆帝不断赋予其“同文”和“大同”的文化意涵，从不同民族文字皆具备“载道”能力的理念出发，借由翻译和比对的方式，在不同民族文化之间，实现沟通观念，强化统治的目的。结语。满清开国以来，历代君主皆勤于学习汉族历史与文化，以汲取统治经验。
In the process of translating and compiling the above books, Emperor Qianlong constantly endowed them with the cultural meaning of "Tongwen" and "Datong". Starting from the idea that different national languages have the ability to "carry Tao", he realized the purpose of communicating ideas and strengthening rule between different national cultures by means of translation and comparison. Conclusion：Since the founding of the Manchu and Qing Dynasties, monarchs of all dynasties have been diligent in learning the history and culture of the Han nationality in order to learn from the ruling experience.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:43, 12 October 2021 (UTC)

In the process of translating and compiling the above books, Emperor Qianlong constantly endowed them with the cultural connotation of "Tongwen" and "Datong". Starting from the idea that different national languages have the ability to "carry Tao", he realized the purpose of communicating ideas and strengthening ruling within different national cultures by means of translation and comparison. Conclusion：Since the founding of the Manchu and Qing Dynasties, all previous emperors have been diligent in learning the history and culture of the Han nationality in order to learn the ruling experience from them.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:18, 13 October 2021 (UTC)

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

汉书翻译基于特定的历史情境，和国家的长治久安，将重点放在经、史、子、集等汉族文化精粹及典章制度之上，为统治者探求、调整统治策略与统治理论提供了契机。特别是康、雍、乾三朝年间，民族交往日益频密，民族关系逐渐缓和，民族融合渐趋提高，汉书的翻译与进讲更为诸帝所重。由于统治者皆以德教学术为治国之本，力崇道德教化、为国修政、忠于人君，汉书翻译遂被赋予德治与教化功能。

The translation of History of the Han Dynasty, which was based on specific historical circumstance and the lasting political stability of the country, emphasized the decrees and regulations as well as the essence of Han culture such as the history, philosophy and literature of Confucian classics, etc. The translation of History of the Han Dynasty also provided an opportunity for the rulers to explore and adjust governing strategies and theories. Especially during the reign of Emperor Kangxi, Yongzheng and Qianlong, ethnic exchanges became increasingly frequent, ethnic relations gradually eased and ethnic integration much improved. Therefore, the emperors paid more attention to the translation and interpretation of History of the Han Dynasty. The rulers all regarded the moral education as the foundation of governing the country, which highly recommended political improvement of the country and loyalty to the monarch. For this reason, the translation of History of the Han Dynasty was endowed with the function of cultivation and ruling by the morality.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:03, 13 October 2021 (UTC)

The translation of History of the Han Dynasty, which was based on specific historical circumstance and the lasting political stability of the country, emphasized the decrees and regulations as well as the essence of Han culture such as the history, philosophy and literature of Confucian classics, etc. The translation of History of the Han Dynasty also provided an opportunities for the rulers to explore and adjust governing strategies and theories. Especially during the reign of Emperor Kangxi, Yongzheng and Qianlong, ethnic exchanges became increasingly frequent; ethnic relations gradually eased; ethnic integration much improved. Therefore, the emperors paid more attention to the translation and interpretation of History of the Han Dynasty. The rulers all regarded the moral education as the foundation of governing the country, which highly recommended political improvement of the country and loyalty to the monarch. For this reason, the translation of History of the Han Dynasty was endowed with the function of cultivation and ruling by the morality.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 10:20, 13 October 2021 (UTC)

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

总之，清初的汉书翻译既非简单的“以夏变夷”，也非简单的“以夷变夏”，而是在翻译中着眼于满、汉之间的交流、沟通与互鉴，政治意涵与文化意涵并存。*基金项目：① 教育部人文社科基金项目“清代中前期翻译政策研究”②湖南省社会科学基金项目“清代中前期翻译政策的具体形态与变化轨迹研究”，项目批准号：20YBA131；③ 湖南省教育厅重点项目“清代中前期翻译政策研究”，项目批准号：20A222。

In summary, the translation of The History of the Han Dynasty is neither simply to use the Central Plains Culture to influence the culture of the tribes outside it, nor to change it by cultures of other tribes. The translation highlights the communication and mutual learning between Man minority and Han nationality. It also emphasizes the coexistence of political implications and culture implications. Fundation Projects:① Foundation Projects of the Ministry of Education of China, Humanities and Social Sciences " The Research on Translation Policy During Early and Middle Qing Dynasty" ② Research Foundation of Social Sciences of Hunan Province, China" The Translation Policy's Specific Form and Trajectory of Change During Early and Middle Qing Dynasty" , Grant No. 20YBA131; ③Research Foundation of Education Bureau of Human Province, China", Grant No.20A222.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:29, 13 October 2021 (UTC)

In summary, the translation of Han History is neither simply to use the Central Plains Culture to influence the culture of the tribes outside it, nor to change it by cultures of other tribes. It highlights the communication and the mutual learning between Man minority and Han nationality and emphasizes the coexistence of political implications and culture implications in its translation. Fundation Projects:① Foundation Projects of the Ministry of Education of China, Humanities and Social Sciences " The Research on Translation Policy During Early and Middle Qing Dynasty" ② Research Foundation of Social Sciences of Hunan Province, China" The Translation Policy's Specific Form and Trajectory of Change During Early and Middle Qing Dynasty" , Grant No. 20YBA131; ③Research Foundation of Education Bureau of Human Province, China", Grant No.20A222.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:53, 13 October 2021 (UTC)

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

清初的旗学教育与翻译人才培养：教材、课业与考课
——基于绥远城官学的考察*
摘要：旗学之兴系清初统治者重教政策的延续与发展。太祖和太宗年间，虽然旗学尚未创设，但文教与翻译之风渐行，以讲解汉籍译本作为教育旗人的手段由来已久，为嗣后设立旗学，开展旗学教育创造了条件。
The Education of Banner studies and the training of translation talents in the early Qing Dynasty: textbooks, courses and examinations-based on the investigation of Suiyuan authority.
Abstract: The prosperity of Banner studies reflects the continuation and development of the educational policy that the rulers attached importance to in the early Qing dynasty.
During the reign of Emperor Taegu and Emperor Taejon, although the Banner studies had not yet been established, the cultural education and translation became popular. It has been a long time that the translation of Chinese books was used as a means to educate flag-bearers, which created conditions for the establishment of Banner studies’ education.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 13 October 2021 (UTC)

The Banner Education and the Cultivation of Translation Specialist in the Early Qing Dynasty: Teaching Materials, Homework and Examination -- Based on the Investigation of suiyuan City Official Schools
Abstract: The rise of the banner schools was the continuation and development of the policy of emphasizing education of rulers in the early Qing Dynasty. During the reign of Emperor Taizu and Emperor Taizong, although the banner school was not yet established, culture, education and translation gradually spread, and interpreting the translation of Chinese books as a means of teaching the banner people had a long history, which created conditions for the establishment of banner school and the development of banner education.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:46, 13 October 2021 (UTC)

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

自顺治朝设立国子监八旗官学，至康熙朝增设专门教育机构，雍正朝普及八旗教育，以及乾隆朝以后八旗教育由盛转衰，清初的旗学教育不仅提高了旗人的文化素质和官员处理政务的能力，而且提升了旗人的语言能力，培养了大量翻译专才。从一开始，旗学教育便明确地指向了翻译，不仅严格要求翻译教习的选拔与任用，而且也对翻译教材的使用、翻译课业的形式、翻译考课的等次，以及教习与学生的期满考核等，制定了具体章程。

From the establishment of the Eight Banners official school of the Imperial Academy in the reign of Shunzhi to the establishment of special educational institutions in the reign of Kangxi, the popularization of the Eight Banners Education in the reign of Yongzheng, and the decline of the Eight Banners Education after the the reign of Qianlong, in the early Qing Dynasty, the Banners' education not only improved the cultural quality of the Banner people and the ability of officials to deal with government affairs, but also enhanced the language ability of the Banner people and cultivated a large number of translation specialists. From the very beginning, the purpose of the Banners' education is for translation, which not only strictly requires the selection and appointment of translation teachers, but also formulates specific regulations on the use of translation teaching textbooks, the form of translation homework, the order of translation examination, as well as the expiration assessment of teachers and students.
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 15:13, 16 October 2021 (UTC)
From the Shunzhi Dynasty to the establishment of the Eight Banners official school to the establishment of special educational institutions of the Kangxi dynasty, the popularization of the Eight Banners education in the Yongzheng dynasty to the decline of the Baqi education after the Qianlong dynasty, the ability of government affairs has also improved the language ability of people, and cultivated a large number of translation professionals. From the very beginning, The education of "banners" studies has clearly pointed to translation. It not only strictly requires the selection and appointment of translation teaching, but also the use of translation materials, the form of translation tasks, the order of translation exams, and the duration of teaching and students. Full assessment, formulated specific regulations.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 12:58, 16 October 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

总之，旗学教育既维护了满洲特色，又增进了民族交流，为解决国家治理对于翻译人才的需求做出了重要贡献。
关键词：旗学翻译教育教材课业与考课绥远城官学

清代的旗学教育始于顺治朝，但追根溯源与太祖朝以来的语言创制与教育密不可分。后金政权建立之前，女真族没有自己的文字，民间交往和官方往来只能通过蒙古语及其翻译进行。

In short, the education of "qi" studies not only maintains Manchurian characteristics, but also enhances national exchanges, and has made important contributions to solve the needs of national governance for translators.
Key words: "qi" Studies, Translation Education, Textbooks, Assignments and Tests, Suiyuan City Official School
The education of "qi" studies in the Qing Dynasty began in the Shunzhi Dynasty, but the tracing of its roots is inseparable from the language creation and education since the Taizu Dynasty. Before the establishment of the Houjin regime, the Jurchens did not have their own scripts, and non-governmental and official exchanges could only be carried out through Mongolian language and its translation.

In a word, the Banners education not only maintains the characteristics of Manchuria, but also promotes the cultural exchanges between nations, making important contributions to solving the needs of national governance for translation talents.
Key words: the Banner education, translation educational, textbook,coursework and examination,Suiyuan City official School
The education of the Banners education in Qing Dynasty began in shunzhi Dynasty, but its origin is closely related to language creation and education since Nurhachi period. Before the establishment of the post-Jin regime, the Nuzhen people did not have their own script, and the folk and official communication could only be carried out through the Mongolian language and its translation.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 10:39, 16 October 2021 (UTC)

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

太祖创建后金政权伊始，便授意“巴克什”额尔德尼、噶盖等创建“无圈点满文”（老满文）。老满文的创建既方便了部民交流和公文书写，也使得政事记载和汉书翻译变得容易。在翻译的汉文典籍帮助下，如《论语》、《孟子》、《史记》和《资治通鉴》等，太祖得以学习汉族的思想精粹和政治观念。
After the first emperor of the Qing Dynasty founded the jin regime, he instructed Baksi(a title for scholars in the Qing Dynasty) Erdeni, Gaide and others to create the Manchu without circle and point (old Manchu). The establishment of old Manchu not only facilitated the communication between tribe men and the writing of official documents, but also made it easy to record political affairs and translate Han books. In the process of translating Chinese classics, such as ''The Analects of Confucius'', ''Mencius'', ''Records of the Historia''n and ''History as a Mirror'', he was able to learn the ideological essence and political ideas of the Han people.
--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:29, 12 October 2021 (UTC)

After the first emperor of the Qing Dynasty founded the Post-Jin regime, he instructed Baksi(a title for scholars in the Qing Dynasty) Erdeni, Gaide and others to create the Manchu without circle and point (old Manchu). The establishment of old Manchu not only facilitated the communication between tribe men and the writing of official documents, but also made it easy to record political affairs and translate Han Shu. With the help of translating Chinese classics, such as ''The Analects of Confucius'', ''The Works of Mencius'', ''Historical records'',and ''History as a Mirror'', he was able to learn the ideological essence and political ideas of the Han nationality.

--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 08:48, 13 October 2021 (UTC)

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

与此同时，太祖又令“颁经书以宏文教”，“尚骑射翻译以重国文”，通过“国文”、“骑射”巩固所谓民族之“本”，并通过“文教”、“翻译”提升旗人素质。[ 张廷玉等奉敕撰：《皇朝文献通考》，上海：鸿宝书局，1902年，第5435页。]语言创制的完成不仅使得旗人教育成为现实，也使得统治者试图在翻译中汲取汉族经验成为可能。

At the same time, Taizu ordered to "publish scriptures to carry forward cultural education", "advocate riding and shooting translation to attach importance to national language", consolidate the so-called "foundation" of the nation through "national language" and "riding and shooting"and improve the quality of Manchurian through "cultural education" and "translation". [Written by Zhang Tingyu and others who received the orders of the emperor: a general examination of imperial documents, Shanghai: Hongbao publishing house, 1902, P. 5435.] the completion of language creation not only made the education of the Manchurian a reality, but also made it possible for the rulers to learn from the Han nationality in translation.

At the same time, Taizu ordered to "publish scriptures to carry forward cultural education", "advocate riding and shooting translation to attach importance to national literature", consolidate the so-called "foundation" of the nation through "national
literature＂ and "riding and shooting", and improve the quality of Manchurian through "cultural education" and "translation". [Written by Zhang Tingyu and others who received the orders of the emperor: a general examination of imperial documents, Shanghai: Hongbao publishing house, 1902, P. 5435.] the completion of language creation not only made the education of the Manchurian a reality, but also made it possible for the rulers to learn from the Han nationality in translation.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 15:14, 16 October 2021 (UTC)--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 15:15, 16 October 2021 (UTC)

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

《满文老档》中说，太祖曾命博布黑、萨哈廉等八人为八旗师傅，赐其“巴克什”称号，令其精心教习八旗子弟，要求“教之通晓者赏之”，而“弟子不勤学不通晓书文者罪之”，开启旗人教育之先例。[ 中国第一历史档案馆译注：《满文老档》，北京：中华书局，1990年，第1196-1197页。]太宗期间，旗人的学习和教育亦受重视。

According to the 《Manchu script》, the emperor Taizu once appointed eight people, including Bo buhei and sahalian, as masters of the eight banners, and gave them the title of "Baksh", so that they could carefully teach the children of the eight banners, and asked that""If teach the disciples to understand, they will be rewarded", while "If the disciples don't study hard and don't understand calligraphy, they will be punished" which opening a precedent for Manchu's education. [translated note of China's first historical archives: old 《Manchu script》, Beijing: Zhonghua Book Company, 1990, pp. 1196-1197.] during the reign of Emperor Taizong, the study and education of Manchu were also valued.

According to Manchu Script, the Emperor Taizu( the first emperor of the Qing Dynasty) once appointed 8 person as teachers of the Eight Banners and rewarded them with the title of Baksh, including Bobuhei, Sahalian. The teachers were required to teach the offspring of the eight-banners. If they can understand, they will be rewarded while if not, they will be punished, which stands a precedent for Manchu's education.[Quoted from China's first historical archives:《Manchu script》, Beijing: Zhonghua Book Company, 1990, pp. 1196-1197.] During the reign of Emperor Taizong, the study and education of Manchu were also valued.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:33, 13 October 2021 (UTC)

20210929 homework

2021-12-30T12:43:45Z

Wang Yifan21: /* 亚非语言文学 202120081524 王逸凡女 */

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

[[20210929_homework|homework of session 1 for session 2 Sep 29]]

IN PREPARATION

专业班级名称学号姓名性别
==语言智能与跨文化传播研究 202120081535 徐敏赟男==
This is the homework of 徐敏赟.--[[User:Root|Root]] ([[User talk:Root|talk]]) 12:41, 26 September 2021 (UTC)

清初时期的汉籍（书）翻译及其文化沟通意涵

摘要：清初之际，统治者虽以武力立国，但社会的主导意识形态尚未形成，国家的“治统”与“道统”尚未确立。为了匡扶社稷，教化臣民，探求君主治术，建构符合国家需求的集体价值观，统治者积极组织汉书翻译，促进文化交流，增进民族和解。

The Translation of Chinese Books in the Early Qing Dynasty and its Cultural Communication Implications

Abstract: At the beginning of the Qing Dynasty, the ruler established the country by force, but the dominant social ideology has not yet been formed. Besides, the country's "ruling" and "moral orthodox" have not yet been established either. In order to help the community, educate the people, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Chinese books actively, which helped promote cultural exchanges and enhance national reconciliation.

The Translation of the Han Classics in Early Qing Dynasty and its Implications for Cultural Communication

Abstract: At the beginning of Qing Dynasty, the ruler established the country by force, but the dominant social ideology has not yet been formed. Besides, the country's "governance" and "moral orthodoxy" have not yet been established neither. In order to help the community, educate the people, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Chinese books actively, which helped promote cultural exchanges and enhance national reconciliation.--[[User:Root|Root]] ([[User talk:Root|talk]]) 12:44, 29 September 2021 (UTC)

The Translation of the Han Classics in Early Qing Dynasty and its Implications for Cultural Communication

Abstract: At the beginning of the Qing Dynasty, the ruler established the country by force, but the dominant social ideology has not yet been formed. Besides, the country's "governance" and "moral orthodox" have not yet been established either. In order to rectify and sustain the society, educate the subjects, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Han Classics actively, which helped promote cultural exchanges and enhance national reconciliation.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:31, 8 October 2021 (UTC)

==语言智能与跨文化传播研究 202120081536 颜静女==

作为清初文化事业的重要组成部分，汉书翻译有着明确的选择标准，实用主义色彩浓厚，主要关注汉族的文治教化与典章制度，将翻译与政要相关联，反对浮华藻饰的翻译。组织上，汉书翻译以官方为主，以民间为辅，译书者既有兼通满、汉双语之旗人，又有八旗科举考试之及第者，这些人既是文化交流的管理者，又是实践者，代表了统治阶级意欲沟通满汉的主观愿望。成效上，汉书翻译不仅促进了新生政权的制度建设，而且为统治者建构政权合法性做出了贡献。
As an important part of cutural undertakings in early Qing dynasty, the translation of Han Shu had clear selection criteria and strong pragmatism. It focused on cultural education and institutions of Han nationality, associated the translation with politics and opposed flashly one. Organizationally,Han Shu was translated mainly by officials, and then public people. The translators contained not only the Eight Banners' People who mastered both Manchu and Chinese language, but also those who passed the Eight Banners imperial examination. These people were administrators of cultural exchanges, and also practicers, representing that the ruling class was willing to communicate the Manchu and Han people. In effect, the translating of Han Shu promoted the institutional construction of new regime, and also contributed to the rulers for constructing the regime legitimacy.

As an important part of cutural undertakings in early Qing dynasty, the translation of Han Shu had clear selection criteria and strong pragmatism. It (mainly) focused on cultural education and institutions of Han nationality, associated the translation with politics and opposed flashly one(embellishments). Organizationally,Han Shu was translated mainly by officials, and then (by) public people. The translators contained not only the Eight Banners' People who mastered both Manchu and Chinese language, but also those who passed the Eight Banners imperial examination. These people were administrators of cultural exchanges, and also practicers, representing that the ruling class was willing to (intended to) communicate the Manchu and Han people. In effect(As a result), the translating of Han Shu promoted the institutional construction of new regime, and also contributed to the rulers for constructing the regime legitimacy.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 07:06, 29 September 2021 (UTC)

==英语语言文学（语言学） 202120081484 杜莉娜女==

导论：凡国家之建立，必有立国精神和主导意识形态，以及相应之文化政策。

早在天聪年间，清太宗便为新政权提出文武并用的战略构想，既强调以武功勘祸乱，又主张以文教佐太平，提出了文化统制与文化建设的独到见解。顺治十年，世祖章皇帝订定崇儒重道之政策，并以此为基础构建了兴文教、崇经术的治国理念。
Introduction: The establishment of any countries must need the national spirit ,dominant ideology and appropriate cultural policies.
As early as the year of Tiancong, Hong Taiji put forward the strategy of combining education and force for the new regime. He emphasized to calm down the chaos by force and to keep the peace by civilian. And he came up with unique insights into cultural unification and cultural development as well. During the first decade of Shunzhi, the emperor made the policies of respecting Confucianism and Taoism, and from this the concepts of governing like prospering education and worshipping scriptures were built.
--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 16:07, 28 September 2021 (UTC)

1、“文武并用”应该更侧重于“文化”，译为culture；
2、“以文教佐太平”中的文教可译为cultural education；
3、“and from this the concepts of governing like prospering education and worshipping scriptures were built.”此句可用定从，which served as a basis of …
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:25, 30 September 2021 (UTC)

==英语语言文学（语言学） 202120081490 胡舒情女==

自此以后，虽然清代历朝统治者在关注满、汉文化交流时，不免对汉人进行打压，但也同时对汉族文化进行宣扬与推广。

清初统治者在构建“治统”与“道统”的过程中，围绕“崇儒重道”，衍生出众多文化政策实举，如科举取士、博学鸿词等，而汉籍经史的翻译与编纂也是其中重要内容。汉籍翻译是清代文化事业的重要组成部分，是清代民族关系与文化政策的重要载体，它和满清政权的其它文化活动一样，在功能上相互关联，彼此补充，为促进民族之间的相互了解，维护王朝体系的稳定发展，做出了重要贡献。
Since then, although all the dominators of Qing dynasty would squash the Han people when focusing on cultural exchange between Manchu and Han, they also propagated and promoted the Han culture at the same time. The dominators of early Qing dynasty implemented numerous cultural policies around the idea of “respecting and emphasizing Confucianism” during the progress of constructing Monarchism and statesmanship, which included imperial examinations, erudite and an important part - compilation and translation of Han classics and history. Its translation formed Qing’s cultural undertakings as necessary parts and served as a carrier of Qing’s ethnic relations and cultural policies. It was the same as other cultural activities of Qing dynasty. They related to and complemented each other, which made a contribution to promoting mutual understanding among peoples and maintaining the stable development of the dynastic system.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:26, 30 September 2021 (UTC)

Since then when it comes to Man and Han culture communication, all the dominants of Qing dynasty would freeze Han people but also promoted their culture at the same time.
During the process of constructing Monarchism and statesmanship, the dominators of early Qing dynasty implemented numerous cultural policies around the idea of “respecting and emphasizing Confucianism”,which included imperial examinations, erudite etc. and also compilation and translation of Han classics and history as an important content. Translating Han classic is an important part of Qing culture and the critical carrier of its ethnic relationship and cultural policies. Like other cultural activities it related to each other functionally and made great contributions to ethnic communication and the solid development of Qing dynasty.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:18, 11 October 2021 (UTC)

==英语语言文学（语言学） 202120081491 黄锦云女==

作为汉籍翻译的管理者和实践者，译者们承担了沟通满、汉文化的历史使命，其所翻译的汉族书籍不仅有效增进了旗人对于汉文化的了解，而且为新生政权进行制度建设，以及合法性的建构发挥了历史性作用。

一满洲前身时期的汉籍翻译

满洲的前身系女真，语言文字上属阿尔泰语系。

As the manager and practicer of translating Han's books, translators take charge of the historial mission to combine Manchu cultrue and Han cultrue. Their translations not only enhance the Bannermen to know Han cultrue, but also play a historical role in forming a new regime and conlidating its validity.--Translation of Han's books before Manchu period
Manchurians originates from Nvzhen race, and their language and character belongs to Altaic languages.

As managers and practitioners of translation of Han's books, the translators undertake the historical mission of cultural communication between the Manchu nationality and the Han nationality. Their translations of Han's books not only efficiently improve the Manchu's understanding of Han culture, but also play a historical role in system construction for new regime and legal construction.
-- Translation of Han's books before the Manchu period
Manchurians originate from Nvzhen race, and their language belongs to Altaic language.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:11, 9 October 2021 (UTC)

==英语语言文学（语言学） 202120081495 邝艳丽女==

满族和历史上的女真族一样，原本没有自己的语言，记事时需要借用其他民族文字。《金史》中说：“初无文字，国势日强，与邻国交好，迺用契丹字。”[ 杨家骆：《金史》，台北：鼎文书局，1985年，第1684页。] 金朝立国后，初期的内、外公文几乎都用契丹文书写，金太祖本人也擅长契丹语。
As Jurchen in the history, the Manchu nationality did not have its own language, and they needed to use other national characters when making a memorandum. "The Jin dynasty did not have their own characters, but with its increasing development and its need to deal with the relation with neighbouring country, then used Khitan characters" said in ''The History of Jin Dynasty''[Yang Jialuo: ''The History of Jin Dynasty'',Taipei: Dingwen Publishing House, 1985, p.16884] After Jin Dynasty was established, the official documents inside and outside the court were nearly written with Khitan characters, even the Emperor Taizu of Jin Dynasty was skilled in using Khitan language.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Li Aixuan|talk]])09:41, 29 September 2021 (UTC)

As Jurchen in the history, the Manchu nationality did not have its own language. Therefore, keeping a record of events depended on the characters of other nation. Said in The History of Jin Dynasty, "the Jin dynasty did not have their own characters, but with its increasing development and its need to deal with the relation with neighbouring country, then used Khitan characters". [Yang Jialuo: The History of Jin Dynasty,Taipei: Dingwen Publishing House, 1985, p.16884] After the establishment of Jin Dynasty, the official documents at home and abroad were nearly written in Khitan characters, even the Emperor Taizu of Jin was skilled in using Khitan characters.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:34, 29 September 2021 (UTC)

==英语语言文学（语言学） 202120081496 李爱璇女==

然而，契丹语与金人女真语差距较大，因而金太祖命完颜希尹、叶鲁依据汉人楷字，并参照契丹字制度，创制适合本族的语言文字“女直文”。天辅（金太祖年号）三年，女直文依诏令颁行，称“女直大字”。二十年后，即1138年，金熙宗完颜亶又命人参照契丹字，创制并颁布另一种女直文字，即“女直小字”。
However, there was a huge gap between the Khitan language and the Jurchen language. Therefore, the Emperor Taizu of Jin ordered Wanyan Xiyin and Ye Lu to create a language suitable for their own people, Jurchen script, based on the Han regular script and referring to the Khitan script system. In the third year of the period of Tianfu (the reign title of Emperor Taizu of Jin), according to the edict, the Jurchen script was enacted as "Jurchen Large Script". In 1138, twenty years later, Wanyan Dan, the Emperor of Xizong, ordered someone to create and enact another kind of Jurchen script, namely "Jurchen Little Script", referring to the Khitan script system.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:15, 29 September 2021 (UTC)
However, there was a big gap between Khitan language and Jin Nuzhen language. Therefore, Jin Taizu ordered Wanyan Xiyin and Ye Lu to create a language suitable for their own nationality "Jurchen script", according to the regular script of Han people and with reference to the Khitan character system. In the third year of Tianfu (the year of emperor Taizu of Jin Dynasty), Jurchen script was issued in accordance with the imperial edict, known as "Jurchen Large Script". Twenty years later, in 1138, Jin Xizong, Wanyan Dan ordered people to create and promulgate another Jurchen script, namely “Jurchen Little Script", according to the Khitan character.— Li Xichang

==英语语言文学（语言学） 202120081502 李习长男==

金世宗继位后，在推动女直文字的使用上，力度更大，举措更丰。如大定（金世宗年号）四年，金世宗令翰林侍讲学士徒单子温等用女直大、小字，翻译经书。女直文字的创制，对金朝翻译汉书影响巨大，而汉书翻译又影响了金朝的政治制度与国家治理。

After Jin Shizong succeeded to the throne, he made greater efforts and took more measures to promote the use of nvzhi characters. For example, in the fourth year of Dading (the year of Jin Shizong), Jin Shizong ordered the Imperial College to teach the bachelor's Apprentice Shan Ziwen to translate scriptures in large and small characters. The creation of nvzhi characters had a great impact on the translation of Chinese books in the Jin Dynasty, which in turn affected the political system and national governance of the Jin Dynasty.

After Jin Shizong succeeded to the throne, he made greater efforts and took more measures to promote the use of nvzhi characters. For example, in the fourth year of Dading (the year of the region of emperor Jin Shizong), he ordered his disciple Shan Ziwen and other Shijiang academicians of Hanlin to translate Confucian Classics in Jurchen large and small scripts. the creation of Jurchen script had a great impact on the translation of Chinese books in the Jin Dynasty, and that, in turn, the Chinese books affected the political system and national governance of the Jin Dynasty.—[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 03:39, 29 September 2021 (UTC)

==英语语言文学（语言学） 202120081519 邱婷婷女==

如大定五年，金世宗命徒单镒翻译《贞观政要》和《白氏策林》等书，次年徒单子温将译本进呈皇帝。大定七年，《史记》和《西汉书》等翻译成书，金世宗敕令刊刻颁行。大定十五年，金世宗再令翻译各部经书，由温迪罕缔达（著作佐郎）、宗璧（编修官）、阿鲁（尚书省译史）、杨克忠（史部令史）等负责对译本进行注解。

For example, in the fifth year of Dading (the year of the region of emperor Jin Shizong), the emperor ordered his disciple Shan Yi to translate The Political Program of Zhen Guan and Bai Shi Ce Lin, etc. Then emperor Shizong received the translations submitted by another disciple named Shan Ziwen in the next year. In the seventh year of Dading, the Records of the Grand Historian and the book of the Western Han Dynasty were translated into books, which were printed and issued by the royal decree of emperor Shizong. What’s more, he released an order again translating several Confucian classics which were annotated by Wendihan Dida （assistant of Zhu Zuolang）， Zong Bi（ BianxiuOfficer), A Lu( translator of history of Department of State Affairs ), Yang Kezhong( Lingshi of the Ministry of Official Personnel Affairs ) etc.

Annotation:
1.Zhu Zuolang: A person whose responsibility is to compile historical works.
2.Bianxiu: The official name, first placed in the Song Dynasty, is mainly responsible for the revision and compilation of documents.
3.Lingshi: Official name; the general name of petty officials in the government since the song and Yuan Dynasties.—[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 16:58, 28 September 2021 (UTC)

For example, in the fifth year of Dading (the year of the region of emperor Jin Shizong), the emperor ordered his disciple Shan Yi to translate ''The Political Program of Zhen Guan'' and ''Bai Shi Ce Lin'', etc. Then emperor Shizong received the translations submitted by another disciple named Shan Ziwen in the next year. One year later,''the Records of the Grand Historian'' and ''the book of the Western Han Dynasty'' were translated into books, which were printed and issued under the royal decree of emperor Shizong. What’s more, he released an order again translating various kinds of Confucian classics, and put Wendihan Dida （assistant of Zhu Zuolang）， Zong Bi（ BianxiuOfficer), A Lu( translator of history of Department of State Affairs ), Yang Kezhong( Lingshi of the Ministry of Official Personnel Affairs ) etc.in chagrge of the annotation of the translations of these books.

Annotation:
1.Zhu Zuolang: A person whose responsibility is to compile historical works.
2.Bianxiu: The official name, first placed in the Song Dynasty, is mainly responsible for the revision and compilation of documents.
3.Lingshi: Official name; the general name of petty officials in the government since the song and Yuan Dynasties.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:00, 29 September 2021 (UTC)

==英语语言文学（语言学） 202120081520 饶金盈女==

金世宗在位期间，朝廷设立译经所，专司汉文经史的翻译。期间，所译汉书除上述几种之外，另有《易》、《书》、《论语》、《老子》、《孟子》、《扬子》、《文中子》、《刘子》以及《新唐书》等。之所以翻译这些书籍，是因为金世宗希望女直人了解汉人的仁义道德，以利于治国安邦。
During the reign of Wan Yanyong, the fifth emperor of the Jin Dynasty, the imperial court set up a sutra translation office to specialize in the translation of scriptures and historical materials written in classical Chinese. Meantime, in addition to the above-mentioned Chinese books, there were also ''Yi'', ''Shu'', ''the Analects of Confucius'', ''the Laozi'', ''the Mencius'', ''the Yangzi'', ''the Wenzhongzi'', ''the Liuzi'' and ''the New Book of Tang Dynasty''. The reason why these books were translated was that Wan Yanyong hoped that the Jurchen people would get some knowledge of the humanity, justice, and morality of Han people by reading these books, so as to develop a prosperous and stable country.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:05, 28 September 2021 (UTC)

During the reign of Emperor Jin Shizong,the imperial court set up a classics translation office concentrating on the translation of Chinese classics. During this period,apart from translating the above-mentioned Chinese classics, they also translated " Yi", "Shu", "the Analects of Confucius", "Laozi", "Mencius", "Yangzi", "Wenzhongzi", "Liuzi" and "New Book of Tang", etc. The reason why Jin Shizong chose these classics was that he hoped that Nuzhi people could know the virtue and morality of Chinese by reading these classics. And then he could rule the nation better and build a stable society. -- Yang Aijiang (talk) 21.57. 11 October 2021

==英语语言文学（语言学） 202120081541 杨爱江女==

然而，当时的女直字与汉字不能直接对译，中间需要经过转译为契丹字。为解决这一问题，金章宗在位期间，诏设弘文院，命人译写儒家经典并讲解。旋即，又废止契丹字，要求嗣后汉文典籍直接译为女直字，以省去须经契丹字转译的中间环节。

However, it was not feasible to translate Nvzhi characters into Chinese characters at that time. And it needed to be translated into Khitan characters first. During the reign of Emperor Jin Zhangzong, he set up Hongwen Academy and commanded his ministers to translate and explain Confucian classics in order to figure out the language problem. Besides, Jin Zhangzong abolished its use of Khitan characters and demanded that the Chinese classics should be translated in Nvzhi characters directly, omitting taking advantage of the translation of Khitan characters as a bridge.

However, Nvzhi characters could not be directly translated into Chinese without being rendered into Khitan ones first. During the reign of Emperor Jin Zhangzong, he set up Hongwen Academy and commanded his ministers to translate and explain Confucian classics in order to figure out the language problem. Soon after, Jin Zhangzong abolished the use of Khitan characters and demanded that the Chinese classics should be translated into Nvzhi characters directly, avoiding the intermediate step of using Khitan characters.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 13:37, 11 October 2021 (UTC)

==英语语言文学（语言学） 202120081547 殷美达女==

金朝政权覆灭之后，虽然留居东北故地的少数女直上层人士尚能娴习女直文，但女直字作为一种语言逐渐失传。明朝政府设置“四夷馆”后，又延人专习女直字，以应付中央与地方政府，或中央与藩属地之间的通译需要。虽然如此，女直语的凋落已成定势。

二太祖时期汉籍（书）翻译之“始”

After the collapse of Jin Dynasty, a small number of upper class Nuzhen people who still lived in northeastern China were proficient in Nuzhen language, but its words were being lost gradually. The Ming Dynasty, when setting up "Academy of Eastern Minorities ", hired particular people to study Nuzhen language to meet the needs of communication and translation between the central and local governments or its dependent territories. Nevertheless, the decline of Nuzhen language had become a foregone conclusion.
Second, the initial translation of Chinese books during the reign of the first emperor of Qing Dynasty.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:46, 30 December 2021 (UTC)

After the collapse of the Jin Dynasty, although a small number of Nuzhen upper class people living in Northeast China were very proficient in Nuzhen language, Nuzhen characters have been gradually lost. Having set up the Si-yi-guan, the Ming Dynasty hired people to specially learn Nuzhen characters to meet the needs of translation between the central government and local governments or its affiliated places. Nevertheless, the decline of Nuzhen language is inevitable.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 01:18, 29 September 2021 (UTC)

==英语语言文学（语言学） 202120081557 周巧女==

明朝万历年间，努尔哈赤率部崛起之时，作为女直后裔的满族并无文字。那时，文移往来必须靠蒙古语的学习与翻译才能完成。为满足文移往来，记注政事的需要，并解决“今我国之语，必译为蒙古语读之，则未习蒙古语者，不能知也”的问题，清太祖努尔哈赤于明万历二十七年，命额尔德尼、噶（gá）盖等改制国书（即，国家的语言文字），以改变满人说女真语却写蒙古字的尴尬局面。[ 明珠等奉敕修：《清实录·太祖高皇帝实录》，北京：中华书局，1986年，第2页。]
In the wanli period of Ming Dynasty, when Nurhachi led the rise of the Manchu, as a straight descendant of Jurchen, it had no written words. At that time, the exchange of letters had to rely on Mongolian learning and translation to complete. For recording the political affairs and solving the problem that "Nowadays, the language of our country have to be translated into Mongolian to read, otherwise people can’t understand it without the learning of it. In the wanli 27 years of Ming Dynasty, Emperor Nurhachi（the first founder of Ming Dynasty） ordered Erdeni, Gagai and etc to reform credentials (namely the national language), which is to change the embarrassing situation of Manchu speaking Jurchen language while writing Mongolian. Beijing: Zhonghua Book Company, 1986, p. 2.

During the Wanli period of Ming Dynasty, when Nurhachi led the rise of the Manchu, the Manchu, as the straight descendant of Jurchen, had no written words . At that time, the exchange of letters had to rely on Mongolian learning and translation. In order to meet the need of exchange of letters, recording and annotating the political affairs as well as solving the problem that "Nowadays, the language of our country have to be translated into Mongolian to read, and the people who do not learn Mobolian can't understand it.", in the Wanli 27 years of Ming Dynasty, Emperor Nurhachi（the first founder of Ming Dynasty） ordered Erdeni, Gagai and etc to reform credentials (namely the national language), which aimed to change the embarrassing situation that Manchu speaking Jurchen language while writing in Mongolian. Beijing: Zhonghua Book Company, 1986, p. 2.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:16, 30 September 2021 (UTC)

==英语语言文学（语言学） 202120081561 朱素珍女==

自此，满洲的语言和文字渐趋一致。然而问题在于，此时创制的满洲语言（老满文）系参照畏兀儿体老蒙文字母，而蒙古与女真语音原本存在差异，借用的蒙文字母未必能充分传达女真语言的意义。如太宗皇太极在评价老满文时所说，“书中寻常语言，视其文义，易于通晓”，但“至于人名、地名，必致错误。”[ 中国第一历史档案馆、中国社科院历史研究所译注：《满文老档》，北京：中华书局，1990年，第1196页。]

From then on, the languange and the forms in Manchurian language are gradually consistant. However, the problem is that the Manchurian language(Old Manchu) was created with the guidance of Uighur Old Mongolia alphabets, and there exist original difference between Mongolia and Jurchen pronunciation. Therefore, the borrowed Mongolian alphabets could not explicitly express the meaning of Jurchen language. Just as what the great emperor Taizong Hoang Taiji said when he evaluated Old Manchu: "You can easily understand the meaning of the ordinary language in a book written in Old Manchu. However, in terms of the name of people and places, the Old Manchu would lead you to misunderstanding without any doubt." (Translated by The First Historical Archives of China and Institute of Chinese Social History :''Manchu Old File'',Peking:Zhonghua Book Company,1990, page 1196.)
Annotation:
1. Jurchen: an ancient nationality in China
2.Uighur(畏兀儿体/古维吾尔语): the earliest Mongolian Chinese characters
3. Old Manchu:the language used by ancient Machurian
4. Manchurian: the founder of Qing Dynasty

From then on, the languange and the characters in Manchurian language are gradually consistant. However, the problem is that the Manchurian language(Old Manchu) was created with the guidance of Uighur Old Mongolia alphabets, and there existed original difference between Mongolia and Jurchen pronunciation. Therefore, the borrowed Mongolian alphabets could not explicitly express the true meaning of Jurchen language. Just as what the great emperor Taizong Hoang Taiji said when he evaluated Old Manchu: "You can easily understand the meaning of the ordinary language in a book written in Old Manchu. However, in terms of the name of people and places, the Old Manchu would lead you to misunderstanding without any doubt." (Translated by The First Historical Archives of China and Institute of Chinese Social History :“Manchu Old File'',Peking:Zhonghua Book Company,1990, page 1196.) --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 05:10, 3 October 2021 (UTC)Chen Huini
Annotation:
1. Jurchen: an ancient nationality in China
2.Uighur(畏兀儿体/古维吾尔语): the earliest Mongolian Chinese characters
3. Old Manchu:the language used by ancient Machurian
4. Manchurian: the founder of Qing Dynasty

==英语语言文学（英美文学） 202120081479 陈惠妮女==

为此，皇太极命“巴克什”达海对老满文加以改进，使其音、义明晓，有助于学习，形成了所谓“新满文”。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第13页。]文字虽已形成，但满人一时间几乎无书可读，原因有二：其一，此时的满文尚属草创，旗人尚不能以满语编纂书籍；其二，汉字书籍的获取极为不易。
面对上述情况，太祖努尔哈赤敕令在旗人中延请师傅，教子弟读书，并令达海等人以满文翻译汉文典籍。
Therefore, the King asked Baks Dahai to develop the Old Manchu to make its sound and meaning more clear, which maked it easier to learn. It is in this way that the so-called New Manchu was formed. [E'ertai et al. Fengxiu: "Records of the Qing Dynasty·Records of Emperor Taizongwen", Beijing: Zhonghua Book Company, 1985, p. 13. ] Although the characters and words have been developed, the Manchu can hardly find bookes to read for two reasons. One is that the Manchu language at that time is still an initial creation. The other is that it's so hard to get the books in Chineses charaters.On the face of this situation, Taizu Nurha Chi invited masters among the bannermen to teach children to read, and ordered Dahai and others to translate Chinese classics in Manchu. --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:59, 29 December 2021 (UTC)Chen Huini

Therefore, Huang Taiji (an emperor of Qing Dynasty) instructed "Bakshi (a title of a scholar of Qing Dynasty)" Da Hai to develop the Old Manchu to the so-called "New Manchu", which made the sound and meaning more clear and then make it easier to learn. [E'ertai et al.: Factual Record of Qing Dynasty·Factual Records of Emperor Taizongwen, Beijing: Zhonghua Book Company, 1985, p. 13. ] Although the characters and words have been formed, the Manchu for a time almost no books to read for two reasons. One is that the Manchu language at that time was still an initial creation, and the Bannermen couldn't compile with it. The other was that the acquisition of books in Chineses charaters was extremely hard.On the face of this situation, Taizu Nurha Chi invited masters among the bannermen to teach children to read, and ordered Dahai and others to translate Chinese classics into Manchu.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 10:16, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081482 程杨女==

《清史列传》中对此的记载如下：弱冠，太祖高皇帝召直文馆，凡国家与明及蒙古、朝鲜词命，悉出其手。有诏旨应兼汉文者，亦承命传宣，悉当上意。旋奉命译《明会典》及《素书》、《三略》。[ 王钟翰点校：《清史列传》，北京：中华书局，1987年，第187页。]
The records of Da Hai in ''the Biographies of the Qing Dynasty'' as follows: at the age of twenty, he was called into the imperial palace and served in Wen Guan (the bureaucratic ministry for translating Chinese books in the early Qing Dynasty). The naming of new words that related to the Ming Dynasty, Mongolia and North Korea were all by him to complete. He was also instructed to convey some of the Chainese-related orders totally reflecting the will of the emperor. Soon, he was asked to translate ''the Code of Ming Dynasty'', ''Su Shu''(written in Qing Dynasty), and ''San Lue''(written by Huang Shigong).[''The Biographies of the Qing Dynasty'', edited by Wang Zhonghan, Zhong Hua Book Company, 1987, pp.187.]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 03:52, 29 September 2021 (UTC)

The records of Da Hai in ''the Biographies of Qing Dynasty'' as follows: at the age of twenty, he was appointed by Nurhachi①as a translator in Wen Guan②. The naming of new words that related to Ming Dynasty, Mongolia and North Korea were all by him to complete. He was also instructed to convey some of the Han's language-related orders totally reflecting the will of the emperor. Soon, he was asked to translate ''the Code of Ming Dynasty'', ''Su Shu''③, and ''San Lue''④.[''The Biographies of the Qing Dynasty'', edited by Wang Zhonghan, Zhong Hua Book Company, 1987, pp.187.

Annotation:①Nurhachi:the founder of Qing Dynasty, 1559–1626. ②Wen Guan: the bureaucratic ministry for translating Chinese books in the early Qing Dynasty. ③''Su Shu'': moral principles written in Western Han Dynasty by Huang Shigong. ④''San Lue'':military monograph written in Western Han Dynasty by Huang Shigong.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:10, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081483 丁旋女==

上文中所谓《明会典》，又称《大明会典》，系明代典章制度史书，内容涉及汉族文教、历法、习俗等。与《明会典》不同，《素书》成书于西汉，并非典章著作，而是哲理之学，道家思想的智慧之作。《三略》又名《黄石公三略》，既是军事战略专论，又糅合了诸子百家思想。
''Code of Ming Dynasty''① mentioned above, also known as ''Code of Great Ming Dynasty'', is one historical book about laws and regulations in the Ming Dynasty, covering Education of Han②, the Chinese calendar, and custom and so on. Different from Code of Ming Dynasty, ''Su Shu''③ written in the Western Han Dynasty is a wisdom work full of philosophy and Taoism rather than law and regulations. ''Sun-Lue''④, also called Sun-Lue of Huang Shigong, is not only a military strategy monograph but a mixture of the hundred schools of thought.

Annotation:
①''Code of Ming Dynasty'': One code about Ming’s laws and regulations in many aspects started to write in 1393 and finished in 1578.
②Education of Han: The education policy initiated by emperors of Ming Dynasty in order to transmit Confucianism thoughts and consolidate their reign.
③''Su Shu'': It is one book full of principles and truth written by Huang Shigong in the western Han Dynasty. It is used for the reign of country because of its instructive and moral function.
④''Sun-Lue'': It is one famous ancient military book including three parts written by Huang Shigong in the Western Han Dynasty. The military thoughts in it are critically useful and different from others because it discusses military strategies from political perspective.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 06:43, 29 September 2021 (UTC)
''Code of Ming Dynasty''① mentioned above, also known as ''Code of Great Ming Dynasty'', is one historical book about laws and regulations in the Ming Dynasty, covering the range of Education of Han②, the Chinese calendar, and customs and so on. Different from Code of Ming Dynasty, ''Su Shu''③ written in the Western Han Dynasty is a work full of philosophical wisdom and Taoism rather than law and regulations. ''Sun-Lue''④, also called Sun-Lue of Huang Shigong, is not only a military strategy monograph but a mixture of the hundred schools of thought.

==英语语言文学（英美文学） 202120081485 付红岩女==

以上三者皆是重要的汉文典籍，清太祖令达海翻译它们，开启了清代翻译汉籍（书）之先河，其政治策略上的深刻用意不言而喻。

三太宗时期汉籍（书）翻译之“兴”

太宗皇太极即位后，为鼓励旗人读书，多措并举：一方面，要求“十五岁以下，八岁以上者，俱令读书”，惩处不愿教子读书者；另一方面，为改善“无书可读”的情况，又致函朝鲜，索求汉文典籍。

Since the three ancient books just mentioned above were all significant Chinese classics, Nurhaci, the Emperor in Qing Dynasty requested Dahai, the official should translate the classics into the mongolian, whose profound meaning in the aspect of political layout was very explicit.
Third, the interest of translating Chinese classics has reached its climax during the power of Nurhaci.
After NUrhaci’s coming into the power, many decrees has been enacted in attempt to encourage the people to read. On the one hand, the teenagers between 8 and 15 were allowed to read. In addition , the parents who were reluctant to support their offspring to read would be punished. On the other hand, Qing Dynasty sent a letter to Korea, in which the former asked the later to denote more Chinese classics in order to improve the predicament that the books were not enough to read.

批改：译者译文总体流畅，对原文理解总体得当。以下为细节处理上的建议

1.“清太祖”一词为中国专有名词，应先查后译。清太祖指的是努尔哈赤（1616-1626），是后金第一位大汗，清朝的奠基者，太祖在位时，“大清国”还没有定鼎中原，故此时的“清”并不能算是中国的一个朝代。译者将其处理为“the Emperor in Qing Dynasty”不够严谨。
建议改为：Nurhaci, the Founder of Qing Dynasty

2.“三太宗时期汉籍（书）翻译之‘兴’”此处为论文小标题，首先，应当注意标题格式。结构上，原文为名词短语，译者翻译时使用英语句子的SVO（A）结构，虽然意思完整，但失去了原文的简洁。
词语上，“兴”强调翻译之风的兴起、盛行，译者将其处理为“reached its climax”缺乏严谨性，太宗时期不一定是汉籍翻译的高潮时期。
建议改为：Third The Prosperity of Chinese Classics Translation During the Power of Nurhaci

3.“十五岁以下，八岁以上者，俱令读书”
词语上，“令”是主动要求的意思，译者将其处理为“be allowed”，即被允许读书的可能性，读与不读似乎都是可以接受的。结合后文“惩处不愿教子读书者”，说明“令”是强制的。“be allowed”不能精准传达出原文清政府对旗人读书的鼓励与强制性。
结构上，原句省略了主语（清政府），原意为：清政府要求十五岁以下，八岁以上的人都得读书。译者将主动结构改为了被动结构，突出强调了实施对象。
建议改为：The teenagers between 8 and 15 were asked to read.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:20, 29 September 2021 (UTC)

All the above three were important Han classics, so Nurhaci, the founder of Qing Dynasty, commanded Dahai to translate them into Manchu language, which opened the floodgates to the large-scale translations of Han classics and its profound political meaning was explicit.

Third The Prosperity of Chinese Classics Translation During the Power of Nurhaci

After Abahai, the son of Nurhaci, coming into power, many decrees has been issued to encourage people to read and study. On the one hand, hand, teenagers between 8 and 15 were asked to study, and their parents would be punished if they were unwilling to educate their children; On the other hand, in order to avoid the scarcity of Han classics, Qing Dynasty sent a written request to Korea for a generous lending.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:43, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081497 李瑞洋女==

《朝鲜王朝实录·仁祖实录》中写道：“闻贵国有金、元所译《书》、《诗》等经及《四书》，敬求一览，惟冀慨然。”[ 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第38页。]可见，皇太极此时想要借阅的并非汉文原书，而是汉籍的金、元译本，即女真语和蒙古文译本。对此，朝鲜政府方面虽然进行了回应，但态度并不热忱：见索《诗》、《书》、《四书》等书籍，此意甚善，深嘉贵国尊信圣贤，慕悦礼义之盛意。

As mentioned in ''King Injo the Great'', one of the volumes in ''Annals of the Korean Dynasty'' “We heard your country have ''the Four Books'' and other classics including ''The Book of Poetry'' and T''he Book of History'', which were translated in Jin Dynasty and Yuan Dynasty, so we sincerely hope your generous lending of these books.” [National History Compilation Committee: ''Annals of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973,P38] Obviously, at this time what Huang Taiji wanted to borrow was not the original Chinese book, but the Jin and Yuan translations, namely the Jurchen and Mongolian versions. Although Korean officials responded to this request, they were not very willing: It is very nice of you to ask for the Four Books and other classics including ''The Book of Poetry'' and ''The Book of History'', and we really appreciate your country’s popularity of respecting men of virtue and advocating courtesy and justice.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 02:19, 29 September 2021 (UTC)

It was recorded in ''King Injo the Great'', a volume of ''Annals of the Korean Dynasty'', that “We have heard your country have classics like ''The Book of Songs'', ''The Book of History'' and ''the Four Books'' , which were translated in Jin and Yuan Dynasties, so we sincerely hope for your generous lending of these books to us.” [National History Compilation Committee: ''Annals of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, 38.]
Obviously, what Huang Taiji wanted to borrow at that time were not the original Chinese books, but the translated versions of Jin and Yuan periods, namely the Jurchen and Mongolian versions. Although Korean officials respondedt, they didn't give a active response: It is glad to receive your borrowing request of these books, and we do appreciate your country’s deeds of respecting men of virtues and advocating courtesy and justice.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:28, 30 September 2021 (UTC)

==英语语言文学（英美文学） 202120081498 李姗女==

第国中所有，只是天下通行本，而金、元所译，则曾未得见，兹未能奉副，无任愧歉。[ 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第62页。]

由于未能索得属意书籍，皇太极遂令达海继续翻译，后者于天聪六年开始翻译《通鉴》、《六韬》、《孟子》、《三国志（通俗演义）》，以及《大乘经》等。只可惜，由于达海英年早逝，上述书籍未能译竟。

The one that existed in the great empire was just a general version that circulated all over the country.（* But the one that existed in the whole country was just a general version.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC)） As the translating versions of Jin and Yuan were not publicized yet, it's a pity that their works were not able to be offered to the emperor.（* However, the translated versions in Jing Dynasty and Yuan Dynasty hadn't published yet.It's a pity that their works were not able to be offered to the emperor.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC)) [National History Compilation Committee: ''Records of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, 63.]

Failing to obtain desired translation versions,the first emperor of Qing dynasty, ordered Dahai to continue his translation work. And in the sixth year of Huangtaiji's rule (the year of 1632), Dahai began to translate ''History as a Mirror'', ''The Six Arts of War'', ''The Records of Three Kingdoms'' as well as ''Mahayana Sutra'' and so forth. [* ''Tong Jian'' ( a history book), ''Liu Tao'' ( a military book), ''Mencius''，''Records of the Three Kingdoms'' and ''Dacheng Jing'' ( a book about Buddhism) --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC)] Unfortunately, the translation of these books was not finished as a result of Dahai's early death.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 12:46, 11 October 2021 (UTC)

==英语语言文学（英美文学） 202120081500 李文璇女==

清初之际，达海被满洲“群推为圣人”，他翻译的汉文书籍对于拓展满族的知识范围，甚为关键。[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第58页。]《清实录·太宗文皇帝实录》中说：其平日所译汉书，有《刑部会典》、《素书》、《三略》、《万宝全书》俱成帙。（天聪六年）时方译《通鉴》、《六韬》、《孟子》、《三国志（通俗演义）》及《大乘经》，未竣而卒。
In the early Qing Dynasty, Dahai was regarded as a sage by the people of Manchuria. The Chinese books translated by him was significant for extending the knowledge. In the book ''Memoir of the Qing Dynasty'' for the Emperor Taizong, it recorded that the books Dahai had translated, including ''Records of Ministry of Punishment'', ''Su Shu'' ( a book about Taoism), ''San Lue'' ( a military book), ''Wan Bao Quan Shu'' ( a book about daily life), all of which had been compiled into volumes. In 1632, he translated ''Tong Jian'' ( a history book), ''Liu Tao'' ( a military book), ''Mencius''，''Records of the Three Kingdoms'' and ''Dacheng Jing'' ( a book about Buddhism). However, he died without finishing these books. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:26, 28 September 2021 (UTC)--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:38, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081501 李雯女==

初我国未深谙典故，诸事皆以意创行，达海始用满文，译历代史书，颁行国中，人尽通晓。惟我太祖天纵聪明，因心肇造，所行皆与古圣贤同符默契。达海与额尔德尼应运而生，实佐一代文明之治云。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第10页。]
In the beginning, our country was not familiar with the ancient books and stories, so everything began by "thoughts". Since Dai Hai began to use Man Character to translate historical books of the past dynasties and promulgated it in our country, it has become universal among public. Only my great Grandfather, gifted and wise, created from the heart, and acted in accordance with the ancient sages. So the Dai Hai and E Erdeni came into being following the tendecy, who help to create this generation of civilization.[E ertai,ect compiling by order of the Emperor;The record of Emperor Taizong in Qing Danasty,Beijing,Zhonghua Book Company,1985,Page 10.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:36, 29 September 2021 (UTC)

In the beginning, our country established things at will without the study of ancient classics. They were not well-known to the public until Da Hai translated historical books of the past dynasties in Manchu and promulated them in the country. Only the Emperor Taizu, who founded the dynasty on his own way, was so gifted and wise that what he had done was exactly accordance with the ancient sages.In reasponse to the call of the times, Da Hai and Erdeni came into being and helped to create this generation of civilization.[E ertai,ect compiling by order of the Emperor;''The Record of Emperor Taizong in Qing Danasty'',Beijing,Zhonghua Book Company,1985,Page 10.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:49, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081505 刘沛婷女==

如前所述，《明会典》、《素书》、《三略》等书的翻译始于太祖时期，但成书于天聪四年，其余书籍的翻译则为时稍晚。综观达海译书，既有《孟子》之类所谓“知正心、修身、齐家、治国”者，又有《素书》、《三略》和《六韬》等“益聪明智识，选练战攻的机权”者，以及《通鉴》等“知古来兴废事迹”者，他的翻译“实佐一代文明之治”。

以《刑部会典》（又称《明会典》）为例，达海译本既是天聪年间国家创制法律的依据，也是太宗推行政治改革的蓝本。

As mentioned above, the translation of ''Code of Great Ming Dynasty'', ''Su Shu'' and ''Three Policies'' began in the reign of Taizu but was completed in 1630. The other books were translated a little later. Da Hai's translations covered abundant eminent men, such as those in ''Mencius'' who make their minds just, morality cultivated, families regulated and the country governed orderly, and those with extrodinary intelligence and knowledge of training and combat in ''Su Shu'', ''Three Policies'' and ''Six Strategies'', as well as the men knowing the rise and fall of ancient times in ''Comprehensive Mirror for Aid in Government''. Therefore, his translations did promote the rule of civilization.

Taking ''Code of Ministry of Penalty'' (also called ''Code of Great Ming Dynasty'')as an example,Da Hai's translations were not only the basis for establishing laws during the period of Tiancong, but also the blueprint for the political reforms carried out by Taizong.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 15:25, 28 September 2021 (UTC)

As mentioned above, the translating of ''Code of Great Ming Dynasty'', ''Su Shu'' and ''Three Policies'' began during the reign of Taizu but was completed in 1630, the fourth year under the reign of Taizong. Other books were translated at a later time. Given that in Da Hai's translations exist abundant eminent men, such as those in ''Mencius'' who make their minds just, morality cultivated, families regulated and the country governed orderly, and those with extrodinary intelligence and knowledge of training the military in ''Su Shu'', ''Three Policies'' and ''Six Strategies'', as well as the men comprehending the ups and downs experienced by dynasties in the past in ''Comprehensive Mirror for Aid in Government'', his translations did promote the governance under civilization.

Taking ''Code of Ministry of Penalty'' (also called ''Code of Great Ming Dynasty'')as an example,Da Hai's translations were not only the basis for establishing laws during the period of Tiancong, but also the blueprint for the political reform carried out by Taizong.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 02:46, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081508 刘晓女==

太宗素有“振兴文治”的愿望，不仅创制了作为清代考试制度之滥觞的生员和举人考试，而且使巴克什、笔帖式制度臻于成熟，二者合力使得汉籍翻译的风气渐开：一方面，作为“巴克什”或“笔帖式”，希福、尼堪、刚林、苏开等人先后奉敕“（翻）译汉字书籍”或“记注国政”；另一方面，太宗以自古国家“以文教佐太平”为由，令满人争相读书，从生员中选取“文艺明通者优奖之”。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第14页。]

在对待前朝即明代的问题上，太宗采取“讲和”与“自固”并行的政策，但其本人向往中原汉族文化，所谓“性嗜典籍，披览弗卷”即是这一情况的体现。

Holding the idea to "revitalize the administration by education and culture", Taizong not only created examinations from which the examination system of Qing Dynasty originated, for xiucai and juren, those who have passed in the exam at the county and provincial level respectively, but also made the Baksh and Bithesi system reach a mature state. Together, the two measures promoted the translation of books written in Chinese. On one hand, Xifu, Nikan, Ganglin and Su Kai, as "Bakshs" or"Bithesis", successively "translated Chinese books" or "annotated state affairs" by the order of the emperor. On the other hand, by saying that countries applied the education and culture to safeguarding the stablization since ancient times, Taizong urged people to scramble to study, and then awarded those from xiucai "who mastered literature and arts". (''Records of Qing Dynasty· Emperor Taizong'', edited by Ertai, officials in the Qing Dynasty, Beijing: China Publishing House, 1985, P14.)

In dealing with the treatment of the previous dynasty, that is Ming Dynasty, Taizong adopted the policy of "settling a dispute" and "self-consolidation". But he himself yearned for the Chinese culture of the Central Plains, which is embodied by the so called expression "Loving Chinese works and reading Buddha volumes."

Revised version：
Holding to the idea of "revitalizing the empire by education and cultural development", Taizong not only established shengyuan and juren exams（exams at the county and provincial level perspectively） initiating the imperial examination system of Qing Dynasty, but also brought the Baksh and Bithesi system to a mature state. Together, the two measures brought about the upsurge in translation of Han books. On the one hand, Xifu, Nikan, Ganglin and Su Kai, as "Bakshs" or"Bithesis", successively "translated Han books" or "annotated state affairs" by the order of the emperor. On the other hand, in the name of the national tradition of ensuring stabilization by education and cultural development, Taizong urged Man people to read and those shengyuan who stands out for their familiarity with literature and arts were awarded. (The Memoir of Qing Dynasty· Emperor Taizong, edited by Ertai, officials in the Qing Dynasty, Beijing: China Publishing House, 1985, P14.)

In dealing with the treatment of the former dynasty, namely Ming Dynasty, Taizong resorted to the policy of “peace negotiation” and " self-consolidation" in parallel. However, Taizong himself yearned for the Central Plains culture of Han, and the expression “a voracious reader of Han and Buddhist classics” can properly manifests it. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 07:53, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081510 刘运心女==

于是，太宗诏令儒臣翻译汉书，并命金、汉之人阅读。[ 同上，第2页。]太宗深知，汉文典籍言微而义大，其精要者不仅涉及帝王治平之道，而且涉及正心、修身、齐家之理。但汉文典籍数量庞杂，翻译时必须有所选择。
Therefore, Taizong issued an order asking the civilian official to translate Han books and all the Han and Jin people are required read those. (Ibid., p.2) Taizong knew well how brief and profound Han classics were. Their essence not only involves the governess of the country and its people, but also discusses inner integrity, decent behavior and family harmony. Nevertheless, a great number and variety of Han classics means what to be translated needs selection.

Therefore, Taizong ordered Confucian officials to translate Han books, while all the Han and Jin people were required to read those. (Ibid., p.2) Taizong knew well that Han classics were sublime works with deep meaning, whose essentials included not only the method of statecraft, but also self-cultivation and family regulation. Nevertheless, among a great number of Han classics, there must be an extraction.
--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 02:14, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081511 罗安怡女==

如天聪六年九月，王文奎奏请从读书笔帖式内，选取“伶俐通文者”一、二人，并从秀才内选取“老成明察者”一、二人，令其“讲解翻写”。天聪九年三月二十一日，仇震向太宗谏言，要求从汉人中选取精通经、史者二、三人，并从金人中选取熟悉字法者三、四人，将各经史典籍及《通鉴》（即《资治通鉴》）中“有裨君道”的精要部分“集为一部”，日日讲解，以便统治者在翻译、日讲中学习汉族文化，以及治世之道。[ 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第24-25、115页。]固然，对于汉文典籍与汉族文化，太宗并非全盘接受，而是辩证地加以吸收。
For instance, in September, 1632, the sixth year of T'ien-ts'ung (the first reign title of Emperor Taizong of Qing Dynasty), Wang Wenkui wrote to His Majesty, advising that they should elect one or two "literates who were skilled at writing and translation" from the bithesi, and one or two "scholars who were learned and perspicacious", for "teaching, interpretation, and translation" of Han classics. On March 21st, 1635, the ninth year of T’ien-ts'ung, Chou Zhen advised Emperor Taizong to elect two or three Han people who were proficient in lections and historical records, and three or four Jin people who were familiar with 字法. These scholars should choose essentials from classics and ''The Zizhi'' (''The Zizhi Tongjian'') , which benefits the ideas of ruling power of feudal emperors, and compile them into one book. Also they should discourse the compiled thoughts frequently, in which the ruler could learn the Han culture and method of statecraft. [Zhenyu, Luo .(罗振玉),《天聪朝臣工奏议》，Beijing：China Renmin University Press, 1989, P24-25, P115.] Of course, Taizong did accepted Chinese classics and han culture critically and dialectically.

For instance, in September, the sixth year of Tian Cong(the first reign title of Emperor Taizong of Qing Dynasty), Wang Wenkui wrote to His Majesty to pick up one or two who are "talented in literature” and pick up one or two who are "sophisticated and insightful"from the scholars for " interpretation, and translation" of Han classics. On March 21st, 1635, the ninth year of T’ien-ts'ung,Qiu Zhen advised Emperor Taizong to pick up two or three Han people who were proficient in lections and historical records, and three or four Jin people who were familiar with grammer to let them choose the essence which are benefical to the reign from classics and ''The Zizhi'' (''The Zizhi Tongjian'') and compile them into one book.After that,they should illuminate the compiled thoughts every day, which is beneficial to the study of the ruler about the Han culture and ruling ways. [Zhenyu, Luo .(罗振玉),《天聪朝臣工奏议》，Beijing：China Renmin University Press, 1989, P24-25, P115.] Definitely speaking, Taizong did accepted Chinese classics and han culture critically and dialectically.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:24, 29 September 2021 (UTC)(Luo Xi罗曦）

==英语语言文学（英美文学） 202120081512 罗曦女==

如天聪九年五月，上谕文馆诸臣：朕观汉文史书，殊多饰辞，虽全览无益也。今宜于《辽》、《宋》、《金》、《元》四史内，择其勤于求治而国祚昌隆，或所行悖道而统绪废坠，与夫用兵行师之方略，以及佐理之忠良、乱国之奸佞，有关政要者，汇纂翻译成书，用备观览。至汉文正史之外，野史所载，如交战几合，逞施法术之语，皆系妄诞，此等书籍，传之国中，恐无知之人信以为真，当停其翻译。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第9页。]

For instance，in May，the ninth year of Tian Cong，the emperor informed all the offcials in the cultural center that：I have read all those historical records in Han Dynasty filled with various ornaments，only to find that I have gotten nothing。Now you had better to pick up some references among <Liao>、<Song>、<Jin>、<Yuan> about some cases like dilligence making a prosperous country or idleness making a weak one,also,you can pick up some military stratedies,and some information about those noble and talented citizens or traitors,and than you ought to translate all those relevence and compile them into a book prepared to be read.As for those unofficial history in Han excluded,like how many rounds did soldiers battle or the spell spoken by wizards,are all the nonsense,which will bewilder the ignorant,deserving to be prohibited from translation.{E Ertai：《清实录、太宗文皇帝实录》，Beijing：Chinese bookstore，1985，p9.}

A modified version: For instance, in May 1653, the Emperor said to the ministers in Literature Institution(that is, the later Cabinet in Qing Dynasty), "I have leafed through the historical works in Chinese language with various ornamental rhetorics, but the complete reading of them is not beneficial. Now it is appropriate to select salient examples referred from the four historical recrods of ''Liao'', ''Song'', ''Jin'' and ''Yuan'', which will be compiled into books for later reading. These examples include those who were dedicated in governing the country thereby with a promising national development, or those who deviated from the correct path with weak administration, and the generals adept at warfare, loyal and honest servants assisting the sovereign to handle state affairs, the treacherous ones rendering the nation disorderly and chaotic as well as other relevant political workers. Meanwhile, apart from the official history, the unofficial historical works that record untrue events, like the conditions of battles, are all fabricated. If those unfavorable books are spread to the mainland, they may bewilder the ignorant and gullible individuals, thus deserving to be prohibited from translation. (E Eratai: ''Records of Qing Dynasty·Emperor Taizong'', Beijing: China Publishing House, 1985, Page9.)--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 04:47, 29 September 2021 (UTC)毛雅文

==英语语言文学（英美文学） 202120081514 毛雅文女==

由上可知，在汉籍翻译的问题上，太宗讲求的是实用，希望将翻译与政要相关联，反对翻译浮华藻饰的汉文书籍，或者野史中所载不足为信者。以《刑部会典》的翻译为例，该译本的刊刻与颁行逐渐成为太宗朝的临政规范。《天聪朝臣工奏议》中说：“近奉上谕，凡事都照《大明会典》行，极为得策。”[ 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。]

From here it can be seen that the Emperor Taizong put an emphasis on practicality with regard to the translation of Chinese works, hoping to associate translation with politics. He objected to the translation of Chinese books with flashy embellishments, or that of unofficial historical works recording unconvincing events. Take the translation of ''The Code of the Ministry of Penalty'' as an example. After its publication and promulgation, the tranlation of this code gradually became the norm of handling state affairs. ''The Petition of Ministers during the Reign of Tiancong'' states, "Recently, by the order of the Emperor, everything should be conducted in accordance with ''The Code of Ming Dynasty'', which is a desirable policy." (Luo Zhenyu: ''The Petition of Ministers during the Reign of Tiancong'', Beijing: China Remin University Press, 1989, Page2.)

From above it can be seen that the Emperor Taizong put an emphasis on practicality with regard to the translation of Chinese works, hoping to associate translation with politics. He objected to the translation of Chinese books with flashy embellishments, or that of unofficial historical works recording unconvincing events. Take the translation of The Code of the Ministry of Penalty as an example. After its publication and promulgation, the tranlation of this code gradually became the norm of handling state affairs. The Petition of Ministers during the Reign of Tiancong states, "Recently, by the order of the Emperor, everything has been conducted in accordance with The Code of Ming Dynasty, which is a desirable policy." (Luo Zhenyu: The Petition of Ministers during the Reign of Tiancong, Beijing: China Renmin University Press, 1989, Page2.)--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 10:19, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081516 牟一心女==

宁完我也说，我国六部的设立原是照“蛮子家立的”，因而金官对于部中当举事宜原本并不知情，而今翻译《会典》（即《明会典》），参汉酌金，加以“打动”，必将使其“去因循之习”而“渐就中国之制”。[ 同上，第82页。]

四世祖时期汉籍（书）翻译之发展

清初儒臣中，除额尔德尼、噶盖和达海之外，通满、蒙、汉字者不乏他人，如伊成额、希福、刚林等，便是其中姣姣者。

Ning Wanwo also said that the establishment of the six ministries in feudal China was based “on that of minority nationalities”, so the officers of Jin Dynasty had no idea about the affairs in the ministries. Now the translation of Code(a record of laws and systems of a dynasty)(namely, Code of Great Ming Dynasty) must refer to both the precedents of Central China and Jin Dynasty and amend them to make it get rid of rigid traditions and turn to the conventions of Central China.[ibidem, Page 82]

FOURTH The development of Chinese literature (books) in Qing Dynasty Shunzhi period

Among the civilian officials in the early Qing Dynasty, besides Erdeni, Gagai, Daher, there is no lack of masters of Manchu language, Mongolian and Chinese, such as Icher, Hifo, Galin, who were the strong performers among them.

Ning Wanwo also said that the establishment of the six ministries of feudal China was based on “that of the southerners”, so Jin Guan had no knowledge of the affairs concerning the appointment in the ministries. Now the translation of Code( a record of laws and systems of a dynasty)( namely, Code of Great Ming Dynasty) must refer to both the precedents of Han and Jin Dynasty and then amend them to make it get rid of rigid traditions and gradually conform to the conventions of Central China. [ibidem, Page 82.]

FOURTH The development of Chinese literature (books) in Shizu Period

Among the civilian officials in the early Qing Dynasty, besides Erdeni, Gagai, Daher, there is no lack of masters of Manchu language, Mongolian and Chinese, such as Icher, Hifo, Galin, who were the best performers of them.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:58, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081521 石丽青女==

据传，伊成额不仅将《太祖高皇帝实录》译成汉文，而且翻译了朝鲜所奏表章，以及《礼部会典》等书。[ 清高宗敕纂：《八旗满洲氏族通谱》，沈阳：辽沈书社，1989年，第10页。]希福兼通满、蒙、汉三种语言，他的翻译有别于伊成额，不是将满文译成汉语，也不是将朝鲜文译成满语，而是主要翻译汉书、汉典，所翻译的汉文书籍包括《辽》、《金》、《元》三史等。希福的上述译书于顺治元年进呈皇帝，获世祖恩赉。

It is said that Yi Cheng'e translated not only the Annals of Emperor Taizu Gao into Chinese, but also the seals played by North Korea and the Book of the Ministry of Ceremonies. [ Qing Gaozong's Royal Compilation: "Eight Banners Manzhou Clan Genealogy", Shenyang: Liaoshen Publishing House, 1989, page10.] Xifu was fluent in Manchu, Mongolian and Chinese. His translation was different from Yicheng'e. He did not translate Manchu into Chinese or Korean into Manchu, but mainly translated Chinese books and Chinese classics, including Liao, Jin and Yuan. Xifu's translation was presented to the emperor in the first year of Shunzhi and won the honor of Shizu. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:50, 29 December 2021 (UTC)

It is said that Yi Cheng'e translated not only the Factual Record of Taizu, but also the memorials presented to the emperor by North Korea, Records of the Board of Rites, and other books. [ Qing Gaozong's Royal Compilation: "Eight Banners Manzhou Clan Genealogy", Shenyang: Liaoshen Publishing House, 1989, page10.] Xi Fu was proficient in Manchu, Mongolian and Chinese, whose translation was different from Yi Cheng’e’s. Neither did he translate Manchu into Chineses nor Korean into Manchu, he mainly translated Chinese books and classics, including Liao, Jin and Yuan. Xi Fu’s translation was presented to the emperor in the first year of Shunzhi and won the honor of Shizu.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:14, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081523 王李菲女==

《清实录·世祖章皇帝实录》中，曾详细记载了希福进呈译本时的情形：窃稽自古史册所载，政治之得失，民生之休戚，国家之治乱，无不详悉具备，其事虽往，而可以诏今；其人虽亡，而足以镜世。故《语》云：“善者吾师，不善者亦吾师。”从来嬗继之圣王，未有不法此而行者也。

In the “Records of Qing Dynasty· Emperor Fu Lin”, there was a detailed record of the situation when Xi Fu presented the translation: in the ancient records, whatever gain and loss in politics, weal and woe of people’s livelihood, or governance and chaos of countries, they’ve all been documented in detail. Although things have passed, they can still enlighten us. The ancestors have passed away, they can also provide references. Therefore, the “Language” said, “The heroes are my teacher, and so are the villains .” Virtuous emperors from ancient times to present have all followed this rule.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:01, 28 September 2021 (UTC)

The “Records of Qing Dynasty· Emperor Fu Lin”, which once recorded in detail the situation when Xi Fu presented the translation: As far as I am concerned, from the ancient records, the gains and losses of politics, the welfare and woe of people’s livelihood, and the governance and chaos in the country, all of which have been documented in detail. Although things have passed, they can still enlighten us. Although the ancestors passed away, they are enough to mirror the world. Therefore, the “Language” says, “The success is my teacher, and so is the failure.” Virtuous emperors from ancient times have all followed this rule.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:01, 28 September 2021 (UTC) Edited by Wang Zhenlong.

==英语语言文学（英美文学） 202120081525 王镇隆男==

辽、金虽未混一，而辽已得天下之半，金亦得天下之大半，至元则混一寰区，奄有天下，其法令政教皆有可观者焉。我先帝鉴古之心，永怀不释，特命臣等将《辽》、《金》、《元》三史，芟（shān）削繁冗，惟取其善足为法，恶足为戒，及征伐畋（tián）猎之事，译以满语，缮写呈书。臣等敬奉纶音，将《辽史》自高祖至西辽耶律大石末年，凡十四帝，共三百七年；《金》凡九帝，共一百十九年；《元》凡十四帝，共一百六十二年，详录其有裨益者，……伏乞皇上万几之暇，时赐省览，懋稽古之德，弘无前之烈，臣等不胜幸甚。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第15-16页。]

Although Liao and Jin did not mix together, Liao had already won half of the world, and Jin had also won the other half. Until the Yuan Dynasty, they were combined into one whole world,and there were considerable and available laws, politics and religions. My first emperor’s desire to learn from the ancients will never be released. I and other ministers were ordered to edit and slash the three histories of "Liao", "Jin" and "Yuan", but take the good part as the law, and the evil part as the precepts. And the matters of conquering and hunting, were translated into Manchu,written and presented in a book. I and others followed respectfully my Lord ‘s orders,took the history of Liao from Gaozu to the last year of Yelu Dashi of Xi Liao, where there were 14 emperors, a total of 370 years; Jin, the nine Emperors, lasted one hundred and nineteen years;Yuan recorded all the fourteen emperors for 162 years, and had careful records of those who have benefited us, ... I beg my Lord to have occasional reviews when my Lord is not dealing with country’s affairs,and to encourage your people to live up to ancient virtues and promote the unparalleled huge achievement. I and other would greatly appreciate it. [E'ertai et al. revised with imperial edict "Records of the Qing Dynasty·Records of Emperor Shizuzhang", Beijing: Zhonghua Book Company, 1985, pp. 15-16. ]

Although Liao and Jin did not unite, Liao had already occupied half of the world, so had Jin. Until Yuan Dynasty, they combined and occupied the whole country, and there were considerable and available laws, politics and religions. My previous emperor’s desire to learn from the ancients will never be released. Other ministers and I were ordered to edit and slash ''the History of Liao, Jin and Yuan Dynasty'', take merits as the principle, and learn lessons from demerits. And the matters of conquering and hunting, were translated into Manchu, written and presented in a book. We followed respectfully my Majesty ‘s orders, took ''The History of Liao Dynasty'' from Gaozu to the last year of Yelu Dashi of Xi Liao, where there were 14 emperors, a total of 370 years; ''Jin'', nine Emperors, lasted one hundred and nineteen years; ''Yuan'' recorded all the fourteen emperors for 162 years, and had careful records of those who have benefited us, ... I beg my Majesty to have occasional reviews when he is not dealing with country’s affairs, and to encourage people to observe traditional virtues and advocate the unprecedent huge achievement. We all would greatly appreciate it. [E'ertai et al. revised with imperial edict ''Records of Emperor Shizuzhang in the Qing Dynasty'', Beijing: China Book Company, 1985, pp. 15-16. ]--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:35, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081526 卫怡雯女==

上文中，不仅明确论及汉文典籍的历史作用，而且阐述了翻译这些典籍的必要性、作用与目的等，其总目标是“懋稽古之德”，以翻译佐文教，治太平。换言之，希福希望通过翻译《辽》、《金》、《元》三史等，从中原汉族王朝中借鉴国家治理经验，以接续太宗皇太极以来以经世致用为核心的翻译思想，并为嗣后翻译汉籍树立原则与典范。据《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》，以及《清代内府刻书目录解题》等综合统计，顺治年间，由官方刊刻的汉书满文译本共九种，分别是《辽史》、《金史》、《元史》、《洪武要训》、《三国志（通俗演义）》、《诗经》、《表忠录》、《孝经》（阿什坦译）和《六韬三略》。其中，顺治七年译成的《三国志（通俗演义）》既有满文本，又有满汉合璧本。

As described in the above, it not only discussed the historical role of Chinese classics, but also illustrated the necessity, the function and the goal of translating these ancient books and records. The overall goal is to encourage people to observe traditional virtues, using translation to assist the country to develop culture and education. In other words, Xifu wanted to draw on the experience of state governance from Han Dynasty in the central China through translating the history of Liao, Jin, and Yuan Dynasty in order to succeed the thought of translation of administering state affairs and applying theory to practice as the core since the emperor Taizong Huangtaiji, and set up the principle and model of translating Chinese books for later generation. According to general statistics of The General Catalogue of The Best Edition and the Ancient Books and Records of Taipei's National Palace Museum, The Catalogue of World’s Manchu Literature and The Union Directory of National Manchu Books and Materials and Solving Problems in the Catalogue of Engraved Books in the Qing Dynasty, during the period of Tongzhi, there are nine Manchu translated versions of the official published Chinese books by blocking print, they are: The History of Liao Dynasty, The History of Jin Dynasty, The History of Yuan Dynasty, Hongwu Yaoxun, The Romance of Three Kingdoms, Book of Songs, The Record of Loyalty, Classic of Filial Piety(translated by Ashtan), Liu Tao and San Lue. Among them, The Romance of Three Kingdoms translated in the seventh year of Tongzhi had both Manchu version and the combined one of Chinese and Manchu.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:23, 29 September 2021 (UTC)

Thereinbefore, it not only discussed the historic role of Chinese classics, but also illustrated the necessity, the function and the goal of translating these books. The overall goal is to encourage people to observe traditional virtues, using translation to develop culture and education and bring social prosperity. In other words, Xifu wanted to draw on the experience of state governance from Chinese dynasty in the central plains through translating the histories of ''Liao'', ''Jin'', and ''Yuan''. In this way, the translation idea originated from the dynasty of Huangtaiji that knowledge should benefit national affairs can be succeeded and set up the principle and model of translating Chinese books for later generation. According to the general statistics of ''The General Catalogue of the Publications and Classics of National Palace Museum'', ''The Catalogue of World’s Manchu Literature'' and ''The Union Catalogue of National Manchu Books and Materials'' and ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty'', during the period of Shunzhi dynasty, there are nine official Manchu translations of Chinese books.They are ''History of Liao Dynasty'', ''History of Jin Dynasty'', ''History of Yuan Dynasty'', ''Hongwuyaoxun'', ''Records of the Three Kingdoms'', ''Classic of Poetry'', ''Record of Loyalty'', ''Classic of Filial Piety''(translated by Ashtan), ''Liutaosanlue''. Among them, ''Records of the Three Kingdoms'' translated in the seventh year of Shunzhi dynasty has both Manchu version and the combined one of Chinese and Manchu.(revised by Wei Chuxuan)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:11, 29 September 2021 (UTC)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:59, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081527 魏楚璇女==

另外，《孝经》曾于顺治、康熙、雍正朝刊刻三次，但版本明显不同：顺治年间的刊行本为阿什坦译本，康熙年间的刊行本为和素译校本，雍正时期的版本则译者未明，仅注明“雍正皇帝敕译”。令人好奇的是，虽然世祖笃信佛教，论佛谈法，但从相关文献看，未见有顺治朝翻译的汉文经书，其中原因，不得而知。
What's more, ''Filial Piety'' has different publications of translation in different dynasties. In Shunzhi dynasty, the publication is Ashtan's translation. In Kangxi dynasty, the publication is Hesu's translation. In Yongzheng dynasty, the translator is unknown. It is only indicated in the publication that the translation is asked by Yongzheng emperor. Curiously according to relevant literature though Shunzhi emperor believed in Buddhism, there is no translation of Buddhist classics made in his dynasty. And the reason of this remains a mystery.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:12, 29 September 2021 (UTC)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:05, 29 September 2021 (UTC)

What's more, ''Filial Piety'' has been published and printed three times in the dynasty of Shunzhi, Kangxi and Yongzheng respectively but with three obvious different versions. During the Shunzhi dynasty was the translation of Ashtan, during the dynasty of Kangxi was of Hesu and during the Yongzheng dynasty was of the unknown writer, only indicating "translating under the order of the emperor Yongzheng". What made people curious was that although Shizu sincerely believed in Buddhism, talking about Buddhism and Buddhist doctrine, there was no Chinese Confucian classics translated during the Shunzhi Dynasty according to the relevant references. And the reason of this remains unknown.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:14, 29 September 2021 (UTC)(Wei Zhaoyan 魏兆妍）

==英语语言文学（英美文学） 202120081528 魏兆妍女==

世祖年间翻译刊行的九种汉文书籍中，《六韬》、《三国志（通俗演义）》和《大乘经》等三种原系达海于天聪六年开始翻译，但由于达海早逝未能译成。三部作品中，尤以《三国志（通俗演义）》的翻译所获世祖认可为甚。《清实录·世祖章皇帝实录》中说：
以翻译《三国志（通俗演义）》告成，赏大学士范文程、刚林、祁充格、宁完我、洪承畴、冯铨、宋权、学士查布海、苏纳海、王文奎、伊图、胡理、刘清泰、来袞（gǔn）、马尔笃、蒋赫德等鞍马、银两有差。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第13页。]

Nine kinds of Chinese literary books has been translated and published during the year of Shizu, among which Da Hai began translating three kinds of the original system of ''Liu Tao'', ''The Popular Romance of the Three Kingdoms'' and ''Mahayana Sutra'' during the sixth year of Tian Cong. However, Da Hai failed to translate them all successfully due to his early death. Among these three works, especially the translation of ''The Popular Romance of the Three Kingdoms'' has received the most approval of Shizu. Said in ''The Real Record of the Qing Dynasty · Real Record of the Emperor Shizu Zhang'': With the completed translation of ''The Popular Romance of the Three Kingdoms'', Shizu would award some side horses and silver to the Grand Master Fan Wenching, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan and Bachelor Zha Buhai, Su Nahai, Wang Wenkui, Yi Tu, Hu Li, Liu Qingtai, Lai Gun, Ma Erdu, Jiang Hede. [ Ertai and others were ordered by the emperor to modify: ''The Real Record of Qing Dynasty · Real Record of the Emperor Shizu Zhang'', Beijing: China Publishing House, 1985, Page 13. ]--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:52, 29 September 2021 (UTC)

Among the nine kinds of Chinese books translated and published during the reign of Shizu emperor , three were first translated by Da Hai in 1632, including "Liu Tao", “The Popular Romance of the Three Kingdoms" and "Mahayana Sutra”. Yet they failed to be finished due to his early death. Of the three works, the translation of "The Popular Romance of the Three Kingdoms" received the most recognition of Shizu emperor. According to "The Real Record of the Qing Dynasty · Real Record of the Emperor Shizu Zhang": Given the successful translation of "The Popular Romance of the Three Kingdoms", Shizu emperor awarded some side horses and silver to the Grand Master Fan Wenching, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan and Bachelor Zha Buhai, Su Nahai, Wang Wenkui, Yi Tu, Hu Li, Liu Qingtai, Lai Gun, Ma Erdu, Jiang Hede, and the amount of awards depended on their position.[ Ertai and others ordered by the emperor to modify: ''The Real Record of Qing Dynasty · Real Record of the Emperor Shizu Zhang'', Beijing: China Publishing House, 1985, Page 13. ]--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 07:32, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081531 肖毅瑶女==

此次获得赏赐者共计十六人，从大学士到学士不等，既赏鞍马，又赏银两，可见其对于该书翻译的重视。值得特别注意的是，关于《三国志（通俗演义）》一书的翻译，《清初内国史院满文档案译编》中也有记载，不仅更加详实，而且内容上也与《清实录》中的记载有较大出入。为便于比较，现一并摘录如下：
A total number of 16 officers, varying from Grand Masters to Bachelors, were awarded saddled horses and silver, which indicated that the emperor had attached great importance to the translation of this book. Besides, what deserves a speacial attention was that ''Translation and Compilation of Manchu Archives of the National Institute of History in the Early Qing Dynasty'' also documented some facts about the translation of the ''Romance of Three Kingdoms''. The records were not only more detailed but also quite different from that of the ''Factual Record of Qing dynasty''. For the convenience of comparison, both were excerpted as follows:

A total number of 16 officers, varying from Grand Academcians to Bachelors, were awarded saddled horses and silver, which indicated that the emperor had attached great importance to the translation of this book. Besides, it is worth paying speacial attention that ''Translation and Compilation of Manchu Archives of the National Institute of History in the Early Qing Dynasty'' also documented some facts about the translation of the ''Romance of Three Kingdoms''. The records were not only more detailed but also quite different from that of the ''Factual Record of Qing dynasty''. For the convenience of comparison, both were excerpted as follows:----[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 13:33, 11 October 2021 (UTC)

==英语语言文学（英美文学） 202120081532 谢佳芬女==

以翻译《三国志（通俗演义）》告成，赏赐内翰林院大臣。赏予大学士范文程巴克什、刚林巴克什、祁充格、宁完我、洪承畴、冯铨、宋权七大臣彩鞍、雕辔（pèi）、……头等马各一匹、银各五十两。赏学士查布海、苏纳海、王文奎、伊图、胡理、清泰、来袞、马迩都、赫德九人无鞍二等马各一匹、银各四十两。

When ''Romance of the Three Kingdoms’’ having been completed，all the ministers in Hanlin Academcian were awarded. The grand secretaries Fan Wencheng, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan were rewarded color saddle, bridle, one first-class horse and fifty liang of silver respectively. The nine scholars, Cha Buhai, Su Nahai, Wang Wenkui, Yitu, Huli, Qingtai, laigon, Ma Youdu and Hede, each have one second-class bareback horse and forty liang of silver

After the completion of “Records of the Three Kingdoms”, ministers of Hanlin Academy were awarded. Maesters including Fan Wencheng, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan were awarded with colorized saddle, bridle, a first-class horse and fifty Liang of silver respectively. Nine scholars like Cha Buhai, Su Nahai, Wang Wenkui, Yitu, Huli, Qingtai, laigon, Ma Youdu and Hede, each of them has one second-class bareback horse and forty liang of silver respectively.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 13:45, 11 October 2021 (UTC)

==英语语言文学（英美文学） 202120081534 熊敏女==

赏内弘文院主事能图、叶成格、曹皮、铿特依、杜当、布尔凯、侍讲学士吕宗烈、侍读学士张皮机、典籍官王丛庞九人银各四十两。赏博士科尔科岱、霍斯霍利、尼曼、苏和、奇同格、芒色、霍托、穆成格、周有德、必利科图、国史院博士图巴海、秘书院秦达浑臣十二人银各二十两。赏笔帖式翁国顺、额斯黑、高利、马齐蘭、乌勒扈、穆成格、必利科图、严楚蘭、阿希图、国史院笔帖式朱臣十人银各二十两。

Chiefs of Hongwen Academy like Neng Tu,Ye Chengge,Cao Pi,Qiang Teyi,Du Dang, But Erkai,teacher like Lv Zonglie, attendant like Zhang Piji, manager of ancient books like Wang Congpang were rewarded forty pounds of silver respectively.Doctor Me Erkedai, Huh Sihuoli,Niman,Su He,Qi Tongge, Mang Se, Huo Tuo,Mu Chengge,Zhou Youde, Bi Liketu,Tu Bahai,Qin Dahun were all awarded 20 pounds of silver. Weng Guoshun,E Sihei,Golly, Ma Qilan,Wu Leba,Mu Chengge, Bi Liketu,Yan Chulan,A Xitu,Zhu Chen were all rewarded with 20 pounds of silver.

Chief cadres of Hongwen Academy including Neng Tu,Ye Chengge,Cao Pi,Qiang Teyi,Du Dang,Bu Erkai,Teacher like Lv Zonglie, Attendant like Zhang Piji, Manager of ancient books Wang Congpang were rewarded forty silver pounds respectively. Doctor Me Erkedai, Huh Sihuoli,Niman,Su He,Qi Tongge, Mang Se, Huo Tuo,Mu Chengge,Zhou Youde, Bi Liketu,Tu Bahai,Qin Dahun were all awarded 20 silver pounds. Weng Guoshun,E Sihei,Golly, Ma Qilan,Wu Leba,Mu Chengge, Bi Liketu,Yan Chulan,A Xitu,Zhu Chen were all rewarded with 20 silver pounds.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 12:23, 30 September 2021 (UTC)

==英语语言文学（英美文学） 202120081539 羊叶女==

以上送礼部一一宣名，跪受赏。[ 中国第一历史档案馆编：《清初内国史院满文档案译编·顺治朝》，北京：光明日报出版社，1989年，第80页。]

显然，上述两种文献提到的系同一件事情，但内容上有明显出入：首先，封赏的人数不同。
The officials above give gifts to the Ministry of Rites one by one, being declared the name, and kneeling to be rewarded. [Editor of China's First Historical Archives: Translation of manchu archives of the National Historical Institute of the early Qing Dynasty, Shunzhi Dynasty, Beijing: Guangming Daily Press, 1989, p. 80.] Obviously,the two documents mention the same thing, but there are obvious differences in content: first, the number of people who are rewarded is quite different.

All these officials on the list will be named in recognition and rewarded on their knees at the Ministry of Rites. [ Edited by the First Historical Archive of China: "Translation and compilation of Manchu archives in the Early Qing Dynasty•Shunzhi Dynasty", GuangMing Daily Press, 1989, P80]

Appartently, the two literatures mentioned above refer to the same thing, but they differ in content: Firstly, the number of rewarded people is different. --[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:34, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081543 杨柳青女==

例如，《清实录》中只有十六人，《清初内国史院满文档案译编》则多达四十七人，二者之间的出入主要在于弘文院主事、侍讲与侍读学士、典籍官、博士，以及笔帖式等职官群体名单。其次，在赏赐的物件问题上，《清初内国史院满文档案译编》的记载较之《清实录》明显更加详实、具体，可信度更高。再次，在个别封赏对象的称呼上，两种文献之间也有差异。

For example, only 16 civil officials are rewarded according to the "Records of the Qing Dynasty" while officials who are rewarded according to the "Translation and Compilation of Manchu Archives of the Chinese Academy in the Early Qing Dynasty" are as many as over 40. This difference mainly lies in the list of official groups such as the director of the Hong Arts Institute, official bachelors, classics officers, learned scholars and clerks handling paperwork. Secondly, the records about rewarded items in the "Translation of Manchu Archives of the Chinese Academy in the Early Qing Dynasty" are obviously more detailed, accurate and credible than those in the "Records of the Qing Dynasty". Thirdly, there are also some differences between the two literatures in terms of the appellation of the rewarded officials.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:30, 29 September 2021 (UTC)

For example, only 16 civil officials were rewarded in the The Records of the Qing Dynasty while officials rewarded in the Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty were as many as over 40. This difference mainly lay in the list of official groups such as the director of the Hong Arts Institute, official bachelors, classics officers, learned scholars and clerks handling paperwork. Secondly, the records about rewarded items in the Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty were obviously more detailed, accurate and credible than those in the The Records of the Qing Dynasty. Thirdly, there were also some differences between the two literatures in terms of the appellation of the rewarded officials.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:11, 29 September 2021 (UTC)--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:11, 29 September 2021 (UTC)Yi Yangfan

==英语语言文学（英美文学） 202120081545 易扬帆女==

例如，《清实录》中的“刘清泰”被写作《清初内国史院满文档案译编》中的“清泰”，“马尔笃”被写作“马迩都”，“蒋赫德”被写作“赫德”，等等。
世祖年间翻译的汉文书籍中，《洪武宝训》、《表忠录》、《诗经》与《孝经》等也各具代表性。《洪武宝训》系明朝皇权政治的象征，反映了明太祖朱元璋治国理政的理念和方针政策。
For example, Liu Qingtai in Factual Record of Qing Dynasty was written as Qingtai in Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty, Mar Du was written as Ma Erdu, and Jiang Hede was written as Hurd, etc.
The translated Chinese books in the certain era of Fulin years, such as HongWu Baoxun, The Record of Loyalty, Books of Songs and Classic of Filial Piety have had their own representatives. HongWu Baoxun was a symbol of the imperial power politics of Ming Dynasty, which reflected the ideas and policies of Zhu Yuanzhang, the emperor Taizu of Ming Dynasty.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 16:03, 28 September 2021 (UTC)Yi Yangfan

For example, “Liu Qingtai” in Factual Record of Qing Dynasty was written as “Qingtai” in Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty, "Mar Du" was written as "Ma Erdu", "Jiang Hede" was written as "Hede", and so on. The translated Chinese books in Fulin years, such as HongWu Baoxun, The Record of Loyalty, Books of Songs and Classic of Filial Piety all were of representative. Hongwu Baoxun was a symbol of imperial power politics in the Ming Dynasty and reflected the ideas and policies of Zhu Yuanzhang, the emperor of the Ming Dynasty.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 02:46, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081546 殷慧珍女==

顺治三年三月，《洪武宝训》的满文翻译完成，成为清朝入关后的首部汉籍译作。世祖对于该部译作极为重视，不仅赏赐了刚林、宁完我、范文程等译者，而且由摄政王多尔衮钦命汉官代笔，以世祖名义为译作制作序文，颁行全国。世祖对明太祖推崇备至，尤其是后者制定的条例章程，认为历代贤君莫如洪武，因而本书的翻译目的性极强。

In the March of the third year of Shunzhi, the Manchu translation of Hongwu Baoxun was completed, becoming the first translation written by Chinese writer after the Qing Dynasty was in power. The emperor Shizu attached great importance to this translation. He not only rewarded the translators such as Gang Lin,Ning Wanwo, and Fan Wencheng, ect., but also the regent Dorgon appointed Han officals to write a preface in the name of Shizu, which was issued throughout the country. The emperor Shizu revered the emperor Taizu of Ming Dynasty, especially the regulations and articles he formulated, and believed that there were no virtuous monarchs of all dynasties like Hongwu, so the translation purpose of this book was very strong.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 01:17, 29 September 2021 (UTC)

In the March of the third year of Shunzhi, the Manchu translation of Hongwu Baoxun was completed, becoming the first translation done by Chinese translators since the Qing Dynasty was established. The Emperor Shizu attached great importance to this translation. Not only he rewarded the translators such as Gang Lin,Ning Wanwo, and Fan Wencheng, ect., but also the regent Dorgon appointed the officals of Han Dynasty to write a preface, which was issued throughout the country, in the name of Shizu. The Emperor Shizu praised the emperor Taizu of Ming Dynasty highly, especially the regulations and articles he formulated, and he believed that there were no more virtuous monarchs of all dynasties than Hongwu, so the translation purpose of this book was very strong.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:21, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081548 尹媛女==

换言之，世祖希望借由此书的翻译，以中原汉族王朝的所谓“正统”巩固满清统治，粉饰民族征服和民族压迫。事实上，以翻译汉书，尤其是汉文典章制度书籍的翻译，作为统治的工具和手段，这一点在太宗时期即已存在。作为国家治理的重要手段，太宗不仅令达海改进老满文，而且钦定翻译了不少汉文书籍，如明太祖颁发的《大诰三编》和《三国演义》等，用作出谋划策和军事征讨的参考。
In other words, Shizu hoped to consolidate the rule of Qing Dynasty with the so-called "orthodox" of Han Dynasty in the Central Plains to deny national conquest and oppression by translating this book. Actually, in the reign of Emperor Taizong, it had existed that the translation of Chinese books, especially the translation of Chinese laws and regulations, was regarded as the tools and means of ruling. As the important mean of national governance, the old manchu scripts were developed by Da Hai and not a few Chinese books, such as ''The third Edition of Penal Code'' and ''The Romance of the Three Kingdoms''issued by Emperor Hongwu were translated under the decree of Emperor Taizong, which were used as a reference for planning and advising and military campaigns.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:44, 28 September 2021 (UTC)

In other words, Shizu hoped to consolidate the rule of Qing Dynasty with the so-called "orthodox" of Han Dynasty in the Central Plains to whitewash national conquests and oppressions by translating this book. Actually, in the reign of Emperor Taizong, it had existed that the translation of Chinese books, especially the translation of Chinese laws and regulations, was regarded as the tools and means of ruling. As an important mean of national governance, the old manchu scripts were developed by Da Hai and not a few Chinese books, such as ''The third Edition of Penal Code'' and ''The Romance of the Three Kingdoms''issued by Emperor Hongwu were translated under the decree of Emperor Taizong, which were used as a reference for planning and military campaigns.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:01, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081549 詹若萱女==

《表忠录》同样辑自明朝嘉靖年间，实为杨继盛的两部奏疏，即《请诛贼臣疏》和《请罢马市疏》，由汪宗伊撰于明朝万历年间，属吏部传记类。顺治十三年前后，世祖降旨将杨继盛事迹写成《忠愍记》。所谓“忠愍”，即明穆宗因念及杨继盛参劾严嵩之功，誉其为“直谏诸臣之首”，而追赠给后者的谥号。
The Record of Loyalty was also written from the JiaJing peroid of Ming Dynasty. It was actually consisted of two memorials to throne of Yang JIsheng, namely memorial on killing traitors and memorial on closing the horse market written by Wang Zongyi during the Wanli period of Ming Dynasty. It belonged to official biography. About ShunZhi 13 years, the Emperor Shizu made a decree to write Yang Jisheng’s good deeds into The Record of Zhong Min. The so-called “Zhong Min” referred to the posthumous title given to Yang Jisheng after his death, because Emperor Muzong praised him as “the head of the ministers” for his contribution to impeaching Yan Song.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 02:27, 29 September 2021 (UTC)

The Record of Loyalty was also written in the JiaJing peroid of Ming Dynasty. It was actually consisted of two memorials to throne of Yang JIsheng, namely memorial on killing traitors and memorial on closing the horse market written by Wang Zongyi during the Wanli period of Ming Dynasty. It is a kind of official biography. About ShunZhi 13 years, the Emperor Shizu made a decree to write Yang Jisheng’s good deeds into The Record of Zhong Min. The so-called “Zhong Min” referred to the posthumous title given to Yang Jisheng after his death, because Emperor Muzong praised him as “the head of the ministers” for his contribution to impeaching Yan Song.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 13:16, 11 October 2021 (UTC)

==英语语言文学（英美文学） 202120081553 钟义菲女==

《忠愍记》成书后，世祖御制《表忠录·序》以表彰杨继盛，其中写道：自古贤臣正士效力王家，率授命致身，捐生赴义。迹其所遭，若无厚幸然。
After the record of Zhong Min was written, the emperor Shizu personally wrote a preface to the record of loyalty to commend Yang Jisheng, which wrote: since ancient times, virtuous officials have devotedly served the emperor family, sacrificing their lives for justice. From what happened, there was no luck.

After the Record of Zhong Min was finished, the emperor Shizu personally wrote the Preface to the Record of Loyalty to commend Yang Jisheng, which wrote: since ancient times, virtuous officials and soldiers have devotedly served the loyal family, sacrificing their lives for justice. From what happened to them, there was no luck.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:40, 1 October 2021 (UTC)

==英语语言文学（英美文学） 202120081554 钟雨露女==

而时过论定，声称振杨，及于代远风遥，流徽弥茂，留连曩迹，如遘其人。是以孟轲有言：“奋乎百世之上，百世之下闻者莫不兴起也”。……顾竭志尽忠者，人臣之谊；善善恶恶者，大道之公。

But as time went by, the verdict on Yang Jisheng’s exploits had been reached and he gained considerable fame. When the years have passed, the fame of him spread all around. When people recalled his deeds, it was like meeting him in person. Just as Mencius said, “Those who made themselves distinguished a hundred generations before, and after a hundred generations, some people who heard of them are all aroused in this manner.” ……..Those who were intensely loyal could be harmonious with the ministers; And it was fair to punish the bad and to be kind to the good. --[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:33, 2 October 2021 (UTC)

But as time went by, Yang Jisheng’s exploits have been recognized, and he gained considerable fame. The older the years, the more his fame spread. When people recalled his deeds, it was like meeting him in person. Just as Mencius said, “Those who made themselves distinguished a hundred generations before, and after a hundred generations, some people who heard of them are all aroused in this manner.” ……..Those who were intensely loyal could be harmonious with the ministers. And it was fair to punish the bad and to be kind to the good. --[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 13:09, 11 October 2021 (UTC)

==英语语言文学（英美文学） 202120081555 周玖女==

循省往哲，爱结于中，诚有不能自己者也。朕万机之暇，绎载籍，每览忠孝节义之事，未尝不反复三致意焉。[ 阎崇年校注：《康熙顺天府志》，北京：中华书局，2009年，第482页。]

一方面，世祖赞誉杨继盛为忠臣之典范；另一方面，世祖又斥责严嵩为逆臣，认为正是严嵩父子威福专擅，浊乱王家，致使纪纲废断。

Reflecting on predecessors, despite the disloyal, the love to nation was condensed together. I was bombarded with numerous affairs. But in my spare time, I translated and recorded many books through dictation. When I read books about loyalty, I often analyzed them repeatedly to express my regard. [ Yan Chongnian: Kang Xi Shun Tianfu, Beijing: China Publishing House, 2009, Page 482. ]--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 13:12, 11 October 2021 (UTC)

On the one hand, the emperor Shizu acclaimed Yang Jisheng as the paragon of loyal minister. On the other hand, he denounced Yan Song as a traitor, and believing（believed--Chen Xiangqiong(talk) )the fact that Yan Song and his son misused their authorities to domineer and disturb the loyal family so that the law and regulations became slacked.（were broken--Chen Xiangqiong(talk)）

==外国语言学及应用语言学 202120081480 陈湘琼女==

世祖敕令翻译此书，目的是为了激励官员学做忠谏之臣，劝勉意味浓厚。毋庸置疑，世祖时期的汉籍翻译秉承的原则也是“实用主义”原则，这一点太祖、太宗时期的汉籍翻译并无本质区别。例如，世祖敕译《诗经》，即有显著的现实意义与政治考量。

The Emperor Shunzhi commanded to translate this book for the purpose that officials could be encouraged to become people who dare to tell the truth and give right suggestions to the emperor, which had persuasive and warning meanings by itself. In this period, translation of books from Han dynasty was in fact abiding to the “utilization” principle, which had no difference to translations in the period of Qianlong Emperor and Huang Taiji Emperor. For example , practical significance and political meditation had been considered for Emperor Shunzhi commanding the translation of “Book of Songs”.

The Emperor Shunzhi commanded to translate this book to encourage officials to tell the truth and put forward reasonable suggestions, which was of great persuasive meaning.In this period, translation of canons from Han dynasty actually followed the “utilitarianism” principle, which had no difference to those during the reign of Qianlong Emperor and Huang Taiji Emperor. For example , practical significance and political meditation had been considered for Emperor Shunzhi commanding the translation of “Book of Songs”. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:00, 30 September 2021 (UTC)

==外国语言学及应用语言学 202120081492 黄逸妍女==

《清实录·世祖章皇帝实录》中说，顺治十年二月，“上幸内院，披阅翻译《五经》，谕诸臣曰：‘天德王道，备载于书，真万世不易之理也’”。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第9页。]可见，世祖饬令翻译《诗经》之时，其它各经的翻译也在进行，但《五经》中仅有《诗经》一部付梓。《诗经》译毕，世祖也为其御制序文，认为该部作品能使人明性意，崇礼义，“其言之深者，可用于庙堂；言之浅者，可用于身家。以之事君，必忠；以之事父，必孝。

According to Records of Qing Dynasty •Records of the Emperor Shizu, in February of the tenth year during the reign of the emperor Shunzhi, "After reading the Five Classics in palace, the emperor contended that morals and natural laws are recorded in these books in extenso, which are tough to reach." [Revised by Eertai: Records of Qing Dynasty •Records of the Emperor Shizu, Beijing: Zhonghua Publishing House, 1985:9 ] It was clear that the translating of other classics was also proceeding when the emperor Shizu commanded the translation of The Book of Songs while only the latter had been finished among the five classics. When the translation of The Book of Songs came to an end, the emperor Shizu wrote the preface to it himself and remained steadfast in the belief that that work helped to behave with propriety and righteousness. "The book can be used in imperial court from its profound aspect and in average families from its unadorned aspect. Instilled with the belief, the officials would be faithful and the children filial.
--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 00:44, 29 September 2021 (UTC)

According to Records of Qing Dynasty •Records of the Emperor Shizu, in February of the tenth year during the reign of the emperor Shunzhi, "After having a careful perusal of the Five Classics in adytum, the emperor proclaimed all ministers that morals and natural laws are recorded in these books in extenso, which are tough to reach for all ages." [Revised by Eertai et al: Records of Qing Dynasty •Records of the Emperor Shizu, Beijing: Zhonghua Publishing House, 1985:9 ] It could be seen that the translating of other classics was also proceeding when the emperor Shizu commanded to translate The Book of Songs, while only the latter had been finished among the five classics. When the translation of The Book of Songs came to an end, the emperor Shizu wrote the preface to it himself and believed that reading this work would help us to behave with propriety and righteousness. "It can be used in imperial court from its profound aspect and in average families from its unadorned aspect. Instilled with the belief, the officials would be faithful and the children filial.edit--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:12, 30 September 2021 (UTC)

==外国语言学及应用语言学 202120081513 马新女==

更可以敦厚人伦，端正教化。”[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第72-73页。]

从“教化”的角度思考《诗经》的翻译，既是世祖本人的自觉认识，也是以他为首的统治者在面对稗（bài）官小说盛行，而满洲人竞相翻译时所做的一种调整。正如顺治九年进士、刑科给事中阿什坦指出的那样：学者立志，宜以圣贤为期，读书务以经史为中。

"It could also give depth to moral relations, straighten out educational ideas and transform people." [Ye Shugao: Cultural Policy in the Early Qing Dynasty, Taipei: Daoxiang Publishing House, 2002: 72-73.]

It is not only the conscious understanding of Qingshizhu Emperor himself to think about the translation of The Book of Songs from an "Enlightenment" perspective, but also an adjustment made by the rulers at his head faced with the prevalence of Bai-guan novels and Manchurians competing for translation. As pointed out by Ashtan, an advanced scholar in the ninth year of Shunzhi and a supervising censor of Justice, scholars should aspire to be saints and their reading must focus on classical and historical books. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:11, 30 September 2021 (UTC)

It could also give depth to moral relations, straighten out educational ideas and transform people." [Ye Shugao: Cultural Policy in the Early Qing Dynasty, Taipei: Daoxiang Publishing House, 2002: 72-73.]

Thinking about the translation of The Book of Songs from the "Teaching" perspectives is not only the personal understanding of Qingshizhu Emperor himself but also an adjustment made by the rulers at his head faced with the prevalence of Bai-guan novels and Manchurians competing for translation. As pointed out by Ashtan, an advanced scholar in the ninth year of Shunzhi and a supervising censor of Justice, the scholars should aspire to be saints and focus on classical and historical books.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 15:38, 30 September 2021 (UTC)

==外国语言学及应用语言学 202120081518 秦建安女==

此外杂书无益之言，必概废之而不睹。则庶乎学业日隆，而邪慝（tè）之心无由而入。近见满洲译书内，多有小说秽言，非惟无益，恐流行渐染，则人心易致于邪慝。

Besides, there is no beneficial words in assorted books which should not be allowed to be published and be viewed.(So they shouldn't be allowed to be published and viewed--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 07:26, 29 September 2021 (UTC)) Then the level of study approximately can be uplifted day by day. Meanwhile, the minds of people will also not be degenerate. Recently I found that the translation of some Manchurian books was full of obscene words which personally was of futility. I am afraid that such transition will be so popular that easily erode people’s thoughts.

Revised version:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 13:08, 11 October 2021 (UTC)
Besides, there is no beneficial words in assorted books.So they shouldn't be allowed to be published and viewed.Then the level of study approximately can be uplifted day by day. Meanwhile, the minds of people will also not be degenerate. Recently I found that the translation of some Manchurian books was full of obscene words which personally was of futility. I am afraid that such transition will be so popular that easily erode people’s thoughts.

==外国语言学及应用语言学 202120081522 孙雅诗女==

况圣贤古训，日详究之，犹恐不及，何暇费日时于无用之地？[ 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5339页。]

阿什坦的奏章开宗明义，指出读书必以经史为要，必须摒弃杂书，尤其是污言秽语之书，以免贾祸人心。为此，他奏请皇帝对旗人读书严加限制，要求嗣后翻译书籍也应针对“关圣贤义理，古今治乱之书”，对于其它书籍则“概为禁饬，不许翻译”。[ 同上。]

What's more,there are many sages and wisdom need to be researched.We are afraid that we don't have enough time to do it in details day by day.So why do we waste our time translating those things?[Revised by Eertai ect.,proofread by Li Xun，Zhao De ect.:''Baqitongzhi·chuji'',Changchun:Northeast Normal University Press,1989,p.5339.]

The advice of Ashitan is very clear from the very begining--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:33, 28 September 2021 (UTC),which points that reading should focus on the Confusion classic and history --[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:39, 28 September 2021 (UTC)and abandon those irrelevant books,especially those of dirty words,to get people rid of the obscene thoughts.In order to do this,he advised the emperor be more strict with the Qi people's readings.flag people's learning.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:30, 28 September 2021 (UTC)And he also required his offspring translate books about sages,principles and those can help to govern the society.Besides these books,other books are all forbidden and mustn't be translated.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 11:44, 28 September 2021 (UTC)

==日语语言文学 202120081530 吴映红女==

这一观点既是他翻译《大学》、《中庸》、《孝经》、《潘氏（通鉴）总论》、《太公家教》的原则与标准，也是太祖朝以来一以贯之的译书宗旨。

五汉籍（书）翻译的文化沟通意涵

清初的汉书翻译主要由两部分人员构成：兼通满、汉的旗人（满洲、蒙古、汉军），以及八旗文科举中的举人、进士及第者，特别是顺治朝以来从新科进士中拣选出来学习满文的汉籍士子。
The opinion is not only the principle and standard of his translation about ‘’University‘’, ‘’the doctrine of the mean‘’,‘ ‘’ the book of filial piety‘’, ‘’the general theory of pan (Tongjian) ‘’and ‘’Taigong family education‘’, but also the consistent purpose of translation from the Taizu Dynasty.
FIFTH Cultural communication of Han nationality.
《大学》''The Great Learning'' --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 28 September 2021 (UTC)
In the early Qing Dynasty, the translation of Chinese traditional book was mostly composed of two parts: the flag people who knew Manchu and Han (Manchuria, Mongolia and Han Army), as well as the candidates, Jinshi and others in the eight flag liberal arts test, especially the Chinese bechelors who was selected from the new Jinshi to study Manchu from the Shunzhi Dynasty.

The opinion is not only the principle and standard of his translation about ‘’Daxue‘’, ‘’Zhongyong‘’,‘ ‘’ Xiaojing‘’, ‘’Genneral Theory(Tongjian) of Pan's Family ‘’and ‘’Taigong Family Education‘’, but also the consistent purpose of translation from the Taizu Dynasty.
FIFTH Cultural communication of Han nationality.
《大学》''The Great Learning'' --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 28 September 2021 (UTC)
In the early Qing Dynasty, the translation of Chinese traditional book was mostly composed of two parts: the flag people who knew Manchu and Han (Manchuria, Mongolia and Han Army), as well as the candidates, Jinshi and others in the eight flag liberal arts test, especially the Chinese bechelors who was selected from the new Jinshi to study Manchu from the Shunzhi Dynasty.
--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 12:51, 29 September 2021 (UTC)

==日语语言文学 202120081560 朱壬铎男==

这些人员既是翻译专才，又是文化接触与交流的实践者，代表了满洲统治阶级想要与汉族之间进行文化沟通的意愿。如顺治六年四月，礼科给事中姚文然以“以满汉同心合力为念。窃思满汉一家，咸思报主”为由，奏请从新科进士内广选庶吉士，令其肄习清书，待精熟之后即授以科、道等官。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第11页。]顺治十年，世祖降旨，对此前所选三科庶吉士进行考试，从中选取“通满洲文义者三人”，“以应升之缺用”，并选取“其次可造者十二人”，“仍照原衔，责令勉力学习，俟再试分别。”[ 同上，第7-8页。]

These persons are not only experts in translation,but also practicer in cultral contact and communication,which represented the will,which is to cultrally communicate with the Han people,of the ruling class of Manchu.

For example,in April of the sixth year of Shunzhi,Yao Wenran,the inspectorof the department of rites,with the reason that "with the purpose that is combining the Man ethnic and the Han ethnic,I secretly came up with an idea about the Man-Han family but with my whole life for the emperor",made a request that is to widely select Shujishi from newly selected Jinshi and order them to sutdy the books of Qing Dynasty to get well-learned then teach the bureaucrats from other departments and circuits.[E Ertai et al.write by imperial command:Veritable Records of Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.11]

In the tenth year of Shunzhi,Shizong emperor declared an imperial order about examining the selected Shujishi from all three subjects,from which select three persons who are "familiar with the texts of Manchu",to"fill the vacancy caused by the former Jinshi selection",and select "another 12 gifted persons""remain the former title,make them study hard for the further tests and selection."[E Ertai et al.write by imperial command:Veritable Records of Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.7-8]
--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 02:47, 29 September 2021 (UTC)

These person are not only experts in translation,but also practicers in cultural contact and communication. They represent the will to culturally communicate with the Han people,of the ruling class of Manchu.
For example,in April of the sixth year of Shunzhi,Yao Wenran,the inspector of the Department of Rites,with the reason that "with the purpose that is combining the Manchu and the Han ethnic,I think both Manchu and Han should hold the thought to requite favours to the emperor,made a request to widely select Hanlin bachelor from newly selected Jinshi(a successful candidate in the highest imperial examinations) and order them to sutdy the books of Qing Dynasty to get well-learned then grant them official positions.[E Ertai et al.write by imperial command:Veritable Records of
Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.11]
In the tenth year of Shunzhi, the emperor declared an imperial order about examining the selected Han bachelor of all three subjects,from which select three persons who are "familiar with the texts of Manchu",to"fill the vacancy caused by the former Jinshi selection",and select "another 12 gifted persons""remain the former title,make them study hard for the further tests and selection."[Idem, p.7-8]

--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:10, 29 September 2021 (UTC)

==日语语言文学 202120081477 蔡珠凤女==

雍、乾、嘉年间，从新科进士中选取习满文者的做法得到延续，但每次选取者人数不一，整体上渐呈下降之势，至道光二十年前后废止，为汉书的满文翻译提供了人力来源，同时也为沟通满、汉两族文化提供了桥梁。

事实上，早在太宗时期，由于满人尚居关外，不识汉字，又罔知政体，遂敕达海等翻译汉书，使“满洲臣民未习汉文者，亦能兼通汉书”，而太宗自己也以它们作为“临政规范”，学习汉族的国家治理模式。[ 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5325页。]顺治年间，阿什坦译成《大学》、《中庸》等书后，世祖又以它们作为倡导礼义教化的工具，希望通过此举使“满洲人知崇正学、尚经术”，令“邪说不得行”，而“风俗丕变”。[ 同上。]
In the years of Yong Zheng , Qian Long and Jia Qing , the practice of selecting Manchu scholars from new scholars continued, but the number of candidates selected each time varied, and the overall trend gradually decreased. It was abolished around the 20th year of Dao Guang, which not only provided a source of manpower resources for Manchu translation of Hanshu, but also provided a bridge for communication between Manchu and Han cultures.
In fact, as early as the Taizong period, because the Manchus still lived outside the frontier fortress, did not know Chinese characters and did not know about the regime, they ordered Dahai and other people to translate Chinese books, so that "Manchus who did not learn Chinese could also understand the contents of Chinese books", and Taizong himself used them as "administration norms" to learn the national governance model of the Han nationality. [Writed by Ertai etc.Checked by Li Xun, Zhao Degui etc.:"Ba Qi Tong Zhi I", Changchun: Northeast Normal University Press, 1989, P. 5325.] during the reign of Shunzhi, after Ashitan translated the 《University》《Moderate》and other books, Shizu used them as a tool to advocate etiquette and righteousness education, hoping to make "Manchus know and worship orthodox learning and classics" and "heresy can not be carried out" And "Customs change". [ibid.]

In the years of Yong Zheng , Qian Long and Jia Qing , the practice of selecting Manchu scholars from new scholars was continued, but the number of candidates selected each time varied, and the overall trend gradually tended to decrease. It was abolished around the second decade of Dao Guang, which not only provided human resources for Manchu translation of the Han books, but also builded the bridge of cultural communication between Manchu and Han.
In fact, as early as the the Emperor Taizong period, because the Manchu who still lived outside shanhaiguan pass, did not know Chinese characters and the regime,Taizong ordered Dahai and others to translate the Han books, so that "Manchus who did not learn Chinese could also understand the Han books", and Taizong himself also used them as " the administration norms" to learn the national governance model of the Han nationality. [Written by Ertai etc.Checked by Li Xun, Zhao Degui etc.:"Ba Qi Tong Zhi I", Changchun: Northeast Normal University Press, 1989, P. 5325.] During the reign of Shunzhi, after Ashitan translated the "University""Moderate"and other books,Hong Taiji used them as the tool to advocate confucian code of ethics , hoping to make "Manchus know and worship orthodox learning and classics" and "heresy can not be carried out" and "Customs change". [ibid.]--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 02:40, 29 September 2021 (UTC)

==日语语言文学 202120081486 付诗雨女==

显然，汉文经、史的译印有助于端正满洲的人心风俗，使满、汉文化互通有无，即便是《诗经》中提到的各种花草树木、鸟兽虫鱼，也对拓展满人见闻甚有助益。[ 叶高树：《<诗经>满文译本比较研究——以<周南>、<召南>为例》，《国立台湾师范大学历史学报》1992年第20期。]有清一代，并非只有官方组织汉书的翻译，私人译书也很盛行。但官方译书与私人译书不同，无论是在译书的取材上，还是在译书的组织管理上，抑或是译书的颁行上，都有其特殊的考量。
Obviously,the translation and printing of the classics and history of Han are conductive to correcting the humanity and customs of Manchuria,and exchanging of needed culture between Manchu and Han.Even different kinds of flowers and trees, insects and fish, which were mentioned in ''the Book of Songs'', also contribute to enrich their knowledge.[Ye Gaoshu:"''Comparative Study of the Manchu translation for 'the book of songs'--Taking 'Zhounan' 'Shannan' as example","The Histotrical Journal of National Taiwan Normal University''
"1992;No.20.]In the Qing Dynasty, not only the official organization of the Han Books' translation, private translation was also very popular. However, unlike the private translation, the official translation was considered specially, whether in the materials of translation, the organization and management of the translation, or the publishment of the translation.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 15:16, 28 September 2021 (UTC)
Obviously,the translation and printing of the classics and history of chinese are conductive to correcting the morality and customs of Manchuria,and exchanging of needed culture between Manchu and Han.Even different kinds of flowers and trees, insects and fish, which were mentioned in "the Book of Songs", also contribute to enrich their knowledge.[Ye Gaoshu:"Comparative Study of the Manchu translation for 'the book of songs'--Taking 'Zhounan' 'Shannan' as the example","The Histotrical Journal of National Taiwan Normal University "1992;No.20.]In the Qing Dynasty, not only the official organization of the Han Books' translation, private translation was also very popular. However, unlike the private translation, the official translation was considered specially, whether in the materials,the organization,the management or the publishment of the translation.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:05, 29 September 2021 (UTC)

==日语语言文学 202120081559 周小雪女==

即便是《三国志（通俗演义）》这样的通俗文学作品，译成满文后也被赋予了严肃的兵法与战略意义。以满文遍译汉书，尤其是经、史、子、集等书，并不是为了显示满语语文系统的优越性，所谓“精微巧妙，实小学家所未有”，而是为了“表章经学，天下从风”，通过汉籍的翻译“研究微言，讲求古义”，进行文化沟通。[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第91页。]藉由汉文典籍的翻译，满洲统治者不仅了解了汉族文化，而且在接触与学习中获得了“统制”汉民的重要经验，使满洲政权在性质上逐渐向“中原政权”转化，并实现“治统”与“道统”的和谐统一。
Even popular literature such as The History of the Three Kingdoms was given serious military and strategic significance when translated into Manchu script. The purpose of translating Chinese books with Manchu script ,especially Canon ,History,Philosophy and Literature such book is not to show the superiority of the Manchu language system,but to show the confucian classics。Through the translation of Chinese classics ,study small points ,emphasize the ancient significance and carry out cultural communication.Ye Gaoshu.Cultural Policy in the early Qing Dynasty.Taipei:Rice Village Press,2002,p.91.Through the translation of Chinese classics,Manchu rulers not only understood the Han culture,but also gained important experience of controlling the Han people in the process of contact and learning,so that Manchu regime gradually transformed into central plains regime in nature and realized the unity of regnant orthodoxy and confucian orthodoxy.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:08, 29 September 2021 (UTC)

Modifying canon, history, philosophy and literature to Confusion classics, history, pre Qin hundred works, religion and classical writings.因为经：经书，是指儒家经典著作；史：史书，即正史；子：先秦百家著作，宗教；集：文集，即诗词汇编。泛指我国古代典籍。Canon, history, philosophy and literature did not express the exact meaning.
--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 01:41, 29 September 2021 (UTC)"表章经学，天下从风”The first half of the sentence is not translated accuratelyand the second half of the sentence has not been translated，so I think it should be translated into "Commend Confucian classics and let people all over the world follow"

==日语语言文学 202120081562 邹岳丽女==

结语
清初之际，虽然国家尚未实现从“征服王朝”向“中原王朝”的转变，但统治者在致力于武力开拓的同时，也开始关注文化活动。一方面，统治者念念不忘“国语骑射”的满洲旧制，将其视作立国精神；另一方面，又积极组织汉书翻译，倡导汉文化精神，从中原儒学中探求君主治术，构建国家的治统与道统。汉书翻译不仅让统治者得以接触汉族思想精粹和政治观念，而且让其在了解汉文经典与汉族文化的过程中，学习历代帝王的执政得失，以及古往今来的兴废事迹，从中汲取治国经验。

Conclusion At the beginning of the Qing Dynasty, although the country has not yet realized the transformation from "conquering Dynasty" to "Central Plains Dynasty"，however, while the rulers were committed to the development of force, they also began to pay attention to cultural activities. On the one hand, the rulers never forget the old Manchu system of "national language riding and shooting" and regarded it as the spirit of founding the country;On the other hand, --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)he actively organized the translation of Chinese calligraphy, advocated the spirit of Chinese culture, explored the rule of monarchy from the Confucianism of the Central Plains, and constructed the rule and orthodoxy of the country.Chinese translation not only allows the rulers to get in touch with the
ideological essence and political concepts of the Han nationality, but also allows them to learn from the ruling gains and losses of emperors and the rise and fall deeds from ancient to modern times in the process of understanding Chinese classics and Han
culture, so as to learn from the experience of governing the country. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)from the experience of governing the country. “here the preposition from should be deleted--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)

however, while the rulers were committed to expansion by military force.
国语骑射：Manchu language, horse-riding and archery--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 01:49, 3 October 2021 (UTC)

--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC) ( here "he" is not consistant with the subjective "the rulers", so "he" should be changed in to "they" )

==国别 202120081478 曾俊霖男==

概言之，汉书的翻译既匡扶了社稷，又教化了臣民，令满、汉文化之间的交流得以开启并加深。虽然清初三朝期间，汉书翻译的规模不一，统治者对于汉族文化的具体态度存在差异，但翻译的原则与标准基本未变，那便是以文治教化和典章制度为主，通过翻译汉族典籍，凝聚符合国家需求的集体价值观，并将汉族传统文化落实为国家治理的大政方针，实现兴文教、崇经术、开太平的治国理念。

In short, the translation of books of Han nationality not only helped the whole country, but also educated his people so that the cultural exchange between Manchu and Han can be opened and deepened. During the three dynasties of the early Qing Dynasty, the scale of books of Han nationality translation was different, and the rulers' specific attitudes towards Han culture were different, but the principles and standards of translation remained basically unchanged, which focused on cultural education and the system of laws and regulations, condensed the collective values in line with the national needs through the translation of Han classics, and implemened the Han traditional culture as the major policy of national governance, realized the governing concept of promoting culture and education, advocating studies of Confucian classics and opening up peace.

In short, the translation of Books of Han not only gave great help to the whole country, but also educated its(the Qing Dynasty) people so that it began and then deepened the cultural exchange between Manchu and Han. During the first three emperors' rulings of the early Qing Dynasty, though the scales of translation was different, and the rulers' specific attitudes towards Han culture differed from each other, the principles and standards of translation remained basically unchanged, that is to say, it will focus on cultural education and the system of laws and regulations, condense the collective values in line with the national needs through the translation of Han classics, and implement the Han traditional culture as the major policy of national governance to realize the governing concept of promoting culture and education, advocating studies of Confucian classics and opening up peace.
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 08:19, 29 September 2021 (UTC)Huang Zhuliang

==国别 202120081493 黄柱梁男==
Footnotes and References

1 杨家骆：《金史》，台北：鼎文书局，1985年，第1684页。

2 明珠等奉敕修：《清实录·太祖高皇帝实录》，北京：中华书局，1986年，第2页。

3 中国第一历史档案馆、中国社科院历史研究所译注：《满文老档》，北京：中华书局，1990年，第1196页。

4 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第13页。

5 王钟翰点校：《清史列传》，北京：中华书局，1987年，第187页。

6 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第38页。

1. Yang Jialuo, ''History of the Jin Dynasty''(1115-1234), Taipei, Dingwen Book Company, 1985, pp.1684.

2. Ming Zhu et al. (compiled under the order of Emperor Kangxi ), ''the Imperial Archives of Emperor Taichu(1559-1626, posthumous titled Gao Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1986, pp.2.

3. The First Historical Archives of China, Translated and Noted by the Institute of History in Chinese Academy of Social Sciences, ''Old Documents of Manchu Script'', Peking, Zhonghua Book Company, 1990, pp.1196.

4. E Ertai et al. (compiled under the order of Emperor Yongzheng ), ''the Imperial Archives of Emperor Taizong(1592-1643, posthumous titled Wen Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1985, pp.13.

5. Proofread by Wang Zhongshan, ''Biographies of the Qing Dynasty'', Peking, Zhonghua Book Company, 1987, pp.187.

6. Committee of National History Compilation, ''the Imperial Archives of Joseon Dynasty'', Seoul, Committee of National History Compilation, 1973, pp.38.
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 08:18, 29 September 2021 (UTC)Huang Zhuliang

1 页码标记应为p.1684.

2 posthumous titled Gao Huang Di应改为posthumously titled Gao Huang Di,页码标记为p.2.

3“老满文”指的是清太祖努尔哈赤时期创制的满文，以文字中没有圈和点为特点。《满文老档》即是用老满文写成的档案汇编，所以《满文老档》应为 ''Manchu Archives written in Fore Manwen'',页码标记为p.1196.

4 同第二句，posthumous titled Wen Huang Di改为posthumously titled Wen Huang Di, 页码标记为p.13.

5 页码标记为p.187.

6 页码标记为p.38.
--[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:20, 1 October 2021 (UTC)Liu Wei

==国别 202120081507 刘薇女==
7 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第62页。

8 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第58页。

9 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第10页。

10 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。

11 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第14页。

12 同上，第2页。

7 National History Compilation Committee, ''Records of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, p.62.

8 Ye Gaoshu,'' Cultural policise in the early Qing Dynasty'', Taipei: Daoxiang press, 2002, p.58.

9 E Ertai et al.(compiled by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.10.

10 Luo Zhenyu, ''Collections of secretary's memorial to the throne during the reign of Tencong'', Beijing: Renmin University of China Press, 1989, p.2.

11 E Ertai et al.(compiled by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.14.

12 Ertai et al.(compiled by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.2.
--[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:23, 28 September 2021 (UTC)Liu wei

7 National Institute of Korean History, ''Records of the Korean Dynasty'', Seoul: National Institute of Korean History, 1973, p.62.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 11 October 2021 (UTC)

==国别 202120081537 颜莉莉女==
13 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第24-25、115页。

14 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第9页。

15 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。

16 同上，第82页。

17 清高宗敕纂：《八旗满洲氏族通谱》，沈阳：辽沈书社，1989年，第10页。

18 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第15-16页。

13th. Lou Zhenyu: ''Tiancongchao Chengong Zouyi'' , Beijing: China People's University Press, 1989, pp.24-25,115.

14th. E Ertai eat al revised under order of emperor: ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing: Zhonghua Book Company, 1985, p.9

15th. Lou Zhenyu: ''Tiancongchao Chengong Zouyi'' , Beijing: China People's University Press, 1989, p.2

16th. Idem

17th. Qing emperor Gaozong ordered to write: ''General spectrum of Manchu clan in eight banners'', Shenyang: Liaoshen Book Company, 1989,p.10

18th. E Ertai eat al revised under order of emperor: ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing: Zhonghua Book Company, 1985, pp.15-16

14. E Ertai eat al （eds. on the order of emperor): ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing: Zhonghua Book Company, 1985, p.9

16. Idem, p.82

17. Qing emperor Gaozong ordered to write: ''Genealogy of Manchu clan in eight banners'', Shenyang: Liaoshen Book Company, 1989,p.10

18. E Ertai eat al （eds. on the order of emperor): ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing: Zhonghua Book Company, 1985, pp.15-16

==国别 202120081538 颜子涵女==
19 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第13页。

20 中国第一历史档案馆编：《清初内国史院满文档案译编·顺治朝》，北京：光明日报出版社，1989年，第80页。

21 阎崇年校注：《康熙顺天府志》，北京：中华书局，2009年，第482页。

22 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第9页。

23 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第72-73页。

24 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5339页。

19. Ortai and some people compiled it on the orders of the emperor: ''Records of emperor shizuzhang in the Qing Dynasty'', Beijing: China Book Company, 1989, p.13.

20. Editor of China's First Historical Archives: ''Translation of manchu archives of the National Historical Institute of the early Qing Dynasty, Shunzhi Dynasty'', Beijing: Guangming Daily Press, 1989, p.80.

21. Yan Chongnian made proofreading: ''Kangxi Shuntian Fuzhi'', Beijing: China Book Company, 2009, p.482.

22. Ortai and some people compiled it on the orders of the emperor: ''Records of emperor shizuzhang in the Qing Dynasty'', Beijing: China Book Company ,1989,p.9.

23.Kao-Shu Yeh, ''Cultural policy in the early Qing Dynasty'', Taipei:Daoxiang Press, 2002, pp. 72-73.

24. Ortai and some people compiled，Li Wei, Zhao Degui and others proofread: ''Journal of the eight banners •First Episode'', Changchun: Northeast Normal University Press, 1989, p. 5339.

19. E,Ertai et al. (eds. under the order of the Emperor). ''An Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty'', Beijing:Zhonghua Book Company,1985,p.13.

20. The First Historical Archives of China(ed.). ''A translation of Manchu archives of the Imperial Academy of National History in the Shunzhi Period of the early Qing Dynasty'', Beijing: Guangming Daily Press, 1989, p.80.

21. Yan Chongnian(proofread). ''The History of Shuntian of Emperor Kangxi'', Beijing: China Book Company, 2009, p.482.

22. E,Ertai et al. (eds. under the order of the Emperor). ''An Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty'', Beijing:Zhonghua Book Company,1985,p.9.

23. Kao-Shu Yeh, ''The Cultural Policies of the Early Qing Dynasty'', Taipei:Daoxiang Press, 2002, pp. 72-73.

24. E,Ertai et al.(eds.), Li,Xun&Zhao Degui et al.(proofread). ''The First Collectanea in Ba Qi Tong Zhi'', Changchun:Northeast Normal University Press,1989, p.5339.

==国别 202120081540 阳佳颖女==
25 同上。

26 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第11页。

27 同上，第7-8页。

28 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5325页。

29 同上。

30 叶高树：《<诗经>满文译本比较研究——以<周南>、<召南>为例》，《国立台湾师范大学历史学报》1992年第20期。

31 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第91页。

[25] Idem

[26] Ertai et al. (eds. under the order of the Emperor). "Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty", Beijing:Zhonghua Book Company,1985,p.11.

[27] Idem,pp.7-8.

[28] E,Ertai et al.(eds.), Li,Xun&Zhao Degui et al.(proofread). ''The First Collectanea in Ba Qi Tong Zhi'', Changchun:Northeast Normal University Press,1989, p.5325.

[29] Idem

[30] Ye,Gaoshu. “The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan”.''Historical Inquiry of the National Taiwan Normal University'',no.20(1992).

[31] Ye,Gaoshu. ''The Cultural Policies of the Early Qing Dynasty''. Taipei:Daoxiang Press,2002,p.91.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:16, 29 December 2021 (UTC)

[25] Idem

[26] E,Ertai et al. (eds. under the order of the Emperor). "''Actual Record of Shih Tsu Fu Lin in Factual Record of Tsing Dynasty''", Beijing: China publishing house,1985,p.11.

[27] Idem,p.7-8.

[28] Ertai et al.(eds.), Li,Xun & Zhao Degui et al.(proofread). "''General History of the Eight Banners''", Changchun: Northeast Normal University Press,1989, p.5325.

[29] Idem

[30] Ye,Gaoshu. "''The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan.''", Bulletin of Historical Research of National Taiwan Normal University, No.20(1992).

[31] Ye,Gaoshu. "''The Cultural Policies of the Early Tsing Dynasty''". Taipei: Daoxiang Publishing House,2002,p.91. --Ye Weijie

=Hongloumeng=
HERE STARTS A NEW TRANSLATION: REST OF CHAPTER 19 OF HONGLOUMENG

PLEASE READ [[Joint_translation_terms|Joint translation terms]]

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

==国别 202120081544 叶维杰男==

第十九回 ... 这些丫头们明知宝玉不讲究这些；二则李嬷嬷已是告老解事出去的了，如今管不着他们：因此只顾玩笑，并不理他。那李嬷嬷还只管问：“宝玉如今一顿吃多少饭？什么时候睡觉？”丫头们总胡乱答应。有的说：“好个讨厌的老货！” 李嬷嬷又问道：“这盖碗里是酪，怎么不送给我吃？”说毕，拿起就吃。一个丫头道：“快别动，那是说了给袭人留着的，回来又惹气了。你老人家自己承认，别带累我们受气。”李嬷嬷听了，又气又愧，便说道：“我不信他这么坏了肠子。别说我吃了一碗牛奶，就是再比这个值钱的，也是应该的。难道待袭人比我还重？难道他不想想怎么长大了？我的血变了奶，吃的长这么大，如今我吃他碗牛奶，他就生气了？我偏吃了，看他怎么着！你们看袭人不知怎么样，那是我手里调理出来的毛丫头，什么阿物儿！”一面说，一面赌气把酪全吃了。

Chapter XIX...These girls' busy joking with each other and not much cared about Nanny Li as they previously knew Pao'yue was not particular about these, and there's no room left for Nanny Li to discipline them for she's already be dismissed. While Nanny Li kept asking:“ How's Pao-yue's appetite these day? And the time he make rest?” Always with so less careness girls reply. Some complained:“Aye! Such an old nosy lady!” Still Nanny Li asked：“A bowl of cheeze here! Why don't you bring it to me?”Then she directly grabbed some to her mouth. One girl hurriedly said:“Quit it! That's what Pao'yue reserved for Xiren! You take the blame yourself if he gets discontented, don't get us involved.” Angry but ashamed also Nanny Li went, and said:“I don't believe it！I even deserve something more valuable, let alone a bowl of milk! Is Xi'ren more important than me? Pao'yue can't be this heartless! Think about it, I myself raised him up this good step by step heart and soul with my own blood! How can he get discontented merely because of a bowl of milk? Still I'm gonna take it, even if he did! And Xi'ren? I taught her everything! Mad at me? Don't be ridiculous!”Nagging, Nanny Li emptied the whole bowl.

Chapter XIX...These maids knew clearly that Baoyu didn't care the trifles. Furthermore, Mammy Li was already retired and she had no control over them. Therefor she just ignored him in her teasing. Mammy Li always asked:"How many meals did Baoyu eat recently? When did he go to bed?" The maids'answers always were irrelevant. Some of them said:"What a nasty old woman!" While Mammy Li kept asking :"There is some cheese in the bowl. Why don't you give me?" As soon as the voice fell down, she grabbed the cheese and had it. One maid hurriedly said:“Quit it! That's what Baoyu reserved for Xiren! You take the blame yourself and don't get us involved.” Angry but ashamed also Mammy Li was, and said:“I don't believe he has such a bad temper！I even deserve something more valuable, not to mention a bowl of milk! Is Xi'ren more important than me? Think about it, I raised him up by my breast nursing with my own blood! How can he get discontented merely because of a bowl of milk? Still I'm gonna take it, even if he would! And Xiren? That's me who taught her everything! Mad at me? Don't be ridiculous!”Nagging, Mammy Li emptied the whole bowl.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:29, 2 October 2021 (UTC)

Chapter XIX ... these servant-girls were well aware that Precious Jade was not particular in these respects, and that in the next place Nanny Plum，having pleaded old age, resigned her place and gone home，had nowadays no control over them，so that they simply gave their minds to romping and joking，and paid no heed whatsoever to her. Nanny Plum however still kept on asking about Precious Jade，"How much rice do you now eat at one meal? And at what time do you go to sleep?" to which questions the servant-girls replied quite at random；some of those being there observed: "What a dreadful despicable old thing she is!" - "In this covered bowl," she continued to inquire, "is cream, and why not give it to me to eat?" and having concluded these words，she took it up there and then began eating it." Be quick，and leave it alone!" a servant-girl expostulated，"that，she said, was kept in order to be given to Aroma, and on his return，when he again gets into a huff，you，old lady，must，on your own motion，confess to having eaten it，and not involve us in any way as to have to bear his resentment." Nanny Plum，at these words，felt both angry and ashamed. "I can't believe，" she forthwith remarked，"that he has become so bad at heart！Not to speak of the milk I've had. I have，in fact every right to even something more expensive than this；for is it likely that he holds Aroma dearer than myself？ It can't forsooth be that he doesn't bear in mind how that I've brought him up to be a big man，and how that he has eaten my blood transformed into milk and grown up to this age！and will be because I'm now having a bowl of milk of his be angry on that score！I will，yes，eat it，and we'll see what he'll do！I don't know what you people think of Aroma，but she was a lowbred girl，whom I've with my own hands raised up! And what fine object indeed was she！"As she spoke，she flew into a temper, and taking the cream, she drank the whole of it.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:02, 11 October 2021 (UTC)Zhang Yang

==国别 202120081551 张扬男==

又一个丫头笑道：“他们不会说话，怨不得你老人家生气。宝玉还送东西给你老人家去，岂有为这个不自在的？”李嬷嬷道：“你也不必装狐媚子哄我，打量上次为茶撵茜雪的事我不知道呢！明儿有了不是，我再来领。”说着，赌气去了。
少时，宝玉回来，命人去接袭人。只见晴雯躺在床上不动，宝玉因问：“可是病了？还是输了呢？”秋纹道：“他倒是赢的，谁知李老太太来了，混输了，他气的睡去了。”宝玉笑道：“你们别和他一般见识，由他去就是了。”
说着，袭人已来，彼此相见。袭人又问宝玉何处吃饭，多早晚回来；又代母、妹问诸同伴姊妹好。一时换衣卸妆。宝玉命取酥酪来，丫鬟们回说：“李奶奶吃了。”宝玉才要说话，袭人便忙笑说道：“原来留的是这个，多谢费心。前儿我因为好吃，吃多了，好肚子疼，闹的吐了，才好了。他吃了倒好，搁在这里白糟蹋了。我只想风干栗子吃，你替我剥栗子，我去铺炕。”

Another servant-girl grinned:“They don’t know how to speak properly, and it’s no wonder you old lady should get angry. Precious Jade still sends you great things, and it’s impossible that he will feel uncomfortable for a thing like this.” “You don’t have to act like a vixen to cajole me!” Nanny Plum said, “You think I’m not aware that you pushed Snow Alizarin away on account of a cup of tea the other day? And if I did make a mistake, I’ll come by and admit it!” Having said this, she went off, pissed off.
Soon Precious Jade came back and gave orders to go and fetch Aroma. Seeing Sunny Cloud Formation lying perfectly still on bed, Precious Jade asked:“ Is she ill? Or has she lost at cards?” “She had been a winner,” Autumn Vein answered,“but Nanny Plum came and muddled her so that she lost, and angry at that she rushed off to sleep,” Precious Jade smiled:“Don’t place yourselves on the same footing as nanny Plum. Leave her alone.”Aroma came as Precious Jade was saying his words. After the mutual salutations, Aroma went on to ask of Precious Jade:“ Where did you have your dinner? And when did you come back?” and to present likewise on behalf of her mother and sisters her salutations to all the girls, who were her companions. In a short while, she changed her costume and washed off her make up. When Precious Jade bade them fetch the cream, the servant-girls answered:“ Nanny Plum has eaten it.” And as Precious Jade was on the point of making some remarks Aroma hastened to interfere, laughing:“ Is it really this that you have kept for me? Many thanks for troubling. The other day when I ate some of it, I found it very tasty and had a lot of it, then I got a pain in the stomach. I was so upset that it was only after I had thrown it all up that I feel right. So it's fine that she has had it. If it had been kept there, it would have been wasted all for no use. What I want are dry chestnuts, and if you can clean a few for me, I'll go and lay the bed."
--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:58, 29 September 2021 (UTC)Zhang Yang

Another servant-girl grinned, “They don’t know how to talk properly, and no wonder you, old lady, get angry. Precious Jade still sends you great things, and it’s no need to be unpleased with it.” “You don’t have to cheat me!” Nanny Plum said, “You think I’m not aware that you sent Snow Alizarin away just on account of a cup of tea the other day? I will get it when it is prepared well tomorrow!” Having said this, she went off with sulks. Soon Precious Jade came back and asked someone to pick up Aroma. Seeing Sunny Cloud Formation lying still on bed, Precious Jade asked, “ Is she ill? Or has she lost at cards?” “She had been a winner,” Autumn Vein answered,“but Nanny Plum came and muddled her, so she lost the game and rushed off to sleep for the anger.” Precious Jade smiled, “Don’t take it serious and just leave her alone.”Aroma came as Precious Jade was saying his words. After the mutual salutations, Aroma went on to ask Precious Jade about the place for dinner and the time he would come back, then greet everyone on behalf of her mother and sisters. In a short while, she changed her costume and washed off her make-up. When Precious Jade asked one to fetch the cream, the servant-girls answered,“ Nanny Plum has taken it.” As Precious Jade was on the point of saying something, Aroma laughing, “ Is it this that you have kept for me? Thanks for troubling. The other day when I ate some of it, I found it very tasty and had a lot of it, then I got a pain in the stomach. It was better that she did so, for at least it is not wasted before getting bad. I just want some drying chestnuts. Could you please peel them while I will make the beds.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:23, 29 September 2021 (UTC)

==国别 202020080595 陈静女==

宝玉听了，信以为真，方把酥酪丢开，取了栗子来，自向灯下检剥。一面见众人不在房中，乃笑问袭人道：“今儿那个穿红的是你什么人？”袭人道：“那是我两姨姐姐。”宝玉听了，赞叹了两声。袭人道：“叹什么？我知道你心里的缘故，想是说他那里配穿红的？”宝玉笑道：“不是，不是。那样的人不配穿红的，谁还敢穿？我因为见他实在好的很，怎么也得他在咱们家就好了。”袭人冷笑道：“我一个人是奴才命罢了，难道连我的亲戚都是奴才命不成，定还要拣实在好的丫头才往你们家来？”宝玉听了，忙笑道：“你又多心了。我说往咱们家来，必定是奴才不成，说亲戚就使不得？”袭人道：“那也般配不上。”
宝玉便不肯再说，只是剥栗子。袭人笑道：“怎么不言语了？想是我才冒撞冲犯了你？明儿赌气花几两银子，买进他们来就是了。”
宝玉笑道：“你说的话，怎么叫人答言呢？我不过是赞他好，正配生在这深宅大院里，没的我们这宗浊物倒生在这里。”

Hearing this, Precious Jade fell for it and throw the curds away, taking some chestnuts and then peeling them under the lantern. Finding others not in the room except Aroma, Precious Jade quipped: “Who is the the person in red today?” Aroma answered, “Two of my cousins”. Knowing it, Precious Jade couldn’t repress a sigh of admiration. “What do you sigh for? I know it is because they could not wear red.” Aroma said. Precious Jade replied with smile: “No! Who dares to wear red if such persons doesn't deserve it? I just admire them and hope if they can stay in our home.” Aroma sneered, “I am just a slave. So all of my families are slaves and we should pick up the best girls to be slaves in your home?” Precious Jade said with smile, “Don’t be touchy. It doesn’t mean to be the slave but to be our relatives in our house.” Aroma replied, “It doesn’t match, either.” Precious Jade refused to say any more, but just peeled chestnuts. Aroma smiled and said, “Why are you silent? I just offended you. You could spend some money and buy them if you want.” Precious Jade smiled and said, “How to respond to your words. I just show my admiration and think they should be in such circumstance where the persons like me live.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 29 September 2021 (UTC)

Hearing this, Master Bao fell for it, threw the curds away, took some chestnuts and then peeled them under the lantern. Finding others not in the room except Aroma, Master quipped: “What’s the relationship between you and the person in red today?” Aroma answered, “Two of my cousins”. Knowing it, Master Bao couldn’t repress a sigh of admiration. “What do you sigh for? I know what you are thinking. You must think they don’t deserve to wear red.” Aroma said. Master Bao replied with smile: “No! Who dares to wear red if such persons don’t deserve it? I just admire them and hope if they can stay in our house.” Aroma sneered, “I live as a maid. So all of my families should be the same as me? And we should pick up the best girls to be maids in your home?” Master Bao said with smile, “Don’t be touchy. It doesn’t mean to be the maid but to be our relatives in our house.” Aroma replied, “It doesn’t match, either.” Master Bao refused to say any more, but just peeled chestnuts. Aroma smiled and said, “Why are you silent? I think I just offended you. You could spend some money and buy them if you want.” Master smiled and said, “How to respond to your words. I just show my admiration and think they are born to be in such circumstance where the persons like me live. ”--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:34, 29 September 2021 (UTC)

==翻译学 202120081481 陈心怡女==

袭人道：“他虽没这样造化，倒也是娇生惯养的，我姨父、姨娘的宝贝儿似的。如今十七岁，各样的嫁妆都齐备了，明年就出嫁。”宝玉听了“出嫁”二字，不禁又嗐了两声。正不自在，又听袭人叹道：“我这几年，姊妹们都不大见；如今我要回去了，他们又都去了。”
宝玉听这话里有文章，不觉吃了一惊，忙扔下栗子，问道：“怎么着，你如今要回去？”袭人道：“我今儿听见我妈和哥哥商量，教我再耐一年，明年他们上来，就赎出我去呢。”宝玉听了这话，越发忙了，因问：“为什么赎你呢？”袭人道：“这话奇了。我又比不得是这里的家生子儿，我们一家子都在别处，独我一个人在这里，怎么是个了局呢？”宝玉道：“我不叫你去，也难哪。”袭人道：“从来没这个理。就是朝廷宫里，也有定例：几年一挑，几年一放，没有长远留下人的理，别说你们家。” 宝玉想一想，果然有理。又道：“老太太要不放你呢？”

Aroma said, “Although she has few achievements, she is pampered and the apple of my uncle’s, aunt’s eyes. She is now 17. Since all kinds of dowries had been prepared, she could get married next year. ” Hearing “get married”, Precious Jade Merchant signed spontaneously. He was still ill at ease and then heard Aroma said, “I have rarely met with my sisters in the past few years. Now I’m going back, however, they came.” Precious Jade Merchant thought that there’s more to it than what is said. He was amazed, threw chestnuts at once and asked, “what’s wrong? You are going back now?” Aroma said, “I heard my mother and brother talking about it today. They want me to remain patient for another year and they will come here to redeem me next year. ” Precious Jade heard it, felt anxious and asked, “Why they want to redeem you?” Aroma said, “What you said is pretty strange. I’m not a daughter of maids here. My family is elsewhere, and I’m the only one here. How can it be like this?” Precious Jade said, “I’m afraid I can’t let you go.” Aroma said, “It makes no sense. There are routines even in the imperial palace: palace maids are selected once every few years and then set free. There is no reason to keep a person for a long time in the imperial palace, let alone in your house.” Precious Jade thought about it for a while and thought it made sense. Then he said, “What if my grandmothers doesn’t let you go?”--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:02, 29 September 2021 (UTC)
.

Aroma said, “Though not born as good, she is also spoilt and pampered, being the apple of my aunt and uncles’ eyes. She is now 17 and dowries of all sorts have been prepared for her marriage next year.” At the hearing of the word “marriage”, Precious Jade Merchant gave a sigh. As he was feeling ill at ease, Aroma sighed and continued, “I rarely met my sisters in the past few years. While I’m going back home, they are all about to leave.” Precious Jade Merchant felt surprised at what she said. He threw away chestnuts at once and asked, “why, you are going back home?” Aroma answered, ““I heard my mother and my brother talking today. They told me to stay here for another year and they will come here to ransom me next year.” Hearing that, Precious Jade got more anxious and asked, “Why do they want to ransom you?” Aroma replied, “what a strange question! I’m no daughter of maids here. My family lives elsewhere and I’m all alone here. How can we be together?” Precious Jade sighed, “If I won’t let you go, I suppose it’s difficult.” Aroma answered, “It makes no sense. There are routines even in the imperial palace: maids are selected once every few years and then set free. There is no reason to keep a servant for a long time in the imperial palace, let alone in your house.”Precious Jade thought for a while and considered it reasonable. Then he said, “What if my grandmothers won’t let you go?”--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 09:47, 29 September 2021 (UTC)

==翻译学 202120081487 高蜜女==

袭人道：“为什么不放呢？我果然是个难得的，或者感动了老太太、太太，不肯放我出去，再多给我们家几两银子留下，也还有的；其实我又不过是个最平常的人，比我强的多而且多。我从小儿跟着老太太，先伏侍了史大姑娘几年，这会子又伏侍了你几年。我们家要来赎我，正是该叫去的，只怕连身价不要，就开恩放我去呢。要说为伏侍的你好，不叫我去，断然没有的事。那伏侍的好，是分内应当的，不是什么奇功；我去了，仍旧又有好的了，不是没了我就使不得的。”
宝玉听了这些话，竟是有去的理，无留的理，心里越发急了。因又道：“虽然如此说，我只一心要留下你，不怕老太太不和你母亲说，多多给你母亲些银子，他也不好意思接你了。”
袭人道：“我妈自然不敢强：且慢说和他好说，又多给银子；就便不好好和他说，一个钱也不给，安心要强留下我，他也不敢不依。但只是咱们家从没干过这倚势仗贵霸道的事。这比不得别的东西，因为喜欢，加十倍利，弄了来给你，那卖的人不吃亏，就可以行得的；如今无故平空留下我，于你又无益，反教我们骨肉分离，这件事，老太太、太太肯行吗？”

Aroma said, “Why won’t she let me leave? I should be so important, or I have somehow moved Grandma Merchant and Lady King so that they won’t let go of me and give some more money to my family so as to make me stay. Actually, I am a most ordinary person. A whole lot people are better than me. Bought in by Grandma Merchant since I was a child, I had served Lady History for the first several years, and these several years I have been serving you. Now my family are about to pay the ransom. When I ask for a leave, I’m thinking that you could have mercy on me and allow my leaving without the ransom money. I certainly don’t buy it that you stop me from leaving just because I have served you well. Even if it’s true, I’m just doing what I’m supposed to do, which is really no big deal. Nothing will go wrong without me as there are still good servants who will take my place when I leave.” Hearing that, Precious Jade Merchant became all the more anxious because she had a reason to leave and no reason to stay. Therefore, he continued, “Since all I want is to keep you here, I might as well tell you that I wish Grandma Merchant to talk to your mother and give her a lot more money so that she has no reason to come and take you home. Aroma replied, “My mother certainly dares not to ask for my leaving, not to mention that you talk to her in a mild and polite way and give her extra money. Even if you force her without a penny, she dares not to defy. It’s only that your family has never done such a thing as to throw your weight about. It’s feasible when you buy something with ten times of its original price out of love, for the seller suffers no loss. Unlike anything else, it does you no good to keep me for no reason, which instead separates me from my mother. Do you think Grandma Merchant and Lady King will let that happen?”--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 16:09, 28 September 2021 (UTC)

Aroma said, “Why won’t she let me leave? I should be so important, or I have somehow moved Grandma Merchant and Lady King so that they won’t let go of me and give some more money to my family so as to make me stay. Actually, I can't be more ordinary, and too many maids out there are better than me. Bought in by Grandma Merchant when I was a child, I had served Lady History for the first several years, and these years I have been serving you. Now my families are about to pay the ransom. When I ask for leaving, I’m thinking that you could have mercy on me and allow my leaving without the ransom money. I certainly don’t buy it that you stop me from leaving just because I have taken good care of you. Even if it’s true, I’m just doing what I’m supposed to do, which is really no big deal. Nothing will go wrong without me as there are still good maids who will take my place when I leave.” Hearing that, Precious Jade Merchant became more anxious because she had every reason to leave but no reason to stay. Therefore, he continued, “Since all I want is to keep you here, I might as well tell you that I may beg Grandma to talk to your mother and give her extra money so that she has no reason to come and take you home.” Aroma replied, “My mother certainly dares not to ask, not to mention that you talk to her in a mild and polite way and give her extra money. Even if you force her without a penny, she dares not to defy. It’s only that your family has never done such a thing as to throw your weight about. It’s feasible when you buy something with ten times of its original price out of love, for the seller suffers no loss. Unlike anything else, it does you no good to keep me for no reason, which instead separates me from my family. Do you think Grandma Merchant and Lady King will let that happen?”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 10:02, 29 September 2021 (UTC)

==翻译学 202120081489 何芩女==

宝玉听了，思忖半晌，乃说道：“依你说来说去，是去定了？”袭人道：“去定了。”宝玉听了，自思道：“谁知这样一个人，这样薄情无义呢！”乃叹道：“早知道都是要去的，我就不该弄了来，临了剩我一个孤鬼儿。”说着，便赌气上床睡了。原来袭人在家，听见他母、兄要赎他回去，他就说：“至死也不回去。”又说：“当日原是你们没饭吃，就剩了我还值几两银子，要不叫你们卖，没有个看着老子娘饿死的理；如今幸而卖到这个地方儿，吃穿和主子一样，又不朝打暮骂。况如今爹虽没了，你们却又整理的家成业就，复了元气；若果然还艰难，把我赎出来，再多掏摸几个钱，也还罢了。其实又不难了，这会子又赎我做什么？权当我死了，再不必起赎我的念头了。”因此哭了一阵。他母、兄见他这般坚执，自然必不出来的了；况且原是卖倒的死契。明仗着贾宅是慈善宽厚人家儿，不过求求，只怕连身价银一并赏了，还是有的事呢。

After hearing this, Precious Jade Merchant thought for a while and said, “According to you, you have to go?” “I have to.” Aroma confirmed. Hearing this, Precious Jade thought to himself, “Who knows how heartless you are.” “I should not have had you here, since you are doomed to go, leaving me alone as a ghost.” Precious Jade sighed and went to bed with complaints. However, during her stay at home, Aroma heard her mother and elder brother wanted to redeem her back. “I won’t go back until I die.” Aroma railed, “At that time, you were starved to death. Nothing but I was worth some money. If I had refused to be sold, you would have been dead. I was fortunately to be sold to the Merchant’s and treated as a lady, free from abuses. Though my father has passed away, you have recollected yourselves and established new lives. If you were still in trouble, it would make sense that you wanted to reap some profit by redeeming me out. Since you are not, why are you bothering to do this? Don’t ever think about it! Just pretend I’m dead.” Seeing Aroma’s tears and insistence, her mother and elder brother knew it was impossible for her to leave the Merchant’s, besides, it was a sold-out death indenture. In fact, it was not impossible for the Merchant’s, who was a charitable and generous family, to set Aroma free with compensation money, if Aroma pleaded.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:03, 28 September 2021 (UTC)

After hearing this, Precious Jade Merchant thought for a while and said, “According to you, you have to go?” “Yes, I have to.” Aroma confirmed. Hearing this, Precious Jade thought, “Who knows how heartless she is.” “I should not have had you here, since you are doomed to go, leaving me alone as a ghost.” Precious Jade sighed and went to bed with complaints. However, during her stay at home, Aroma heard her mother and elder brother want to redeem her back. “I won’t return home until I die.” Aroma railed, “At that time, you were starved to death. Nothing but I was worth some money. If I had refused to be sold, you would have been dead. I was fortunately to be sold to the Merchant’s and treated as a lady, free from abuses. Though my father has passed away, you have reorganized the family and established new lives. If you were still in trouble, it would make sense that you wanted to reap some profit by redeeming me out. Since you are not, why are you bothering to do this? Don’t think about it anymore! Just pretend I’m dead.” Seeing Aroma’s tears and insistence, her mother and elder brother knew it was impossible for Aroma to leave the Merchant’s, besides, it was a sold-out lifetime indenture. In fact, it was possible for the Merchant’s, who was a charitable and generous family, to set Aroma free with compensation money, if Aroma pleaded.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:41, 29 September 2021 (UTC)

==翻译学 202120081499 李双女==

二则，贾府中从不曾作践下人，只有恩多威少的；且凡老少房中所有亲侍的女孩子们，更比待家下众人不同，平常寒薄人家的女孩儿也不能那么尊重。因此他母子两个就死心不赎了。
次后忽然宝玉去了，他两个又是那个光景儿，母子二人心中更明白了，越发一块石头落了地，而且是意外之想，彼此放心，再无别意了。
且说袭人自幼儿见宝玉性格异常，其淘气憨顽出于众小儿之外，更有几件千奇百怪、口不能言的毛病儿。近来仗着祖母溺爱，父母亦不能十分严紧拘管，更觉放纵弛荡，任情恣性，最不喜务正。每欲劝时，谅不能听。今日可巧有赎身之论，故先用骗词以探其情，以压其气，然后好下箴规。今见宝玉默默睡去，知其情有不忍，气已馁堕。自己原不想栗子吃，只因怕为酥酪生事，又像那茜雪之茶，是以假要栗子为由，混过宝玉不提就完了。
What’s more, the Merchant’s was very good to the servants, and never treated them cruelly. All the girls who served the old or the young received more respect than the others, even more than the girls who lived in poor families. Consequently Aroma’s mother and brother made their minds not to redeem her. Later the sudden arrival of Precious Jade and his meeting with Aroma still further reassured them and put down their stone in heart. The unexpected situation dispelled their other thoughts. When Precious Jade Merchant was young, Aroma found that he was different from ordinary children and that he was naughtier and had some foibles which can’t be told to others. Recently, because Grandma Merchant spoiled Precious Jade too much, his parents couldn’t discipline him too. He was therefore more indulgent and willful, and hated doing the right thing. Whenever others persuaded him, he was stubborn. Today it happened to talk about redemption, so Aroma deliberately lied to Precious Jade to test his attitude and to restrain his anger, and then made the rules. She saw Precious Jade go to sleep silently. She knew the truth, therefore she couldn’t help feeling some guilt, and her anger also subsided. Aroma hadn’t wanted to eat the chestnuts, but was just afraid of the problems that would result from the milk, just like Snow Alizarin’s tea. For this reason, she tricked Precious Jade into not mentioning milk by pretending she wanted to eat chestnuts.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 04:50, 29 September 2021 (UTC)

What’s more, the Merchant’s was very nice to the servants, and never treated them cruelly. All the girls who served as maids of the family members, old or young, were generally treated more kindly than the servants in other position, and were even better off than daughters of ordinary families. Consequently Aroma’s mother and brother made their minds not to buy her freedom. Then the sudden arrival of Precious Jade and the acquaintance between Aroma and her master showed the true situation of Aroma, which made them reassure. The unexpected situation dispelled their other thoughts. These years had shown Aroma that Baoyu with some indescribably odd habits, was no ordinary youth and was more willful than others. Recently, Precious Jade was so indulged by his grandma that his parents couldn’t discipline him strictly. Therefore, he became more indulgent, headstrong and impatient at conventions. Whenever she wanted to exhort him to clean up his act, she was convinced he would not listen to her. Luckily, using the incident as a convenient excuse, Aroma enabled to sound him out, pacify his mood, and give him a good lecture. She saw Precious Jade go to sleep silently. She knew his sadness about her departure, so she didn’t have the heart to give a lecture to him. As for chestnuts, Aroma hadn’t wanted to eat but she had pretended to be eager for them, for fear that the junket would creat a disturbance, just like Snow Alizarin’s tea. She made Precious Jade forget the junket by pretending to hanker after chestnuts.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:53, 1 October 2021 (UTC)

==翻译学 202120081506 刘胜楠女==

于是命小丫头子们将栗子拿去吃了，自己来推宝玉，只见宝玉泪痕满面。
袭人便笑道：“这有什么伤心的？你果然留我，我自然不肯出去。”宝玉见这话头儿活动了，便道：“你说说，我还要怎么留你？我自己也难说了。”
袭人笑道：“咱们两个的好，是不用说了。但你要安心留我，不在这上头。我另说出三件事来，你果然依了，那就是真心留我了；刀搁在脖子上，我也不出去了。”
宝玉忙笑道：“你说那几件？我都依你。好姐姐，好亲姐姐，别说两三件，就是两三百件，我也依的。只求你们看守着我，等我有一日化成了飞灰，——飞灰还不好，灰还有形有迹，还有知识的。——等我化成一股轻烟，风一吹就散了的时候儿，你们也管不得我，我也顾不得你们了，凭你们爱那里去，那里去就完了。”

Aroma thereupon gave the chestnuts to the other maids and nudged Precious Jade gently. She found his face is tear-strained .“Why you so sad about that?”she cajoled. “If you really want me to remind here, I won’t leave of course.” Reading between the lines, Precious Jade quickly replied , “Just tell me what I can do to keep you. I don't know how to persuade you.” She laughed, “We needn’t mention how well we get along with each other. If you really want to keep me, that’s a whole other story. If you promise me two or three things I come up with, I’ll assume that you are truly want me to stay. Then even a knife at my throat could not make me get out of here.”Precious Jade merrily said, “Well, what are these three conditions? I will agree them all, dear sister, my nice sister. I’d agree to two or three hundred conditions, let alone two or three. I merely implore you all to stay and take care of me until the day that I turn into flying ashes. No, I don’t want to turn into ashes because ashes have a trace of form and awareness . I’d like to let you all stay until I’ve turned into a wisp of smoke and been blown away by the wind. Then you will not be able to watch over me, and l will not be able to care about you. I will let you go wherever you please as well.”--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 04:48, 29 September 2021 (UTC)

Xi Ren thereupon gave the chestnuts to the other maids and nudged Baoyu gently. She found his face tear-strained .
“Why are you so sad about that?”she cajoled . “If you really want me to remind in Jia’s mansion, I won’t leave naturally.” Reading between the lines, Baoyu quickly replied , “Just tell me what else I can do to keep you. I don't know.”
She laughed, “We needn’t mention how well we get along with each other. If you really want to keep me, that’s a whole other story. If you promise me two or three things I come up with, I‘ll assume that you are truly want me to stay. Then even a knife at my throat could not make me get out of here.” Baoyu merrily said, “Well, what are these three conditions? I will agree them all, good sister, my dear sister. I’d agree to two or three hundred conditions, let alone two or three. I merely implore you all to stay and take care of me until the day that I turn into flying ashes. No, I don’t want to turn into ashes because ashes have a trace of form and awareness . I’d like to let you all stay until I’ve turned into a wisp of smoke and been blown away by the wind. Then you will not be able to take care of me, and l will not be able to care about you. I will let you go wherever you want as well.”--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:38, 29 September 2021 (UTC)

==法语语言文学 202120021494 金晓童女==

急的袭人忙捂他的嘴道：“好爷，我正为劝你这些个，更说的狠了。”宝玉忙说道：“再不说这话了。”袭人道：“这是头一件要改的。”宝玉道：“改了，再说你就拧嘴。还有什么？”
袭人道：“第二件，你真爱念书也罢，假爱也罢，只在老爷跟前，或在别人跟前，你别只管嘴里混批，只作出个爱念书的样儿来，也叫老爷少生点儿气，在人跟前也好说嘴。老爷心里想着：我家代代念书，只从有了你，不承望不但不爱念书(已经他心里又气又恼了)，而且背前面后混批评：凡读书上进的人，你就起个外号儿，叫人家‘禄蠹’；又说只除了什么‘明明德’外就没书了，都是前人自己混编纂出来的。这些话，你怎么怨得老爷不气，不时时刻刻的要打你呢？”
宝玉笑道：“再不说了。那是我小时候儿不知天多高地多厚，信口胡说的，如今再不敢说了。还有什么呢？”
Aroma covered his mouth in a hurry and said:"my dear lord, I'm trying to persuade you, but you said these even harder." Precious Jade Merchant quickly said:"I will not say these again.""This is the first thing you need to change."Aroma replied.Precious Jade Merchant said:"OK,if I say it again,you can twist my mouth.Anything else?＂
Aroma said:” The second thing, whether you like studying or not, except for nonsense you just need to pretend that you like reading when talking to milord or other people, which can make milord less angry so that he have something to talk. Milord will say to himself:“Everyone in my family have studied from generation to generation except you. And I can’t imagine that not only do you hate reading(already he was angry and bitter), but also making criticism everywhere----if someone are motivated and love reading, you will call him ‘greedy man’; or you will say every book is fabricated but ‘li Ji’Because of these above, why did you complain that milord are usually annoyed and beat your ass?” “I will never be like that before. When I was a kid, I didn’t understand bragging and talk whatever I want. My dare not say now, and what else?” Precious Jade Merchant said with a smile.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:49, 28 September 2021 (UTC)

Xiren covered his mouth in a hurry and said: "my dear lord, I'm trying to persuade you, but you're exaggerating these."Baoyu quickly said: "I will not say these again. " "This is the first thing you need to change. "Xiren replied.Baoyu said: "OK, if I say it again,you can twist my mouth. Anything else? "Xiren said: "The second thing, whether you like studying or not, you can't just talk nonsense, you just need to pretend that you like reading when talking to milord or other people, which can make milord less angry so that he have something to talk with others. Milord will say to himself: "Everyone in my family have studied from generation to generation except you .And I can't imagine that not only do you hate reading (already he was angry and bitter), but also making criticism everywhere casually----if someone are motivated and love reading, you will call him 'greedy man'; you also said there were no other books in the world except 'li Ji', that all other books were made up groundlessly by predecessors. Because of these above, why did you complain that milord are usually annoyed and beat your ass? "
"I will never be like that before. When I was a kid, I didn't understand bragging and talk whatever I want. My dare not say now, and what else? "BaoYu said with a smile.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 02:19, 2 October 2021 (UTC)

==法语语言文学 202120081504 李怡女==

袭人道：“再不许谤僧毁道的了。还有更要紧的一件事：再不许弄花儿，弄粉儿，偷着吃人嘴上擦的胭脂和那个爱红的毛病儿了。”宝玉道：“都改，都改。再有什么，快说罢。”
袭人道：“也没有了，只是百事检点些，不任意任性的就是了。你要果然都依了，就拿八人轿也抬不出我去了。”宝玉笑道：“你在这里长远了，不怕没八人轿你坐。”袭人冷笑道：“这我可不稀罕的！有那个福气，没有那个道理，纵坐了也没趣儿。”
二人正说着，只见秋纹走进来说：“三更天了，该睡了。方才老太太打发嬷嬷来问，我答应睡了。”宝玉命取表来看时，果然针已指到子初二刻了。方从新盥漱，宽衣安歇，不在话下。
至次日清晨，袭人起来，便觉身体发重，头疼目胀，四肢火热。先时还扎挣的住，次后挨不住，只要睡，因而和衣躺在炕上。
Aroma said :Stop denigrating monks and dhamma.There is a more important things : no more indulging in flowers and rouge and powder,no more touching lipstick on other people's lips secretly ,and give up the habit of applying makeup. Precious Jade Merchant said :i will change it all .And anything else ? Aroma said : Nothing,you must be careful of everything and stop being capricious. If you change them all, I won't leave even if you lift me in a huge Jiao. Precious Jade Merchant laughed and said : If you stay here long enough, you'll be able to ride in a big Jiao. Aroma sneered and said :I don't desire it, and even if I were lucky enough to ride in the big Jiao, it would be against the rules and boring.
While the two were talking, Autumn Vein came in and said : It's early in the morning and it's time to go to bed. Grandma Merchant sent her maid to ask after you, and I said you were asleep. Precious Jade Merchant took a watch and checked the time, and it was already midnight, he cleaned up again and then undressed and went to bed and stopped talking.
When Aroma got up early the next morning, she felt heavy and dizzy,and she felt her body was burning. At first she managed to stand up, then she couldn't hold on and felt sleepy, and finally she lay down in bed with her clothes on.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:35, 29 September 2021 (UTC)

Aroma said, “Stop denigrating monks and dhamma. There is a more important things : no more indulging in flowers and rouge and powder, no more eating lipstick on other people’s lips secretly, and give up the habit of applying makeup.” Precious Jade Merchant said, “I I will rectify all these addictions. And anything else ? ” Aroma said: “No, however, you must be careful of everything and stop being capricious. If you were a kind man, I won’t leave even if you had an eight-man palanquin. Precious Jade Merchant laughed and said: “If you stay here long enough, you’ll be able to in an eight-person palanquin. Aroma sneered and said: “I don’t desire it, and even if I were lucky enough to be in the palanquin, it would be against the rules. That’s boring.” While the two were talking, Autumn Vein came in and said, “It's almost dawn and it’s time to go to bed. Grandma Merchant sent her maid to ask after you, and I said you were asleep.” Precious Jade Merchant asked his servant to bring the watch and checked the time, and it was already midnight. He cleaned up again, undressed and went to bed promptly. When Aroma got up the next morning, she felt heavy and dizzy with a body burning. At first, she was able to stand up, but couldn’t hold on after a short while, and felt extremely sleepy. Thus, she lay down in bed with her clothes on.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:59, 29 September 2021 (UTC)彭瑞雪

==法语语言文学 202120081517 彭瑞雪女==

宝玉忙回了贾母，传医诊视，说道：“不过偶感风寒，吃一两剂药，疏散疏散就好了。”开方去后，令人取药来煎好。刚服下去，命他盖上被窝焐汗。宝玉自去黛玉房中来看视。
彼时黛玉自在床上歇午，丫鬟们皆出去自便，满屋内静悄悄的。宝玉揭起绣线软帘，进入里间，只见黛玉睡在那里，忙上来推他道：“好妹妹，才吃了饭，又睡觉。”将黛玉唤醒。黛玉见是宝玉，因说道：“你且出去逛逛。我前儿闹了一夜，今儿还没歇过来，浑身酸疼。”宝玉道：“酸疼事小，睡出来的病大。我替你解闷儿，混过困去就好了。”黛玉只合着眼，说道：“我不困，只略歇歇儿。你且别处去闹会子再来。”宝玉推他道：“我往那里去呢？见了别人就怪腻的。”
After hastily greeting Granny Merchant, Precious Jade Merchant invited a doctor to see Aroma at home. The doctor said,“This young lady has only caught a cold by chance, take a few pills, the illness will slowly fade away.” According to the prescription prescribed by the doctor, the servant was ordered to pick out the medicine in the pharmacy and to cook it. As soon as Aroma finished the soup, the doctor asked her to cover herself with a quilt in order to sweat and get rid of the cold in her body. Then, Precious Jade Merchant went alone to Mascara Jade Forest’s room to visit her. At that time, she was lying alone in bed, taking a nap, and the maids had all gone off to do their own things, and silence filled the whole room. Precious Jade Merchant gently lifted the curtain and entered the room, only to see her sleeping there, and hurriedly went up to her, nudged her and said to her: “Lovely sister, you just went to bed after eating, how can you do that?” He tried to wake Mascara Jade Forest up. When she was awakened, she saw that the person who had woken her up was Precious Jade Merchant, she saisd, “Could you go out for a walk for the time being. I was up all night the night before, and to this day I still have not recovered my energy. I feel sick.” he answered, “Feeling sick is not a big problem. But if you keep sleeping, you will become really very ill. I will relieve your boredom so that the sleepiness is dispelled, and you will be refreshed.” Mascara Jade Forest just closed her eyes and said,“I’m not sleepy, I just want to rest for a while. Go and play somewhere else for a while, after that, you can come back to me.” Precious Jade Merchant nudged her and said, “Where can I go? I’m tired of others.”--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:37, 29 December 2021 (UTC)

After hastily greeting Grandma Merchant, Precious Jade invited a doctor to see Aroma at home. The doctor said,“This young lady has only caught a cold by chance, take a few pills and she will be recovered.” According to the prescription prescribed by the doctor, the servant was ordered to pick out the medicine in the pharmacy and to decoct it. As soon as Aroma finished the medicine, the doctor asked her to cover herself with a quilt in order to sweat and get rid of the cold in her body. Then, Precious Jade went alone to Mascara Jade's room to visit her. At that time, Mascara Jade was lying alone in bed, taking a nap, and the maids had all gone off to do their own things, and silence filled the whole room. Precious Jade gently lifted the curtain and entered the room, only to see Daiyu sleeping there, and hurriedly went up to her, nudged her and said to her: “Lovely sister, you just went to bed after eating, how can you do that?” Precious Jade tried to wake Mascara Jade up. When she was awakened, she saw that the person who had woken her up was Precious Jade , she saisd, “Could you go out for a walk for the time being. I was up all night the night before, and to this day I still have not recovered my energy. I feel sick.” Precious Jade answered, “Feeling sick is not a big problem. But if you keep sleeping, you will become really very sick. I will relieve your boredom so that the sleepiness will be dispelled, and you will be refreshed.” Mascara Jade just closed her eyes and said,“I’m not sleepy, I just want to rest for a while. Go and play somewhere else for a while, after that, you can come back to me.” Precious Jade nudged her and said, “Where can I go? I’m tired of others.”--Yang Kun(talk) 21;22, 29 September 2021 (UTC)

==法语语言文学 202120081542 杨堃女==

黛玉听了，嗤的一笑道：“你既要在这里，那边去老老实实的坐着，咱们说话儿。”宝玉道：“我也歪着。”黛玉道：“你就歪着。”宝玉道：“没有枕头，咱们在一个枕头上罢。”黛玉道：“放屁！外头不是枕头？拿一个来枕着。”
宝玉出至外间，看了一看，回来笑道：“那个我不要，也不知是那个腌臜老婆子的。”黛玉听了，睁开眼，起身笑道：“真真你就是我命中的魔星！请枕这一个。”说着，将自己枕的推给宝玉，又起身将自己的再拿了一个来枕上，二人对着脸儿躺下。
黛玉一回眼，看见宝玉左边腮上有钮扣大小的一块血迹，便欠身凑近前来，以手抚之细看道：“这又是谁的指甲划破了？”宝玉倒身，一面躲，一面笑道：“不是划的，只怕是才刚替他们淘澄胭脂膏子，溅上了一点儿。”说着，便找绢子要擦。

When Mascara Jade heard this, she giggled and said, "Since you want to sit here, sit honestly there and let's talk." Precious Jade Merchant said, "I want to lie down here,too." "You can do it!" said Mascara Jade. " Precious Jade said, "There isn't other pillow. Let's be on the same pillow." Mascara Jade said, "Bullshit! It's not a pillow outside? Take one !"

Precious Jade went out to the outer room, looked at it, came back and smiled, "I don't want that, and I don't know if it belongs to a certain pickled old woman." Hearing this, Mascara Jade opened her eyes, got up and smiled, " You are the magic star I hit! Please rest with this one. " Then, she pushed her pillow to Precious Jade, got up and fetched another one .After that,the two lay down face-to-face.

As soon as Mascara Jade looked back and saw a piece of blood ,the size of a button, on Precious Jade's left cheek. She leaned forward and looked closely with her hand, saying, "whose nails cut your face?" Precious Jade turned back, hiding, and said with a smile, "It's not a wound. I think it's just spattered with a little blusher when I washed it for them just now." With that, he looked for the handkerchief to wipe.--Yang Kun (talk) 23:50, 28 September 2021 (UTC)

When Mascara Jade heard this, she giggled and said, "Since you want to stay here, sit there quietly and let's have a talk." Precious Jade said, "I want to lie down, too." "Do as you like" said Mascara Jade. " Precious Jade said, "There isn't other pillow. Let's share the pillow." Mascara Jade said, "Don’t talk rot! It's not a pillow outside? Take one !" Precious Jade went out to the outer room, looked at it, came back and smiled, "I don't want that, and I don't know if it belongs to a certain pickled old woman." Hearing this, Mascara Jade opened her eyes, got up and smiled, " You are the magic star I hit! Please rest with this one. " Then, she pushed her pillow to Precious Jade, got up and fetched another one. After that, the two lay down face-to-face. As soon as Mascara Jade looked back and saw a piece of blood ,the size of a button, on Precious Jade’s left cheek. She leaned forward and looked closely with her hand, saying, "whose nails cut your face?" Precious Jade turned back, hiding, and said with a smile, "It's not a wound. I think it's just spattered with a little blusher when I washed it for them just now." With that, he looked for the handkerchief to wipe.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 05:12, 29 December 2021 (UTC)

==法语语言文学 202120081556 周俊辉女==

黛玉便用自己的绢子替他擦了，咂着嘴儿说道：“你又干这些事了；干也罢了，必定还要带出幌子来。就是舅舅看不见，别人看见了，又当作奇怪事，新鲜话儿，去学舌讨好儿，吹到舅舅耳朵里，大家又该不得心净了。”
宝玉总没听见这些话，只闻见一股幽香，却是从黛玉袖中发出，闻之令人醉魂酥骨。
宝玉一把便将黛玉的衣袖拉住，要瞧瞧笼着何物。黛玉笑道：“这时候谁带什么香呢？”宝玉笑道：“那么着，这香是那里来的？”黛玉道：“连我也不知道，想必是柜子里头的香气熏染的，也未可知。”宝玉摇头道：“未必。这香的气味奇怪，不是那些香饼子、香球子、香袋儿的香。”黛玉冷笑道：“难道我也有什么罗汉、真人给我些奇香不成？就是得了奇香，也没有亲哥哥亲兄弟弄了花儿、朵儿、霜儿、雪儿替我炮制。我有的是那些俗香罢了。”

Mascara Jade wiped his cheek with her handkerchief. Smacking her mouth, she said:“ You did it again. You always make excuses to do the trifles. You’re lucky that my uncle doesn’t know. But if other people saw it, they would take it as an anecdote, an opportunity to play up to my uncle. As soon as my uncle hears about it, there will be no peace in the house.”
The words went in one his ear and out the other. At that moment, he smelled a faint fragrance coming from Mascara Jade’s sleeve, which was intoxicating.
Precious Jade grabbed Mascara Jade’s sleeve to see what it was. Mascara Jade laughed and said, “Who brings balsam at this time?” He laughed: “Then where does the fragrance come from?” “Even I don’t know. Maybe it came out of the closet.” Precious Jade shook his head:“Not necessarily, the smell is very strange, not like the fragrance of incense cake, of incense ball, of incense bag.” Mascara Jade sneered: “ Will some god give me some magic spice? Even if I really get it, there is no brothers to help me find flowers, buds, frost and snow, then help me make incense. All I have is mediocre spices.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:04, 2 October 2021 (UTC)

Mascara Jade Forest wiped his mouth with her mocket,she pouted and said:“You did it again, but you also make trouble to us. Although uncle couldn't see it, other people could and would take it as a anecdote. Mabye he heard of it beacause of someone's flattery, there won't be quiet.”
The words went in one of his ears and out the other. At that moment, he smelled a faint fragrance coming from Mascara Jade Forest’s sleeve,which was intoxicating.
Precious Jade Merchant grabbed her sleeve to see what stuff hide im. Mascara Jade Forest smiled and said, “Who brings balsam at this time?” He laughed: “Then where does the fragrance come from?” “Even I don’t know. Maybe it's fumigated by the fragrance of the closet.” Precious Jade Merchant shook his head:“Not necessarily, the smell is very strange, not like the fragrance of incense cake, of incense ball, of incense bag.” Mascara Jade Forest sneered: “ Will some god give me some magic spice? Even if I really get it, there is no brothers to help me find flowers, buds, frost and snow, then help me make incense. All I have is mediocre spices.”--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 13:13, 29 September 2021 (UTC)

==法语语言文学 202120081558 周清女==

宝玉笑道：“凡我说一句，你就拉上这些。不给你个利害也不知道，从今儿可不饶你了。”说着，翻身起来，将两只手呵了两口，便伸向黛玉膈肢窝内两胁下乱挠。黛玉素性触痒不禁，见宝玉两手伸来乱挠，便笑的喘不过气来。口里说：“宝玉，你再闹，我就恼了。”宝玉方住了手，笑问道：“你还说这些不说了？”黛玉笑道：“再不敢了。”一面理鬓，笑道：“我有奇香，你有‘暖香’没有？”
宝玉见问，一时解不来，因问：“什么‘暖香’？”黛玉点头笑叹道：“蠢才，蠢才！你有‘玉’，人家就有‘金’来配你；人家有‘冷香’，你就没有‘暖香’去配他？”宝玉方听出来，因笑道：“方才告饶，如今更说狠了。”说着又要伸手。黛玉忙笑道：“好哥哥，我可不敢了。”宝玉笑道：“饶你不难，只把袖子我闻一闻。”说着便拉了袖子，笼在面上，闻个不住。黛玉夺了手道：“这可该去了。”宝玉笑道：“要去不能。咱们斯斯文文的躺着说话儿。”说着，复又躺下。黛玉也躺下，用绢子盖上脸。

Precious Jade Merchant smiled and said:"if i say a word,you will do something like this. You don't know how to constrain, from now on, i won't forgive you anymore if you won't change." As he said, he stood up and exhaled two warm breaths to his both hands, and then put them into the two flanks of Mascara Jade Forest's diaphragm and scratched randomly. Mascara Jade Forest still couldn't help itching, so she couldn't breathe with a smile. She said:"Baoyu, if you make a disturbance,i will bw anoyed." Baoyu stopped, he smiled and said:"Will you still say this?" "i'll never do it again. But i have a special perfume, do you have the 'warm perfume'." Mascara Jade Forest smiled and said.
Precious Jade Merchant couldn't solve it for a while, so he asked:"What's the "warm perfume?" Mascara Jade Forest nodded and signed with a smile:"stupd, stupid!You have "jade", people will have "gold"to match you;i have "cold perfume", but you don't have "warm perfume?" Precious Jade Merchant undstood:"You just surrendered, and now it's even more excesive." He was about to stretch out his hand again. Mascara Jade Forest hurriedly smiled: "Good brother, I don't dare anymore."Precious Jade Merchant smiled: "It's not difficult to spare you. I just smell your sleeves." As he said, he pulled up his sleeves, caged on his face, and couldn't help smelling it.Mascara Jade Forest grabbed his hand and said, "This is the time to go." Precious Jade Merchant smiled and said, "I can't go. Let's lie down and talk quietly." As he said, he lay down again. Mascara Jade Forest also lay down and covered her face with silk.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 12:54, 11 October 2021 (UTC)

Baoyu smiled and said:"if i say a word,you will do something like this. You don't know what happened if I'm not serious. I won't let you off from this day forward. " As he said, he stood up and exhaled two warm breaths to his both hands, and then put them into the two flanks of Daiyu's diaphragm and scratched randomly. Daiyu still couldn't help itching, so she couldn't breathe with a smile. She said:"Baoyu, if you make a disturbance,i will bw anoyed." Baoyu stopped, he smiled and said:"Will you still say this?" "i'll never do it again. But i have a special perfume, do you have the 'warm perfume'." Daiyu smiled and said.
Baoyu couldn't solve it for a while, so he asked:"What's the "warm perfume?" Daiyu nodded and signed with a smile:"stupd, stupid!You have "jade", people will have "gold"to match you;i have "cold perfume", but you don't have "warm perfume?" Baoyu undstood:"You just surrendered, and now it's even more excesive." He was about to stretch out his hand again. Daiyu hurriedly smiled: "Good brother, I don't dare anymore."Baoyu smiled: "It's not difficult to spare you. I just smell your sleeves." As he said, he pulled up his sleeves, caged on his face, and couldn't help smelling it.Daiyu grabbed his hand and said, "This is the time to go." Baoyu smiled and said, "I don't go. Let's lie down and talk quietly." As he said, he lay down again. Daiyu also lay down and covered her face with silk.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 13:56, 29 September 2021 (UTC)

==俄语语言文学 202120081488 宫博雅女==

宝玉有一搭没一搭的说些鬼话，黛玉总不理。宝玉问他几岁上京，路上见何景致，扬州有何古迹，土俗民风如何。黛玉不答。宝玉只怕他睡出病来，便哄他道：“嗳哟！你们扬州衙门里有一件大故事，你可知道么？”黛玉见他说的郑重，又且正言厉色，只当是真事，因问：“什么事？”宝玉见问，便忍着笑顺口诌道：“扬州有一座黛山，山上有个林子洞。”黛玉笑道：“这就扯谎，自来也没听见这山。”宝玉道：“天下山水多着呢，你那里都知道？等我说完了，你再批评。”黛玉道：“你说。”
宝玉又诌道：“林子洞里原来有一群耗子精。那一年腊月初七，老耗子升座议事，说：‘明儿是腊八儿了，世上的人都熬腊八粥。如今我们洞里果品短少，须得趁此打劫些个来才好。’乃拔令箭一枝，遣了个能干小耗子去打听。小耗子回报：‘各处都打听了，惟有山下庙里果、米最多。’老耗子便问：‘米有几样？果有几品？’小耗子道：‘米、豆成仓。果品却只有五样：一是红枣，二是栗子，三是落花生，四是菱角，五是香芋。’

Precious Jade Merchant chattered by fits and starts, Mascara Jade Forest kept silent. Precious Jade Merchant asked, “How old were you when you went to the captical? What did you see along the road? Are there any historical sites in Yangzhou? How about the folk customs?” She didn’t answer. Precious Jade Merchant was worried she will get ill for sleeping too long , and coaxed her, “ Ah! There is an important event in yamen of Yangzhou, you know that? ” Mascara Jade Forest saw what he said with a stern look,so she aslo took it seriously. Then she asked, “What envent? ” Upon seeing this, Precious Jade Merchant concealed a smile and kept cooking up, “in Yangzhou there is a mountain called Daishan and a forest cave upon there. ” Mascara Jade Forest smiled, “It is nonsense, I have not heard of it at all. ”Precious Jade Merchant replied, “There are so many landscapes in the world, how do you know all of them? Keeping your comments until i finish my words. ” She said, “Say it. ” Precious Jade Merchant talked recklessly again, “There used to be a bunch of ratspirits in the forest cave. On the seventh day of the twelfth lunar month, the elder ratspirit held a meeting. On the meeting, he said, ‘Tomorrow is the eighth day of the twelfth lunar month. People will all make laba rice porridge. Now that we are short of grain in the cave, we must seize the chance to rob some. ’ Cosequently he threw a command arrow and sent an able young ratspirit to inquire. Young ratspirit returned and reported, ‘I have made inquiries everywhere. The temple at the mountain foot stores most fruits and rice. ’ The old ratspirit asked, ‘ How many kinds of grain? How many kinds of tribute? ’ The young ratspirit said, ‘There's a whole warehouse of rice and bean. There are only five kinds of cereal: one is red dates, two is chestnuts, three is peanuts, four is water chestnut, five is taro. ’--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 01:55, 13 October 2021 (UTC)

Chinese names can be translated directly in pinyin.(宝玉—Baoyu；黛玉—Daiyu);Bao Yu was talking nonsense, but Dai Yu always ignored it. She asked him how old he was when he went to Beijing, what sights he saw on the way, what are the monuments in Yangzhou, and what are the customs and folklore. Daiyu did not answer. She was afraid that he would fall asleep and get sick, so she coaxed him, "Oh! There is a big story in your Yangzhou government office, do you know it?" The first time I saw him, I thought he was telling the truth, so I asked, "What is it?" When Baoyu saw the question, he stifled a laugh and said smoothly, "There is a Dai Mountain in Yangzhou and there is a Lin Zi Cave on the mountain." Daiyu laughed and said, "That's a lie, I haven't heard of this mountain since." The world is full of mountains and rivers, where do you know them all? When I've finished, you can criticise again." Daiyu said, "You say it." Bao Yu said, "There was a group of rat spirits in the forest cave. That year, on the seventh day of the lunar month, the old rats rose to their seats and said: 'Tomorrow is the eighth day of the lunar month, and everyone in the world is making lunar porridge. Now we are short of fruits in the cave, so we must take advantage of this to rob some of them.' He drew an arrow and sent a competent little rat to inquire. The little rat reported, 'I have asked everywhere, but the temple at the bottom of the hill has the most fruit and rice.' The old rat then asked, 'How many kinds of rice are there? How many kinds of fruit are there?' The little rat said, 'Rice and beans are in the warehouse. But there are only five kinds of fruits: first, red dates, second, chestnuts, third, groundnuts, fourth, lozenges, and fifth, taro.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:46, 29 September 2021 (UTC)

==俄语语言文学 202120081515 毛优女==

“老耗子听了大喜，即时拔了一枝令箭，问：‘谁去偷米？’一个耗子便接令去偷米。又拔令箭问：‘谁去偷豆？’又一个耗子接令去偷豆。然后一一的都各领令去了。只剩下香芋，因又拔令箭问：‘谁去偷香芋？’只见一个极小极弱的小耗子应道：‘我愿去偷香芋。’
“老耗子和众耗子见他这样，恐他不谙练，又怯懦无力，不准他去。小耗子道：‘我虽年小身弱，却是法术无边，口齿伶俐，机谋深远。这一去，管比他们偷的还巧呢。’众耗子忙问：‘怎么比他们巧呢？’小耗子道：‘我不学他们直偷；我只摇身一变，也变成个香芋，滚在香芋堆里，叫人瞧不出来，却暗暗儿的搬运，渐渐的就搬运尽了。这不比直偷硬取的巧吗？’众耗子听了，都说：‘妙却妙，只是不知怎么变？你先变个我们瞧瞧。’小耗子听了，笑道：‘这个不难，等我变来。’说毕，摇身说：‘变！’竟变了一个最标致美貌的一位小姐。众耗子忙笑说：‘错了，错了。原说变果子，怎么变出个小姐来了呢？’小耗子现了形，笑道：‘我说你们没见世面，只认得这果子是香芋，却不知盐课林老爷的小姐才是真正的香玉呢。’”

The old mouse was overjoyed and immediately drew an arrow and asked:"Who is going to steal the rice?" A mouse took the order to steal the rice. Then he drew /pulled another arrow and asked again :"Who is going to steal the beans?" Another mouse took the order to steal the beans. All the mouses One by one received the orders, only the order of taro was left. So the old mouse drew this left arrow and asked:"Who is going to steal the taro?" At this time a very small and weak mouse responded:"I am willing to steal the taro." The old mouse and all the mice saw him like this, and they would not allow him to go because they were afraid that he would be unskilled and cowardly. But the little mouse said: ‘Although I am young and weak, I have boundless power, skillful tongue and foresight. I will steal more cleverly than others. "The mice hurriedly asked: "How can you do that?" The little mouse said: "I won't learn from them to steal directy. I just changed my body and turned into a taro, rolled in the taro pile. In that way people can't see me. Then I will secretly carry the taros, and gradually they were exhausted. Isn't this more clever than stealing directly? All the mice heard this, and they all said, "It's indeed a wonderful way, but how can you change yourself into a taro? Can you show us now? let's see!"The little mouse listened and said with a smile: "This is not difficult, wait for me!" After speaking, he said: "Change! "She has turned into the most beautiful girl in this world. The mice laughed and said:"it’s wrong, it’s wrong. Originally you said that you would turn into fruit, why did you turn into a girl?" The little mouse appeared, and smiled: "I said you hadn't seen the world, because you only recognized that it was a taro, but you didn't know that master Lin's daughter was the real fragrant jade. "(In Chinese pronounciation of the word "taro" is as the same as the word "fragrant jade")--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 14:28, 28 September 2021 (UTC)Sept. 28

The old mouse was overjoyed and immediately drew an arrow and asked:"Who is going to steal the rice?" A mouse took the order to steal the rice. Then he pulled another arrow and asked again :"Who is going to steal the beans?" Another mouse took the order to steal the beans. All the mouses One by one received the orders, only the order of taro was left. So the old mouse pulled this left arrow and asked:"Who is going to steal the taro?" At this time a very small and weak mouse responded:"I am willing to steal the taro." The old mouse and all the mice saw him like this, and they would not allow him to go because they were afraid that he would be unskilled and cowardly. But the little mouse said: ‘Although I am young and weak, I have boundless supernatural power, skillful tongue and foresight. I will steal more cleverly than others. "The mice hurriedly asked: "How can you do that?" The little mouse said: "I won't learn from them to steal directy. I just changed my body and turned into a taro, rolled in the taro pile. In that way people can't see me. Then I will secretly carry the taros, and gradually they were exhausted. Isn't this more clever than stealing directly? All the mice heard this, and they all said, "It's indeed a wonderful way, but how can you change yourself into a taro? Can you show us now? let's see!"The little mouse listened and said with a smile: "This is not difficult, wait for me!" After speaking, he said: "Change! "She has turned into the most beautiful girl in this world. The mice laughed and said:"it’s wrong, it’s wrong. Originally you said that you would turn into fruit, why did you turn into a girl?" The little mouse appeared, and smiled: "I said you hadn't seen the world, because you only recognized that it was a taro, but you didn't know that master Lin's daughter was the real fragrant jade. "--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:00, 11 October 2021 (UTC)

==俄语语言文学 202120081529 吴婧悦女==

黛玉听了，翻身爬起来，按着宝玉笑道：“我把你这个烂了嘴的！我就知道你是编派我呢。”说着便拧。宝玉连连央告：“好妹妹，饶了我罢，再不敢了。我因为闻见你的香气，忽然想起这个故典来。”黛玉笑道：“饶骂了人，你还说是故典呢。” 一语未了，只见宝钗走来，笑问：“谁说故典呢？我也听听。”黛玉忙让坐，笑道：“你瞧瞧，还有谁？他饶骂了，还说是故典。”宝钗笑道：“哦！是宝兄弟哟，怪不得他，他肚子里的故典本来多么。就只是可惜一件：该用故典的时候儿，他就偏忘了。有今儿记得的，前儿夜里的芭蕉诗就该记得呀，眼面前儿的倒想不起来。别人冷的了不得，他只是出汗。这会子偏又有了记性了。”黛玉听了，笑道：“阿弥陀佛！到底是我的好姐姐。你一般也遇见对子了。可知一还一报，不爽不错的。”
刚说到这里，只听宝玉房中一片声吵嚷起来。
未知何事，下回分解。

Mascara Jade Forest listened, turned over and got up, she laughed at Precious Jade and said: “ Why you love to gossip so much? I knew that you were making fun of me.” She said and tweaked his ear. Precious Jade hastened to say that: “ my dear sister, forgive me please, I dare not do it again. Because I smelt your scent, and suddenly remembered this literary allusion.” Mascara Jade Forest smiled and added: “ You spout insults but said that it is an allusion.” Didn’t finish saying, while Precious hairpin came in, she also smiled and said: “ Who is telling allusions? I want to know, too.” Mascara Jade Forest offered her seat to Precious hairpin , and said: “ Look! Who else? He spout insults, but said they are allusion.” Precious hairpin added with a smile: “ Oh! It is brother Precious Jade, it’s none of his business, because he knew a lot of allusions, but it is a pity that he didn’t remember the allusion when it needed. He should have remembered the Plantain poem, but didn’t remember the allusion before him. The others were so cold, but he only sweated, and this time he unexpectedly had a good memory.” Mascara Jade Forest listened to her, laughing: “ God! You exactly my good sister. Now you also meet with your opponent. It is true that measure for measure.” By this time, Precious Jade‘s room rang out a noise. Unknown what had happened, it will be told in the next chapter.

Daiyu heard, turned over and got up, she laughed at Baoyu and said: “ Why you love to gossip so much? I know that you are making fun of me.” She said and tweaked his ear. Baoyu hastened to say that: “ my dear sister, forgive me please, I dare not do it again. Because I smelt your scent, and suddenly remembered this literary allusion.” Daiyu smiled and added: “ You spout insults but said that it is an allusion.” Didn’t finish saying, while Baochai came in, she also smiled and said: “ Who is telling allusions? I want to know, too.” Daiyu offered her seat to Baochai, and said: “ Look! Who else? He spout insults, but said they are allusion.” Baochai added with a smile: “ Oh! It is brother Baoyu, it’s none of his business, because he knew a lot of allusions, but it is a pity that he didn’t remember the allusion when it needed. He should have remembered the Plantain poem, but didn’t remember the allusion before him. The others were so cold, but he only sweated, and this time he unexpectedly had a good memory.” Daiyu listened to her, laughing: “ God! You are exactly my good sister. Now you also meet with your opponent. It is true that measure for measure.” By this time, Baoyu’s room rang out a noise. Unknown what had happened, it will be told in the next chapter. --[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:20, 29 September 2021 (UTC)

==俄语语言文学 202120081533 谢庆琳女==

花解语──解：理解，领会。语本“解语花”，出自五代·王仁裕《开元天宝遗事·卷下·解语花》：“秋八月，太液池有千叶白莲，数枝盛开，帝(唐玄宗)与贵戚宴赏焉。左右皆叹羡。久之，帝指贵妃示于左右曰：‘争如我解语花！’”(争：怎。)原指唐玄宗把杨贵妃比做善解人意的鲜花。引申以比喻善解人意的美女。曹雪芹化用为“花解语”，则变为美女善解人意；而“花”又为袭人之姓，则“花解语”就是花袭人善解人意。
玉生香──玉：指林黛玉。生香：散发出香气。语或本“活色生香”，出自唐·薛能《杏花》诗：“活色生香第一枝，手中移得近青楼。”原形容杏花呈现出生机盎然的美丽颜色，散发出沁人心脾的香气。引申以形容女子的天生美貌和芳香气息。这里用以形容林黛玉的天生美貌和芳香气息。
“Hua Jie Yu” - " Jie": to understand, to comprehend. The phrase is from Wang Renyu's "The Legacy of Kaiyuan Tianbao - Volume 2 - The Flower of Explanation": "In the eighth month of autumn, there were a thousand leaves of white lotus in full bloom at the Taiyan Pond. The Emperor (Tang Xuanzong) and his noble relatives enjoyed the feast, and all the people around him admired them. After a long time, the emperor pointed to the noble princess and showed her to the left and right, saying: 'Compete with me to interpret the flowers!'" (Strive: how.) Originally, Emperor Tang Xuanzong compared Yang Guifei to an understanding flower. This is a metaphor for a beautiful woman who understands people. Cao Xueqin's use of the word "Hua Jie Yu" is a metaphor for a beautiful woman who understands people's feelings; and since "Hua" is also the surname of Assailant, "Hua Jie Yu" means that Hua Assailant understands people's feelings. “Jade is fragrant” - “Jade” refers to Lin Daiyu. The name of the poem is "Jade". The phrase is derived from the poem 'Apricot Blossoms' by Xue Neng: "The first branch of apricot blossoms is in living colour and fragrance, and the hand has moved close to the green tower." The original description is that the apricot blossoms are of a vibrant and beautiful colour, emitting a refreshing fragrance. It is also used to describe the natural beauty and fragrance of a woman. Here it is used to describe the natural beauty and fragrance of Lin Daiyu.
--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:02, 29 September 2021 (UTC)
“Hua Jie Yu” - " Jie": to understand, to comprehend. The phrase is from five dynasties and ten years ·Wang Renyu's "The Legacy of Kaiyuan Tianbao - Volume 2 - The Flower of Explanation": "In the eighth month of autumn, there were a thousand leaves of white lotus in full bloom at the Taiye Pond. The Emperor (Tang Xuanzong) and his relatives enjoyed the beautiful scenery, and all the people around him admired them. After a long time, the emperor pointed to Yang Guifei（his wife）and showed her to the left and right, saying: 'Compete with me to interpret the flowers!'" (Strive: how.) Originally, Emperor Tang Xuanzong compared Yang Guifei to an understanding flower. This is a metaphor for a beautiful woman who understands people. Cao Xueqin used the word "Hua Jie Yu" as a metaphor for a beautiful woman who understands people's feelings; and since “Hua” is also the surname of Aroma, “Hua Jie Yu” means that “Aroma Hua” understands people's feelings. “Yu Sheng Xiang” - “Yu”(Jade) refers to Mascara Jade Forest. “Sheng Xiang”- exude fragrance. Or it could be called ''Huo Se Sheng Xiang''.The phrase is derived from the poem 'Apricot Blossoms' by Xue Neng: "The first branch of apricot blossoms is in living colour and fragrance, when got it in hand has moved close to the brothel." The original description is that the apricot blossoms are of a vibrant and beautiful colour, emitting a refreshing fragrance. It is also used to describe the natural beauty and fragrance of a woman. Here it is used to describe the natural beauty and fragrance of Mascara Jade Forest.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 03:24, 29 September 2021 (UTC)

==俄语语言文学 202120081552 张怡然女==

掷骰(t óu投)子——是一种游戏，即互掷骰子，以点数多少决输赢。骰子：游戏或赌博用具。多用兽骨制成，为立体小方块，六面分别刻以一、二、三、四、五、六点，一、四点涂以红色，其馀涂以黑色，故又称“色子”。相传为曹操之子曹植发明。
《丁郎认父》──取材于小说《升仙记》的弋阳腔剧目。写明代杜文学因受奸相严嵩迫害，流落湖广，入赘胡丞相府，与前妻所生子丁郎曲折相认的故事。
《黄伯央大摆阴魂阵》──或作《黄伯英大摆阴兵阵》。是由《七国春秋平话》改编的地方戏目。写燕国大将乐毅请师父黄伯央(《七国春秋平话》作“黄伯杨”)下山摆设阴魂阵围困齐将孙膑，最后两国讲和的故事。
Cast the dice - is a game in which two people cast in turn, using the size of the dice to determine the winner. Dice: a game or gambling device.Most of them are small cubes made of animal bones, six sides are engraved on one, two, three, four, five, six points, one and four coated into red, and the rest is also black, so the dice is called again ''Shai zi''.It is said to be invented by Cao Zhi, the son of Cao Cao.
''Ding lang got acquainted with his father''-- based on the novel ''Sheng Xian Ji'' yiyang repertoire. It tells the story of a man named Du Wenxue in the Ming Dynasty, who was forced to live in Huguang area because of the persecution of Yan Song, the adulterous phase. He entered the residence of Prime Minister Hu and met ding Lang, the son of his ex-wife with twists and turns.
''Huang Boyang's Great display of ghosts'' ─ or ''Huang Boying's great display of died soldiers''. It is a local opera adapted from ”The story collection of the Seven Kingdoms In the Spring and Autumn Period”. It tells the story of the state of Yan general Yue Yi please master Huang Boyang (''The story collection of the Seven Kingdoms In the Spring and Autumn Period'' for ''Huang Boyang'' ) Down the mountain set up the ghost array besiege Qi general Sun Bin， finally the last two countries peace story.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 15:47, 28 September 2021 (UTC)
Cast the dice - is a game in which two people cast in turn, using the size of the dice to determine the winner. Dice: a game or gambling device.Most of them are small cubes made of animal bones, six sides are engraved on one, two, three, four, five, six points, one and four coated into red, and the rest is coated into black, so the dice is also called 'Shai zi''.It is said to be invented by Cao Zhi, the son of Cao Cao.
''Ding lang got acquainted with his father''-- based on yiyang repertoire of the novel ''Sheng Xian Ji''. It tells the story of a man named Du Wenxue in the Ming Dynasty, who was forced to live in Huguang area because of the persecution of Yan Song, the adulterous phase. He entered the residence of Prime Minister Hu and met ding Lang, the son of his ex-wife with twists and turns.
''Huang Boyang's Great display of ghosts'' ─ or ''Huang Boying's great display of died soldiers''. It is a local opera adapted from ”The story collection of the Seven Kingdoms In the Spring and Autumn Period”. It tells the story of the state of Yan general Yue Yi please master Huang Boyang (''The story collection of the Seven Kingdoms In the Spring and Autumn Period'' for ''Huang Boyang'' ) Down the mountain set up the ghost array besiege Qi general Sun Bin， finally the last make peace between the two countries.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 10:26, 29 September 2021 (UTC)

==亚非语言文学 202120081509 刘越女==

香玉──典出唐·温庭筠《晚归曲》：“弯堤弱柳遥相瞩，雀扇团圆掩香玉。”原比喻美女散发的香气和洁白如玉的肌肤。这里是把玉石的“玉”和林黛玉的“玉”合为一体，以比喻美女林黛玉。
《孙行者大闹天宫》──京剧和地方戏均有此剧目，取材于小说《西游记》。写孙悟空跟随唐僧前大闹天宫的故事。
《姜太公斩将封神》──京剧和地方戏均有此剧目，取材于小说《封神演义》。写姜太公助周灭商后斩将封神的故事。按：以上四剧皆为闹剧，隐寓宁国府子弟粗俗不堪。
献酬──亦作“献醻”。指酒席上主宾互相敬酒。《诗经·小雅·楚茨》：“献醻交错，礼仪卒度，笑语卒获。”郑玄笺：“始主人酌宾为献，宾既酌主人，主人又自饮酌宾曰醻。”
行令──即行酒令。是一种宴会中助兴的游戏。其方法是：由一人任令官，按一定规矩行令，违令或按令该饮者都要饮酒。
Sweet jade -- classic tang · Wen Tingjun late homing song : "Bent dike weak willow distant look, bird fan reunion mask sweet jade." Originally used as a metaphor for beauty to send out fragrance and white jade skin. Here, the "jade" of jade and the "jade" of Mascara Jade Forest are combined as a whole to compare the beauty Lin Daiyu.
Monkey King Makes Havoc in Heaven-- a play in Both Beijing and local operas, based on the novel 'Journey to the West.' It tells the story of Sun Wukong who caused havoc in heaven before he followed Tang Priest.
Jiang Taigong beheaded a General and canonized a God. This play is used in Both Beijing Opera and local opera, and is based on the novel Creation of the Gods(Fengshen Yanyi). Write the story of Jiang Taigong, who helped Zhou destroy the Shang dynasty and then beheaded the generals and sealed the gods. The author explains: the above four plays are farce, alluding to the vulgar children of the Ningguo mansion.
献酬（Make toasts）─ can also be said 献醻. Refers to the banquet guests toasting each other. The Book of Songs· xiaoya ·chuets : "The host and the guest toast each other, the etiquette completely conforms to the law, then a word and a smile are appropriate natural." Zheng Xuanjian: "First, the host toasts to the guests. After the guests drink the wine revered by the host, the host drinks it, which is called making toasts ."
Order -- that is, order to drink. It's a fun game at a banquet. Its method is: by a person as an officer, according to certain rules of the order, the violation or according to the order of the drinker to drink.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 10:26, 29 September 2021 (UTC)
Here is the "jade" of Jade and Lin Daiyu "jade" into one--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 10:38, 29 September 2021 (UTC)

==亚非语言文学 202120081550 张秋怡女==

家生子儿——奴仆在主子家生养的子女。清代规定家奴之子女必须为奴，世代如此。清·赵翼《陔馀丛考·家生子儿》：“奴仆在主家所生子，俗谓家生子。按《法苑珠林》记庸岭有大蛇为患，都尉令长求人家生婢子及有罪家女祭之，‘家生’之名见此。”(按：《法苑珠林》为唐·释道世撰。)又《汉书·陈胜传》“秦令少府章邯免骊山徒、人奴产子”唐·颜师古注：“奴产子，犹今人云家生奴也。”“家生奴”即“家生子”。可知“家生子”或“家生奴”之称至少在唐代已有。
卖倒的死契——指双方约定卖出后不能赎身、必须终生为奴的卖身契。卖倒：犹“卖定”、“卖死”。不可变更或反悔之意。
禄蠹——禄：身居官爵，享受俸禄。蠹：蛀虫。 “禄蠹”或本“国蠧”，出自《左传·襄公二十二年》：“不可使也，而傲使人，国之蠧也。”意思是本无治国之才而身居高位，便是国家的蛀虫。“禄蠹”与“国蠧” 的意思基本上一样，也是指身居高位、坐享国家俸禄而不干实事的官吏。
Offspring - The offspring of a servant in his master's house.The Qing Dynasty stipulated that the children of domestic slaves must be slaves,from generation to generation so.Qing · Zhaoyi “Gai Yu Cong Kao·The offspring of a servant in his master's house”：“A son born to a slave in his master's house is called a son of the family. according to the story in the Pearl forest of Fayuan that there was a snake in yongling, the commander ordered the family to give birth to maidservants and guilty family female sacrifice, the name of ‘Jia Sheng’ can be seen here.”(according to: the Pearl forest of Fayuan was written for Tang· Shi Daoshi.) Also in The Book of Han · Biography of Chen Sheng, “The Qin Dynasty sent Zhang Han to pardon those who had served in mount Lishan for crimes and the sons born to house slaves”Tang · Yan Shigu notes: “Slaves give birth to children, and is also slaves”.“family born slave” is “family born child”. It can be known that “family born son” or “family born slave” had been known at least in the Tang Dynasty.Dead deed of sale refers to the deed of sale in which both parties agree that they cannot redeem themselves and must be slaves for life. Sell down: “sell it” and “sell it to death”.The meaning of not changing or repentance.“LU DU”-Lu：official status, enjoy the salary. Du：moth. “Ludu” or “Guodu” from “Zuo Zhuan · Xianggong 22 years”: “do not make, but proud to make people the worm of the nation.It means that if you are in a high position without the ability to govern a country, you are the moth of the country. “Ludu” and “Guodu” basically the same meaning, also refers to a high position, enjoy the state salary and do not work officials.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 01:29, 29 September 2021 (UTC)
--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:47, 11 October 2021 (UTC)
Annotation:
First:The common term for a son born to a slave in his master’s house is a family son.
Second:It means that if you are in a high position without the ability to govern a country,you are the moth of the country.

==亚非语言文学 202120081524 王逸凡女==

明明德——头一个“明”为动词。彰明、弘扬之意。明德：美德，至德，完美的道德。语出《礼记·大学》：“大学之道，在明明德，在亲民，在止于至善。”意思是弘扬完美的道德。这里是指贾宝玉只肯定包括《大学》在内的《四书》(《论语》、《大学》、《中庸》、《孟子》)是正经书，其他书都要不得。
魔星——曹雪芹的原作为“天魔星”，显然是借用了佛家和道家的“天魔”之说。佛家说“天魔”为欲界第六天主。如《楞严经》卷九说：“或汝阴魔，或复天魔。”又《百喻经·小儿得大龟喻》说：“邪见外道，天魔波旬，及恶知识，而语之言，汝但极意六尘，恣情五欲，如我语者，必得解脱。”道家则说“天魔”为天上的魔怪。如《云笈七签》卷四说：“有经无符，则天魔害人。”这里的“魔星”则为冤家之意。

Mingmingde-The first Ming is a verb which means obviousness, clearness or carrying forward and the word Mingde means virtue,supreme virtue,perfect morality. The Book of Rites·Great learningnsaid that The way of a university lies in being clear and virtuous, being close to the people and being perfect. It means to promote perfect morality. Precious Jade Merchant only affirmed The Four Books including Great learning. (Analects,Great Learning,The Doctrine of the Mean, Mencius) are the proper scriptures and the other books are not acceptable.
Devil star—Cao Xueqin's original as heaven devil star apparently borrowed Buddhism and Taoism’s doctrine of heaven devil.Buddhists say that demons are the sixth god of desire.For example,volume 9 of the Surangama Sutra says, Either you cast shadows or you recover demons from heaven.And Buddhist parables said Evil sees the outside world,the sky is full of demons,and evil knowledge.But as you speak,you will be free from your desires.Taoism says that demons of heaven are demons in the sky.Such as Cloud gupta seven signs volume 4 said there is no sign,then the devil harm people.The devil star here is the meaning of enemy.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 12:34, 30 December 2021 (UTC)

Laba Porridge-Originated from what Buddhism calls "Buddha Bathing Day". According to legend, Sakyamuni was born on the eighth day of the fourth month of the lunar calendar. Therefore, since the Han Dynasty, every Buddhist temple has held commemorative activities on this day. , "Buddhist Bathing Festival" or "Buddha Day". "The Book of the Later Han Dynasty·Tao Qian Biography" said:" Every time Buddha baths, to provid alms and rice to the road."In the Southern Dynasties Liang Zongmo's "Jingchu Sui Shi Ji" said: "April 8th, all monasteries Set up a fast, bath the Buddha with five-color perfume, and make Longhua Hui together. According to "The Biography of the Eminent Monk": ‘On April 8th, to bathe the Buddha, use Duliang incense as blue water, tulip as red water, Qiulong incense as white water, aconite incense as yellow water, benzoin as black water, to infuse the top of the Buddha. ’"In the Song Dynasty, the day of Sakyamuni’s Buddhahood, the eighth day of the twelfth lunar month, was the "Buddha Bathing Day." Every time this day, all the temples held commemorative activities, not only followed the alms, bathing Buddha and other items, but also added laba porridge, known as "Buddha Bathing Day." "On the eighth day of the lunar New Year, three or five monks and nuns in the streets chanted Buddha in teams. They would sit on a gold, bronze or wooden Buddha statue in a silver or bronze saro or a good basin. They would soak it in perfume and shower it with the branches of a tree and intended for the edification of the masses. The great monasteries served as bathing buddhas, and gave seven treasures and five flavors porridge and disciples, called "laba porridge". Since then every families also cooks porridge with fruit and miscellaneous ingredients. "Since then, the phase has become a common practice, and it has not faded to this day.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:47, 11 October 2021 (UTC)

Laba congee - Originated from a festival which calls “Buddha Bathing Day” in Buddhism. According to legend, Sakyamuni was born on the eighth of forth lunar month. Therefore, on this day, every Buddhist temple will hold activities since Han Dynasty. People will practice alms all over the place, and wash Buddha statues with water full of spices, which is called “Buddha Bathing Day”, “Buddha Bathing Festival” or “Buddha Buddhism Day”. “Book of Later Han Dynasty · Tao Qian Biography” said: “Every time Buddha baths, there are more drinking and rice to the homeless people. And Liang Zongmo, the author of “Jingchu Sui Shi Ji”, said: “April 8th, all monasteries set up a fast, bath the Buddha with five-color perfume, and make Longhua Hui together.”
According to “The Biography of the Eminent Monk”: “On April 8th, people use Duliang incense as blue water, Yujin incense as red water, Qiulong incense as white water, Fuzi incense as yellow water, and Anxi incense as black water, to infuse the top of the Buddha”. In Song Dynasty, the day when Sakyamuni became a Buddha, the eighth of twelfth lunar month, was the "Buddha Bathing Day." On that day, all Buddhist temples held the activities which called “Buddha Bathing Activities”, not only followed the traditional items, but also added Laba congee. The folks also follow the example and eat Laba congee. We can see these things from “DongJingMengHualu·Volume Ten·December”, a book written by Meng in Song Dynasty: three or five monks and nuns in the streets chanted Buddha in teams. They would sit on a gold, bronze or wooden Buddha statue in a silver or bronze saro or a good basin. They would soak it in perfume and shower it with the branches of a tree and intended for the edification of the masses. The great monasteries served as bathing buddhas, and gave seven treasures and five flavors porridge and disciples, called ‘Laba congee’. Since then every families also cooks porridge with fruit and miscellaneous ingredients.” Since then, the phase has become a common practice, and it has not faded to this day.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:55, 11 October 2021 (UTC)

20210929 homework

2021-12-30T12:34:29Z

Wang Yifan21: /* 亚非语言文学 202120081524 王逸凡女 */

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

[[20210929_homework|homework of session 1 for session 2 Sep 29]]

IN PREPARATION

专业班级名称学号姓名性别
==语言智能与跨文化传播研究 202120081535 徐敏赟男==
This is the homework of 徐敏赟.--[[User:Root|Root]] ([[User talk:Root|talk]]) 12:41, 26 September 2021 (UTC)

清初时期的汉籍（书）翻译及其文化沟通意涵

摘要：清初之际，统治者虽以武力立国，但社会的主导意识形态尚未形成，国家的“治统”与“道统”尚未确立。为了匡扶社稷，教化臣民，探求君主治术，建构符合国家需求的集体价值观，统治者积极组织汉书翻译，促进文化交流，增进民族和解。

The Translation of Chinese Books in the Early Qing Dynasty and its Cultural Communication Implications

Abstract: At the beginning of the Qing Dynasty, the ruler established the country by force, but the dominant social ideology has not yet been formed. Besides, the country's "ruling" and "moral orthodox" have not yet been established either. In order to help the community, educate the people, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Chinese books actively, which helped promote cultural exchanges and enhance national reconciliation.

The Translation of the Han Classics in Early Qing Dynasty and its Implications for Cultural Communication

Abstract: At the beginning of Qing Dynasty, the ruler established the country by force, but the dominant social ideology has not yet been formed. Besides, the country's "governance" and "moral orthodoxy" have not yet been established neither. In order to help the community, educate the people, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Chinese books actively, which helped promote cultural exchanges and enhance national reconciliation.--[[User:Root|Root]] ([[User talk:Root|talk]]) 12:44, 29 September 2021 (UTC)

The Translation of the Han Classics in Early Qing Dynasty and its Implications for Cultural Communication

Abstract: At the beginning of the Qing Dynasty, the ruler established the country by force, but the dominant social ideology has not yet been formed. Besides, the country's "governance" and "moral orthodox" have not yet been established either. In order to rectify and sustain the society, educate the subjects, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Han Classics actively, which helped promote cultural exchanges and enhance national reconciliation.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:31, 8 October 2021 (UTC)

==语言智能与跨文化传播研究 202120081536 颜静女==

作为清初文化事业的重要组成部分，汉书翻译有着明确的选择标准，实用主义色彩浓厚，主要关注汉族的文治教化与典章制度，将翻译与政要相关联，反对浮华藻饰的翻译。组织上，汉书翻译以官方为主，以民间为辅，译书者既有兼通满、汉双语之旗人，又有八旗科举考试之及第者，这些人既是文化交流的管理者，又是实践者，代表了统治阶级意欲沟通满汉的主观愿望。成效上，汉书翻译不仅促进了新生政权的制度建设，而且为统治者建构政权合法性做出了贡献。
As an important part of cutural undertakings in early Qing dynasty, the translation of Han Shu had clear selection criteria and strong pragmatism. It focused on cultural education and institutions of Han nationality, associated the translation with politics and opposed flashly one. Organizationally,Han Shu was translated mainly by officials, and then public people. The translators contained not only the Eight Banners' People who mastered both Manchu and Chinese language, but also those who passed the Eight Banners imperial examination. These people were administrators of cultural exchanges, and also practicers, representing that the ruling class was willing to communicate the Manchu and Han people. In effect, the translating of Han Shu promoted the institutional construction of new regime, and also contributed to the rulers for constructing the regime legitimacy.

As an important part of cutural undertakings in early Qing dynasty, the translation of Han Shu had clear selection criteria and strong pragmatism. It (mainly) focused on cultural education and institutions of Han nationality, associated the translation with politics and opposed flashly one(embellishments). Organizationally,Han Shu was translated mainly by officials, and then (by) public people. The translators contained not only the Eight Banners' People who mastered both Manchu and Chinese language, but also those who passed the Eight Banners imperial examination. These people were administrators of cultural exchanges, and also practicers, representing that the ruling class was willing to (intended to) communicate the Manchu and Han people. In effect(As a result), the translating of Han Shu promoted the institutional construction of new regime, and also contributed to the rulers for constructing the regime legitimacy.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 07:06, 29 September 2021 (UTC)

==英语语言文学（语言学） 202120081484 杜莉娜女==

导论：凡国家之建立，必有立国精神和主导意识形态，以及相应之文化政策。

早在天聪年间，清太宗便为新政权提出文武并用的战略构想，既强调以武功勘祸乱，又主张以文教佐太平，提出了文化统制与文化建设的独到见解。顺治十年，世祖章皇帝订定崇儒重道之政策，并以此为基础构建了兴文教、崇经术的治国理念。
Introduction: The establishment of any countries must need the national spirit ,dominant ideology and appropriate cultural policies.
As early as the year of Tiancong, Hong Taiji put forward the strategy of combining education and force for the new regime. He emphasized to calm down the chaos by force and to keep the peace by civilian. And he came up with unique insights into cultural unification and cultural development as well. During the first decade of Shunzhi, the emperor made the policies of respecting Confucianism and Taoism, and from this the concepts of governing like prospering education and worshipping scriptures were built.
--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 16:07, 28 September 2021 (UTC)

1、“文武并用”应该更侧重于“文化”，译为culture；
2、“以文教佐太平”中的文教可译为cultural education；
3、“and from this the concepts of governing like prospering education and worshipping scriptures were built.”此句可用定从，which served as a basis of …
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:25, 30 September 2021 (UTC)

==英语语言文学（语言学） 202120081490 胡舒情女==

自此以后，虽然清代历朝统治者在关注满、汉文化交流时，不免对汉人进行打压，但也同时对汉族文化进行宣扬与推广。

清初统治者在构建“治统”与“道统”的过程中，围绕“崇儒重道”，衍生出众多文化政策实举，如科举取士、博学鸿词等，而汉籍经史的翻译与编纂也是其中重要内容。汉籍翻译是清代文化事业的重要组成部分，是清代民族关系与文化政策的重要载体，它和满清政权的其它文化活动一样，在功能上相互关联，彼此补充，为促进民族之间的相互了解，维护王朝体系的稳定发展，做出了重要贡献。
Since then, although all the dominators of Qing dynasty would squash the Han people when focusing on cultural exchange between Manchu and Han, they also propagated and promoted the Han culture at the same time. The dominators of early Qing dynasty implemented numerous cultural policies around the idea of “respecting and emphasizing Confucianism” during the progress of constructing Monarchism and statesmanship, which included imperial examinations, erudite and an important part - compilation and translation of Han classics and history. Its translation formed Qing’s cultural undertakings as necessary parts and served as a carrier of Qing’s ethnic relations and cultural policies. It was the same as other cultural activities of Qing dynasty. They related to and complemented each other, which made a contribution to promoting mutual understanding among peoples and maintaining the stable development of the dynastic system.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:26, 30 September 2021 (UTC)

Since then when it comes to Man and Han culture communication, all the dominants of Qing dynasty would freeze Han people but also promoted their culture at the same time.
During the process of constructing Monarchism and statesmanship, the dominators of early Qing dynasty implemented numerous cultural policies around the idea of “respecting and emphasizing Confucianism”,which included imperial examinations, erudite etc. and also compilation and translation of Han classics and history as an important content. Translating Han classic is an important part of Qing culture and the critical carrier of its ethnic relationship and cultural policies. Like other cultural activities it related to each other functionally and made great contributions to ethnic communication and the solid development of Qing dynasty.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:18, 11 October 2021 (UTC)

==英语语言文学（语言学） 202120081491 黄锦云女==

作为汉籍翻译的管理者和实践者，译者们承担了沟通满、汉文化的历史使命，其所翻译的汉族书籍不仅有效增进了旗人对于汉文化的了解，而且为新生政权进行制度建设，以及合法性的建构发挥了历史性作用。

一满洲前身时期的汉籍翻译

满洲的前身系女真，语言文字上属阿尔泰语系。

As the manager and practicer of translating Han's books, translators take charge of the historial mission to combine Manchu cultrue and Han cultrue. Their translations not only enhance the Bannermen to know Han cultrue, but also play a historical role in forming a new regime and conlidating its validity.--Translation of Han's books before Manchu period
Manchurians originates from Nvzhen race, and their language and character belongs to Altaic languages.

As managers and practitioners of translation of Han's books, the translators undertake the historical mission of cultural communication between the Manchu nationality and the Han nationality. Their translations of Han's books not only efficiently improve the Manchu's understanding of Han culture, but also play a historical role in system construction for new regime and legal construction.
-- Translation of Han's books before the Manchu period
Manchurians originate from Nvzhen race, and their language belongs to Altaic language.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:11, 9 October 2021 (UTC)

==英语语言文学（语言学） 202120081495 邝艳丽女==

满族和历史上的女真族一样，原本没有自己的语言，记事时需要借用其他民族文字。《金史》中说：“初无文字，国势日强，与邻国交好，迺用契丹字。”[ 杨家骆：《金史》，台北：鼎文书局，1985年，第1684页。] 金朝立国后，初期的内、外公文几乎都用契丹文书写，金太祖本人也擅长契丹语。
As Jurchen in the history, the Manchu nationality did not have its own language, and they needed to use other national characters when making a memorandum. "The Jin dynasty did not have their own characters, but with its increasing development and its need to deal with the relation with neighbouring country, then used Khitan characters" said in ''The History of Jin Dynasty''[Yang Jialuo: ''The History of Jin Dynasty'',Taipei: Dingwen Publishing House, 1985, p.16884] After Jin Dynasty was established, the official documents inside and outside the court were nearly written with Khitan characters, even the Emperor Taizu of Jin Dynasty was skilled in using Khitan language.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Li Aixuan|talk]])09:41, 29 September 2021 (UTC)

As Jurchen in the history, the Manchu nationality did not have its own language. Therefore, keeping a record of events depended on the characters of other nation. Said in The History of Jin Dynasty, "the Jin dynasty did not have their own characters, but with its increasing development and its need to deal with the relation with neighbouring country, then used Khitan characters". [Yang Jialuo: The History of Jin Dynasty,Taipei: Dingwen Publishing House, 1985, p.16884] After the establishment of Jin Dynasty, the official documents at home and abroad were nearly written in Khitan characters, even the Emperor Taizu of Jin was skilled in using Khitan characters.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:34, 29 September 2021 (UTC)

==英语语言文学（语言学） 202120081496 李爱璇女==

然而，契丹语与金人女真语差距较大，因而金太祖命完颜希尹、叶鲁依据汉人楷字，并参照契丹字制度，创制适合本族的语言文字“女直文”。天辅（金太祖年号）三年，女直文依诏令颁行，称“女直大字”。二十年后，即1138年，金熙宗完颜亶又命人参照契丹字，创制并颁布另一种女直文字，即“女直小字”。
However, there was a huge gap between the Khitan language and the Jurchen language. Therefore, the Emperor Taizu of Jin ordered Wanyan Xiyin and Ye Lu to create a language suitable for their own people, Jurchen script, based on the Han regular script and referring to the Khitan script system. In the third year of the period of Tianfu (the reign title of Emperor Taizu of Jin), according to the edict, the Jurchen script was enacted as "Jurchen Large Script". In 1138, twenty years later, Wanyan Dan, the Emperor of Xizong, ordered someone to create and enact another kind of Jurchen script, namely "Jurchen Little Script", referring to the Khitan script system.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:15, 29 September 2021 (UTC)
However, there was a big gap between Khitan language and Jin Nuzhen language. Therefore, Jin Taizu ordered Wanyan Xiyin and Ye Lu to create a language suitable for their own nationality "Jurchen script", according to the regular script of Han people and with reference to the Khitan character system. In the third year of Tianfu (the year of emperor Taizu of Jin Dynasty), Jurchen script was issued in accordance with the imperial edict, known as "Jurchen Large Script". Twenty years later, in 1138, Jin Xizong, Wanyan Dan ordered people to create and promulgate another Jurchen script, namely “Jurchen Little Script", according to the Khitan character.— Li Xichang

==英语语言文学（语言学） 202120081502 李习长男==

金世宗继位后，在推动女直文字的使用上，力度更大，举措更丰。如大定（金世宗年号）四年，金世宗令翰林侍讲学士徒单子温等用女直大、小字，翻译经书。女直文字的创制，对金朝翻译汉书影响巨大，而汉书翻译又影响了金朝的政治制度与国家治理。

After Jin Shizong succeeded to the throne, he made greater efforts and took more measures to promote the use of nvzhi characters. For example, in the fourth year of Dading (the year of Jin Shizong), Jin Shizong ordered the Imperial College to teach the bachelor's Apprentice Shan Ziwen to translate scriptures in large and small characters. The creation of nvzhi characters had a great impact on the translation of Chinese books in the Jin Dynasty, which in turn affected the political system and national governance of the Jin Dynasty.

After Jin Shizong succeeded to the throne, he made greater efforts and took more measures to promote the use of nvzhi characters. For example, in the fourth year of Dading (the year of the region of emperor Jin Shizong), he ordered his disciple Shan Ziwen and other Shijiang academicians of Hanlin to translate Confucian Classics in Jurchen large and small scripts. the creation of Jurchen script had a great impact on the translation of Chinese books in the Jin Dynasty, and that, in turn, the Chinese books affected the political system and national governance of the Jin Dynasty.—[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 03:39, 29 September 2021 (UTC)

==英语语言文学（语言学） 202120081519 邱婷婷女==

如大定五年，金世宗命徒单镒翻译《贞观政要》和《白氏策林》等书，次年徒单子温将译本进呈皇帝。大定七年，《史记》和《西汉书》等翻译成书，金世宗敕令刊刻颁行。大定十五年，金世宗再令翻译各部经书，由温迪罕缔达（著作佐郎）、宗璧（编修官）、阿鲁（尚书省译史）、杨克忠（史部令史）等负责对译本进行注解。

For example, in the fifth year of Dading (the year of the region of emperor Jin Shizong), the emperor ordered his disciple Shan Yi to translate The Political Program of Zhen Guan and Bai Shi Ce Lin, etc. Then emperor Shizong received the translations submitted by another disciple named Shan Ziwen in the next year. In the seventh year of Dading, the Records of the Grand Historian and the book of the Western Han Dynasty were translated into books, which were printed and issued by the royal decree of emperor Shizong. What’s more, he released an order again translating several Confucian classics which were annotated by Wendihan Dida （assistant of Zhu Zuolang）， Zong Bi（ BianxiuOfficer), A Lu( translator of history of Department of State Affairs ), Yang Kezhong( Lingshi of the Ministry of Official Personnel Affairs ) etc.

Annotation:
1.Zhu Zuolang: A person whose responsibility is to compile historical works.
2.Bianxiu: The official name, first placed in the Song Dynasty, is mainly responsible for the revision and compilation of documents.
3.Lingshi: Official name; the general name of petty officials in the government since the song and Yuan Dynasties.—[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 16:58, 28 September 2021 (UTC)

For example, in the fifth year of Dading (the year of the region of emperor Jin Shizong), the emperor ordered his disciple Shan Yi to translate ''The Political Program of Zhen Guan'' and ''Bai Shi Ce Lin'', etc. Then emperor Shizong received the translations submitted by another disciple named Shan Ziwen in the next year. One year later,''the Records of the Grand Historian'' and ''the book of the Western Han Dynasty'' were translated into books, which were printed and issued under the royal decree of emperor Shizong. What’s more, he released an order again translating various kinds of Confucian classics, and put Wendihan Dida （assistant of Zhu Zuolang）， Zong Bi（ BianxiuOfficer), A Lu( translator of history of Department of State Affairs ), Yang Kezhong( Lingshi of the Ministry of Official Personnel Affairs ) etc.in chagrge of the annotation of the translations of these books.

Annotation:
1.Zhu Zuolang: A person whose responsibility is to compile historical works.
2.Bianxiu: The official name, first placed in the Song Dynasty, is mainly responsible for the revision and compilation of documents.
3.Lingshi: Official name; the general name of petty officials in the government since the song and Yuan Dynasties.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:00, 29 September 2021 (UTC)

==英语语言文学（语言学） 202120081520 饶金盈女==

金世宗在位期间，朝廷设立译经所，专司汉文经史的翻译。期间，所译汉书除上述几种之外，另有《易》、《书》、《论语》、《老子》、《孟子》、《扬子》、《文中子》、《刘子》以及《新唐书》等。之所以翻译这些书籍，是因为金世宗希望女直人了解汉人的仁义道德，以利于治国安邦。
During the reign of Wan Yanyong, the fifth emperor of the Jin Dynasty, the imperial court set up a sutra translation office to specialize in the translation of scriptures and historical materials written in classical Chinese. Meantime, in addition to the above-mentioned Chinese books, there were also ''Yi'', ''Shu'', ''the Analects of Confucius'', ''the Laozi'', ''the Mencius'', ''the Yangzi'', ''the Wenzhongzi'', ''the Liuzi'' and ''the New Book of Tang Dynasty''. The reason why these books were translated was that Wan Yanyong hoped that the Jurchen people would get some knowledge of the humanity, justice, and morality of Han people by reading these books, so as to develop a prosperous and stable country.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:05, 28 September 2021 (UTC)

During the reign of Emperor Jin Shizong,the imperial court set up a classics translation office concentrating on the translation of Chinese classics. During this period,apart from translating the above-mentioned Chinese classics, they also translated " Yi", "Shu", "the Analects of Confucius", "Laozi", "Mencius", "Yangzi", "Wenzhongzi", "Liuzi" and "New Book of Tang", etc. The reason why Jin Shizong chose these classics was that he hoped that Nuzhi people could know the virtue and morality of Chinese by reading these classics. And then he could rule the nation better and build a stable society. -- Yang Aijiang (talk) 21.57. 11 October 2021

==英语语言文学（语言学） 202120081541 杨爱江女==

然而，当时的女直字与汉字不能直接对译，中间需要经过转译为契丹字。为解决这一问题，金章宗在位期间，诏设弘文院，命人译写儒家经典并讲解。旋即，又废止契丹字，要求嗣后汉文典籍直接译为女直字，以省去须经契丹字转译的中间环节。

However, it was not feasible to translate Nvzhi characters into Chinese characters at that time. And it needed to be translated into Khitan characters first. During the reign of Emperor Jin Zhangzong, he set up Hongwen Academy and commanded his ministers to translate and explain Confucian classics in order to figure out the language problem. Besides, Jin Zhangzong abolished its use of Khitan characters and demanded that the Chinese classics should be translated in Nvzhi characters directly, omitting taking advantage of the translation of Khitan characters as a bridge.

However, Nvzhi characters could not be directly translated into Chinese without being rendered into Khitan ones first. During the reign of Emperor Jin Zhangzong, he set up Hongwen Academy and commanded his ministers to translate and explain Confucian classics in order to figure out the language problem. Soon after, Jin Zhangzong abolished the use of Khitan characters and demanded that the Chinese classics should be translated into Nvzhi characters directly, avoiding the intermediate step of using Khitan characters.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 13:37, 11 October 2021 (UTC)

==英语语言文学（语言学） 202120081547 殷美达女==

金朝政权覆灭之后，虽然留居东北故地的少数女直上层人士尚能娴习女直文，但女直字作为一种语言逐渐失传。明朝政府设置“四夷馆”后，又延人专习女直字，以应付中央与地方政府，或中央与藩属地之间的通译需要。虽然如此，女直语的凋落已成定势。

二太祖时期汉籍（书）翻译之“始”

After the collapse of Jin Dynasty, a small number of upper class Nuzhen people who still lived in northeastern China were proficient in Nuzhen language, but its words were being lost gradually. The Ming Dynasty, when setting up "Academy of Eastern Minorities ", hired particular people to study Nuzhen language to meet the needs of communication and translation between the central and local governments or its dependent territories. Nevertheless, the decline of Nuzhen language had become a foregone conclusion.
Second, the initial translation of Chinese books during the reign of the first emperor of Qing Dynasty.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:46, 30 December 2021 (UTC)

After the collapse of the Jin Dynasty, although a small number of Nuzhen upper class people living in Northeast China were very proficient in Nuzhen language, Nuzhen characters have been gradually lost. Having set up the Si-yi-guan, the Ming Dynasty hired people to specially learn Nuzhen characters to meet the needs of translation between the central government and local governments or its affiliated places. Nevertheless, the decline of Nuzhen language is inevitable.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 01:18, 29 September 2021 (UTC)

==英语语言文学（语言学） 202120081557 周巧女==

明朝万历年间，努尔哈赤率部崛起之时，作为女直后裔的满族并无文字。那时，文移往来必须靠蒙古语的学习与翻译才能完成。为满足文移往来，记注政事的需要，并解决“今我国之语，必译为蒙古语读之，则未习蒙古语者，不能知也”的问题，清太祖努尔哈赤于明万历二十七年，命额尔德尼、噶（gá）盖等改制国书（即，国家的语言文字），以改变满人说女真语却写蒙古字的尴尬局面。[ 明珠等奉敕修：《清实录·太祖高皇帝实录》，北京：中华书局，1986年，第2页。]
In the wanli period of Ming Dynasty, when Nurhachi led the rise of the Manchu, as a straight descendant of Jurchen, it had no written words. At that time, the exchange of letters had to rely on Mongolian learning and translation to complete. For recording the political affairs and solving the problem that "Nowadays, the language of our country have to be translated into Mongolian to read, otherwise people can’t understand it without the learning of it. In the wanli 27 years of Ming Dynasty, Emperor Nurhachi（the first founder of Ming Dynasty） ordered Erdeni, Gagai and etc to reform credentials (namely the national language), which is to change the embarrassing situation of Manchu speaking Jurchen language while writing Mongolian. Beijing: Zhonghua Book Company, 1986, p. 2.

During the Wanli period of Ming Dynasty, when Nurhachi led the rise of the Manchu, the Manchu, as the straight descendant of Jurchen, had no written words . At that time, the exchange of letters had to rely on Mongolian learning and translation. In order to meet the need of exchange of letters, recording and annotating the political affairs as well as solving the problem that "Nowadays, the language of our country have to be translated into Mongolian to read, and the people who do not learn Mobolian can't understand it.", in the Wanli 27 years of Ming Dynasty, Emperor Nurhachi（the first founder of Ming Dynasty） ordered Erdeni, Gagai and etc to reform credentials (namely the national language), which aimed to change the embarrassing situation that Manchu speaking Jurchen language while writing in Mongolian. Beijing: Zhonghua Book Company, 1986, p. 2.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:16, 30 September 2021 (UTC)

==英语语言文学（语言学） 202120081561 朱素珍女==

自此，满洲的语言和文字渐趋一致。然而问题在于，此时创制的满洲语言（老满文）系参照畏兀儿体老蒙文字母，而蒙古与女真语音原本存在差异，借用的蒙文字母未必能充分传达女真语言的意义。如太宗皇太极在评价老满文时所说，“书中寻常语言，视其文义，易于通晓”，但“至于人名、地名，必致错误。”[ 中国第一历史档案馆、中国社科院历史研究所译注：《满文老档》，北京：中华书局，1990年，第1196页。]

From then on, the languange and the forms in Manchurian language are gradually consistant. However, the problem is that the Manchurian language(Old Manchu) was created with the guidance of Uighur Old Mongolia alphabets, and there exist original difference between Mongolia and Jurchen pronunciation. Therefore, the borrowed Mongolian alphabets could not explicitly express the meaning of Jurchen language. Just as what the great emperor Taizong Hoang Taiji said when he evaluated Old Manchu: "You can easily understand the meaning of the ordinary language in a book written in Old Manchu. However, in terms of the name of people and places, the Old Manchu would lead you to misunderstanding without any doubt." (Translated by The First Historical Archives of China and Institute of Chinese Social History :''Manchu Old File'',Peking:Zhonghua Book Company,1990, page 1196.)
Annotation:
1. Jurchen: an ancient nationality in China
2.Uighur(畏兀儿体/古维吾尔语): the earliest Mongolian Chinese characters
3. Old Manchu:the language used by ancient Machurian
4. Manchurian: the founder of Qing Dynasty

From then on, the languange and the characters in Manchurian language are gradually consistant. However, the problem is that the Manchurian language(Old Manchu) was created with the guidance of Uighur Old Mongolia alphabets, and there existed original difference between Mongolia and Jurchen pronunciation. Therefore, the borrowed Mongolian alphabets could not explicitly express the true meaning of Jurchen language. Just as what the great emperor Taizong Hoang Taiji said when he evaluated Old Manchu: "You can easily understand the meaning of the ordinary language in a book written in Old Manchu. However, in terms of the name of people and places, the Old Manchu would lead you to misunderstanding without any doubt." (Translated by The First Historical Archives of China and Institute of Chinese Social History :“Manchu Old File'',Peking:Zhonghua Book Company,1990, page 1196.) --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 05:10, 3 October 2021 (UTC)Chen Huini
Annotation:
1. Jurchen: an ancient nationality in China
2.Uighur(畏兀儿体/古维吾尔语): the earliest Mongolian Chinese characters
3. Old Manchu:the language used by ancient Machurian
4. Manchurian: the founder of Qing Dynasty

==英语语言文学（英美文学） 202120081479 陈惠妮女==

为此，皇太极命“巴克什”达海对老满文加以改进，使其音、义明晓，有助于学习，形成了所谓“新满文”。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第13页。]文字虽已形成，但满人一时间几乎无书可读，原因有二：其一，此时的满文尚属草创，旗人尚不能以满语编纂书籍；其二，汉字书籍的获取极为不易。
面对上述情况，太祖努尔哈赤敕令在旗人中延请师傅，教子弟读书，并令达海等人以满文翻译汉文典籍。
Therefore, the King asked Baks Dahai to develop the Old Manchu to make its sound and meaning more clear, which maked it easier to learn. It is in this way that the so-called New Manchu was formed. [E'ertai et al. Fengxiu: "Records of the Qing Dynasty·Records of Emperor Taizongwen", Beijing: Zhonghua Book Company, 1985, p. 13. ] Although the characters and words have been developed, the Manchu can hardly find bookes to read for two reasons. One is that the Manchu language at that time is still an initial creation. The other is that it's so hard to get the books in Chineses charaters.On the face of this situation, Taizu Nurha Chi invited masters among the bannermen to teach children to read, and ordered Dahai and others to translate Chinese classics in Manchu. --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:59, 29 December 2021 (UTC)Chen Huini

Therefore, Huang Taiji (an emperor of Qing Dynasty) instructed "Bakshi (a title of a scholar of Qing Dynasty)" Da Hai to develop the Old Manchu to the so-called "New Manchu", which made the sound and meaning more clear and then make it easier to learn. [E'ertai et al.: Factual Record of Qing Dynasty·Factual Records of Emperor Taizongwen, Beijing: Zhonghua Book Company, 1985, p. 13. ] Although the characters and words have been formed, the Manchu for a time almost no books to read for two reasons. One is that the Manchu language at that time was still an initial creation, and the Bannermen couldn't compile with it. The other was that the acquisition of books in Chineses charaters was extremely hard.On the face of this situation, Taizu Nurha Chi invited masters among the bannermen to teach children to read, and ordered Dahai and others to translate Chinese classics into Manchu.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 10:16, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081482 程杨女==

《清史列传》中对此的记载如下：弱冠，太祖高皇帝召直文馆，凡国家与明及蒙古、朝鲜词命，悉出其手。有诏旨应兼汉文者，亦承命传宣，悉当上意。旋奉命译《明会典》及《素书》、《三略》。[ 王钟翰点校：《清史列传》，北京：中华书局，1987年，第187页。]
The records of Da Hai in ''the Biographies of the Qing Dynasty'' as follows: at the age of twenty, he was called into the imperial palace and served in Wen Guan (the bureaucratic ministry for translating Chinese books in the early Qing Dynasty). The naming of new words that related to the Ming Dynasty, Mongolia and North Korea were all by him to complete. He was also instructed to convey some of the Chainese-related orders totally reflecting the will of the emperor. Soon, he was asked to translate ''the Code of Ming Dynasty'', ''Su Shu''(written in Qing Dynasty), and ''San Lue''(written by Huang Shigong).[''The Biographies of the Qing Dynasty'', edited by Wang Zhonghan, Zhong Hua Book Company, 1987, pp.187.]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 03:52, 29 September 2021 (UTC)

The records of Da Hai in ''the Biographies of Qing Dynasty'' as follows: at the age of twenty, he was appointed by Nurhachi①as a translator in Wen Guan②. The naming of new words that related to Ming Dynasty, Mongolia and North Korea were all by him to complete. He was also instructed to convey some of the Han's language-related orders totally reflecting the will of the emperor. Soon, he was asked to translate ''the Code of Ming Dynasty'', ''Su Shu''③, and ''San Lue''④.[''The Biographies of the Qing Dynasty'', edited by Wang Zhonghan, Zhong Hua Book Company, 1987, pp.187.

Annotation:①Nurhachi:the founder of Qing Dynasty, 1559–1626. ②Wen Guan: the bureaucratic ministry for translating Chinese books in the early Qing Dynasty. ③''Su Shu'': moral principles written in Western Han Dynasty by Huang Shigong. ④''San Lue'':military monograph written in Western Han Dynasty by Huang Shigong.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:10, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081483 丁旋女==

上文中所谓《明会典》，又称《大明会典》，系明代典章制度史书，内容涉及汉族文教、历法、习俗等。与《明会典》不同，《素书》成书于西汉，并非典章著作，而是哲理之学，道家思想的智慧之作。《三略》又名《黄石公三略》，既是军事战略专论，又糅合了诸子百家思想。
''Code of Ming Dynasty''① mentioned above, also known as ''Code of Great Ming Dynasty'', is one historical book about laws and regulations in the Ming Dynasty, covering Education of Han②, the Chinese calendar, and custom and so on. Different from Code of Ming Dynasty, ''Su Shu''③ written in the Western Han Dynasty is a wisdom work full of philosophy and Taoism rather than law and regulations. ''Sun-Lue''④, also called Sun-Lue of Huang Shigong, is not only a military strategy monograph but a mixture of the hundred schools of thought.

Annotation:
①''Code of Ming Dynasty'': One code about Ming’s laws and regulations in many aspects started to write in 1393 and finished in 1578.
②Education of Han: The education policy initiated by emperors of Ming Dynasty in order to transmit Confucianism thoughts and consolidate their reign.
③''Su Shu'': It is one book full of principles and truth written by Huang Shigong in the western Han Dynasty. It is used for the reign of country because of its instructive and moral function.
④''Sun-Lue'': It is one famous ancient military book including three parts written by Huang Shigong in the Western Han Dynasty. The military thoughts in it are critically useful and different from others because it discusses military strategies from political perspective.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 06:43, 29 September 2021 (UTC)
''Code of Ming Dynasty''① mentioned above, also known as ''Code of Great Ming Dynasty'', is one historical book about laws and regulations in the Ming Dynasty, covering the range of Education of Han②, the Chinese calendar, and customs and so on. Different from Code of Ming Dynasty, ''Su Shu''③ written in the Western Han Dynasty is a work full of philosophical wisdom and Taoism rather than law and regulations. ''Sun-Lue''④, also called Sun-Lue of Huang Shigong, is not only a military strategy monograph but a mixture of the hundred schools of thought.

==英语语言文学（英美文学） 202120081485 付红岩女==

以上三者皆是重要的汉文典籍，清太祖令达海翻译它们，开启了清代翻译汉籍（书）之先河，其政治策略上的深刻用意不言而喻。

三太宗时期汉籍（书）翻译之“兴”

太宗皇太极即位后，为鼓励旗人读书，多措并举：一方面，要求“十五岁以下，八岁以上者，俱令读书”，惩处不愿教子读书者；另一方面，为改善“无书可读”的情况，又致函朝鲜，索求汉文典籍。

Since the three ancient books just mentioned above were all significant Chinese classics, Nurhaci, the Emperor in Qing Dynasty requested Dahai, the official should translate the classics into the mongolian, whose profound meaning in the aspect of political layout was very explicit.
Third, the interest of translating Chinese classics has reached its climax during the power of Nurhaci.
After NUrhaci’s coming into the power, many decrees has been enacted in attempt to encourage the people to read. On the one hand, the teenagers between 8 and 15 were allowed to read. In addition , the parents who were reluctant to support their offspring to read would be punished. On the other hand, Qing Dynasty sent a letter to Korea, in which the former asked the later to denote more Chinese classics in order to improve the predicament that the books were not enough to read.

批改：译者译文总体流畅，对原文理解总体得当。以下为细节处理上的建议

1.“清太祖”一词为中国专有名词，应先查后译。清太祖指的是努尔哈赤（1616-1626），是后金第一位大汗，清朝的奠基者，太祖在位时，“大清国”还没有定鼎中原，故此时的“清”并不能算是中国的一个朝代。译者将其处理为“the Emperor in Qing Dynasty”不够严谨。
建议改为：Nurhaci, the Founder of Qing Dynasty

2.“三太宗时期汉籍（书）翻译之‘兴’”此处为论文小标题，首先，应当注意标题格式。结构上，原文为名词短语，译者翻译时使用英语句子的SVO（A）结构，虽然意思完整，但失去了原文的简洁。
词语上，“兴”强调翻译之风的兴起、盛行，译者将其处理为“reached its climax”缺乏严谨性，太宗时期不一定是汉籍翻译的高潮时期。
建议改为：Third The Prosperity of Chinese Classics Translation During the Power of Nurhaci

3.“十五岁以下，八岁以上者，俱令读书”
词语上，“令”是主动要求的意思，译者将其处理为“be allowed”，即被允许读书的可能性，读与不读似乎都是可以接受的。结合后文“惩处不愿教子读书者”，说明“令”是强制的。“be allowed”不能精准传达出原文清政府对旗人读书的鼓励与强制性。
结构上，原句省略了主语（清政府），原意为：清政府要求十五岁以下，八岁以上的人都得读书。译者将主动结构改为了被动结构，突出强调了实施对象。
建议改为：The teenagers between 8 and 15 were asked to read.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:20, 29 September 2021 (UTC)

All the above three were important Han classics, so Nurhaci, the founder of Qing Dynasty, commanded Dahai to translate them into Manchu language, which opened the floodgates to the large-scale translations of Han classics and its profound political meaning was explicit.

Third The Prosperity of Chinese Classics Translation During the Power of Nurhaci

After Abahai, the son of Nurhaci, coming into power, many decrees has been issued to encourage people to read and study. On the one hand, hand, teenagers between 8 and 15 were asked to study, and their parents would be punished if they were unwilling to educate their children; On the other hand, in order to avoid the scarcity of Han classics, Qing Dynasty sent a written request to Korea for a generous lending.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:43, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081497 李瑞洋女==

《朝鲜王朝实录·仁祖实录》中写道：“闻贵国有金、元所译《书》、《诗》等经及《四书》，敬求一览，惟冀慨然。”[ 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第38页。]可见，皇太极此时想要借阅的并非汉文原书，而是汉籍的金、元译本，即女真语和蒙古文译本。对此，朝鲜政府方面虽然进行了回应，但态度并不热忱：见索《诗》、《书》、《四书》等书籍，此意甚善，深嘉贵国尊信圣贤，慕悦礼义之盛意。

As mentioned in ''King Injo the Great'', one of the volumes in ''Annals of the Korean Dynasty'' “We heard your country have ''the Four Books'' and other classics including ''The Book of Poetry'' and T''he Book of History'', which were translated in Jin Dynasty and Yuan Dynasty, so we sincerely hope your generous lending of these books.” [National History Compilation Committee: ''Annals of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973,P38] Obviously, at this time what Huang Taiji wanted to borrow was not the original Chinese book, but the Jin and Yuan translations, namely the Jurchen and Mongolian versions. Although Korean officials responded to this request, they were not very willing: It is very nice of you to ask for the Four Books and other classics including ''The Book of Poetry'' and ''The Book of History'', and we really appreciate your country’s popularity of respecting men of virtue and advocating courtesy and justice.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 02:19, 29 September 2021 (UTC)

It was recorded in ''King Injo the Great'', a volume of ''Annals of the Korean Dynasty'', that “We have heard your country have classics like ''The Book of Songs'', ''The Book of History'' and ''the Four Books'' , which were translated in Jin and Yuan Dynasties, so we sincerely hope for your generous lending of these books to us.” [National History Compilation Committee: ''Annals of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, 38.]
Obviously, what Huang Taiji wanted to borrow at that time were not the original Chinese books, but the translated versions of Jin and Yuan periods, namely the Jurchen and Mongolian versions. Although Korean officials respondedt, they didn't give a active response: It is glad to receive your borrowing request of these books, and we do appreciate your country’s deeds of respecting men of virtues and advocating courtesy and justice.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:28, 30 September 2021 (UTC)

==英语语言文学（英美文学） 202120081498 李姗女==

第国中所有，只是天下通行本，而金、元所译，则曾未得见，兹未能奉副，无任愧歉。[ 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第62页。]

由于未能索得属意书籍，皇太极遂令达海继续翻译，后者于天聪六年开始翻译《通鉴》、《六韬》、《孟子》、《三国志（通俗演义）》，以及《大乘经》等。只可惜，由于达海英年早逝，上述书籍未能译竟。

The one that existed in the great empire was just a general version that circulated all over the country.（* But the one that existed in the whole country was just a general version.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC)） As the translating versions of Jin and Yuan were not publicized yet, it's a pity that their works were not able to be offered to the emperor.（* However, the translated versions in Jing Dynasty and Yuan Dynasty hadn't published yet.It's a pity that their works were not able to be offered to the emperor.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC)) [National History Compilation Committee: ''Records of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, 63.]

Failing to obtain desired translation versions,the first emperor of Qing dynasty, ordered Dahai to continue his translation work. And in the sixth year of Huangtaiji's rule (the year of 1632), Dahai began to translate ''History as a Mirror'', ''The Six Arts of War'', ''The Records of Three Kingdoms'' as well as ''Mahayana Sutra'' and so forth. [* ''Tong Jian'' ( a history book), ''Liu Tao'' ( a military book), ''Mencius''，''Records of the Three Kingdoms'' and ''Dacheng Jing'' ( a book about Buddhism) --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC)] Unfortunately, the translation of these books was not finished as a result of Dahai's early death.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 12:46, 11 October 2021 (UTC)

==英语语言文学（英美文学） 202120081500 李文璇女==

清初之际，达海被满洲“群推为圣人”，他翻译的汉文书籍对于拓展满族的知识范围，甚为关键。[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第58页。]《清实录·太宗文皇帝实录》中说：其平日所译汉书，有《刑部会典》、《素书》、《三略》、《万宝全书》俱成帙。（天聪六年）时方译《通鉴》、《六韬》、《孟子》、《三国志（通俗演义）》及《大乘经》，未竣而卒。
In the early Qing Dynasty, Dahai was regarded as a sage by the people of Manchuria. The Chinese books translated by him was significant for extending the knowledge. In the book ''Memoir of the Qing Dynasty'' for the Emperor Taizong, it recorded that the books Dahai had translated, including ''Records of Ministry of Punishment'', ''Su Shu'' ( a book about Taoism), ''San Lue'' ( a military book), ''Wan Bao Quan Shu'' ( a book about daily life), all of which had been compiled into volumes. In 1632, he translated ''Tong Jian'' ( a history book), ''Liu Tao'' ( a military book), ''Mencius''，''Records of the Three Kingdoms'' and ''Dacheng Jing'' ( a book about Buddhism). However, he died without finishing these books. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:26, 28 September 2021 (UTC)--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:38, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081501 李雯女==

初我国未深谙典故，诸事皆以意创行，达海始用满文，译历代史书，颁行国中，人尽通晓。惟我太祖天纵聪明，因心肇造，所行皆与古圣贤同符默契。达海与额尔德尼应运而生，实佐一代文明之治云。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第10页。]
In the beginning, our country was not familiar with the ancient books and stories, so everything began by "thoughts". Since Dai Hai began to use Man Character to translate historical books of the past dynasties and promulgated it in our country, it has become universal among public. Only my great Grandfather, gifted and wise, created from the heart, and acted in accordance with the ancient sages. So the Dai Hai and E Erdeni came into being following the tendecy, who help to create this generation of civilization.[E ertai,ect compiling by order of the Emperor;The record of Emperor Taizong in Qing Danasty,Beijing,Zhonghua Book Company,1985,Page 10.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:36, 29 September 2021 (UTC)

In the beginning, our country established things at will without the study of ancient classics. They were not well-known to the public until Da Hai translated historical books of the past dynasties in Manchu and promulated them in the country. Only the Emperor Taizu, who founded the dynasty on his own way, was so gifted and wise that what he had done was exactly accordance with the ancient sages.In reasponse to the call of the times, Da Hai and Erdeni came into being and helped to create this generation of civilization.[E ertai,ect compiling by order of the Emperor;''The Record of Emperor Taizong in Qing Danasty'',Beijing,Zhonghua Book Company,1985,Page 10.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:49, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081505 刘沛婷女==

如前所述，《明会典》、《素书》、《三略》等书的翻译始于太祖时期，但成书于天聪四年，其余书籍的翻译则为时稍晚。综观达海译书，既有《孟子》之类所谓“知正心、修身、齐家、治国”者，又有《素书》、《三略》和《六韬》等“益聪明智识，选练战攻的机权”者，以及《通鉴》等“知古来兴废事迹”者，他的翻译“实佐一代文明之治”。

以《刑部会典》（又称《明会典》）为例，达海译本既是天聪年间国家创制法律的依据，也是太宗推行政治改革的蓝本。

As mentioned above, the translation of ''Code of Great Ming Dynasty'', ''Su Shu'' and ''Three Policies'' began in the reign of Taizu but was completed in 1630. The other books were translated a little later. Da Hai's translations covered abundant eminent men, such as those in ''Mencius'' who make their minds just, morality cultivated, families regulated and the country governed orderly, and those with extrodinary intelligence and knowledge of training and combat in ''Su Shu'', ''Three Policies'' and ''Six Strategies'', as well as the men knowing the rise and fall of ancient times in ''Comprehensive Mirror for Aid in Government''. Therefore, his translations did promote the rule of civilization.

Taking ''Code of Ministry of Penalty'' (also called ''Code of Great Ming Dynasty'')as an example,Da Hai's translations were not only the basis for establishing laws during the period of Tiancong, but also the blueprint for the political reforms carried out by Taizong.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 15:25, 28 September 2021 (UTC)

As mentioned above, the translating of ''Code of Great Ming Dynasty'', ''Su Shu'' and ''Three Policies'' began during the reign of Taizu but was completed in 1630, the fourth year under the reign of Taizong. Other books were translated at a later time. Given that in Da Hai's translations exist abundant eminent men, such as those in ''Mencius'' who make their minds just, morality cultivated, families regulated and the country governed orderly, and those with extrodinary intelligence and knowledge of training the military in ''Su Shu'', ''Three Policies'' and ''Six Strategies'', as well as the men comprehending the ups and downs experienced by dynasties in the past in ''Comprehensive Mirror for Aid in Government'', his translations did promote the governance under civilization.

Taking ''Code of Ministry of Penalty'' (also called ''Code of Great Ming Dynasty'')as an example,Da Hai's translations were not only the basis for establishing laws during the period of Tiancong, but also the blueprint for the political reform carried out by Taizong.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 02:46, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081508 刘晓女==

太宗素有“振兴文治”的愿望，不仅创制了作为清代考试制度之滥觞的生员和举人考试，而且使巴克什、笔帖式制度臻于成熟，二者合力使得汉籍翻译的风气渐开：一方面，作为“巴克什”或“笔帖式”，希福、尼堪、刚林、苏开等人先后奉敕“（翻）译汉字书籍”或“记注国政”；另一方面，太宗以自古国家“以文教佐太平”为由，令满人争相读书，从生员中选取“文艺明通者优奖之”。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第14页。]

在对待前朝即明代的问题上，太宗采取“讲和”与“自固”并行的政策，但其本人向往中原汉族文化，所谓“性嗜典籍，披览弗卷”即是这一情况的体现。

Holding the idea to "revitalize the administration by education and culture", Taizong not only created examinations from which the examination system of Qing Dynasty originated, for xiucai and juren, those who have passed in the exam at the county and provincial level respectively, but also made the Baksh and Bithesi system reach a mature state. Together, the two measures promoted the translation of books written in Chinese. On one hand, Xifu, Nikan, Ganglin and Su Kai, as "Bakshs" or"Bithesis", successively "translated Chinese books" or "annotated state affairs" by the order of the emperor. On the other hand, by saying that countries applied the education and culture to safeguarding the stablization since ancient times, Taizong urged people to scramble to study, and then awarded those from xiucai "who mastered literature and arts". (''Records of Qing Dynasty· Emperor Taizong'', edited by Ertai, officials in the Qing Dynasty, Beijing: China Publishing House, 1985, P14.)

In dealing with the treatment of the previous dynasty, that is Ming Dynasty, Taizong adopted the policy of "settling a dispute" and "self-consolidation". But he himself yearned for the Chinese culture of the Central Plains, which is embodied by the so called expression "Loving Chinese works and reading Buddha volumes."

Revised version：
Holding to the idea of "revitalizing the empire by education and cultural development", Taizong not only established shengyuan and juren exams（exams at the county and provincial level perspectively） initiating the imperial examination system of Qing Dynasty, but also brought the Baksh and Bithesi system to a mature state. Together, the two measures brought about the upsurge in translation of Han books. On the one hand, Xifu, Nikan, Ganglin and Su Kai, as "Bakshs" or"Bithesis", successively "translated Han books" or "annotated state affairs" by the order of the emperor. On the other hand, in the name of the national tradition of ensuring stabilization by education and cultural development, Taizong urged Man people to read and those shengyuan who stands out for their familiarity with literature and arts were awarded. (The Memoir of Qing Dynasty· Emperor Taizong, edited by Ertai, officials in the Qing Dynasty, Beijing: China Publishing House, 1985, P14.)

In dealing with the treatment of the former dynasty, namely Ming Dynasty, Taizong resorted to the policy of “peace negotiation” and " self-consolidation" in parallel. However, Taizong himself yearned for the Central Plains culture of Han, and the expression “a voracious reader of Han and Buddhist classics” can properly manifests it. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 07:53, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081510 刘运心女==

于是，太宗诏令儒臣翻译汉书，并命金、汉之人阅读。[ 同上，第2页。]太宗深知，汉文典籍言微而义大，其精要者不仅涉及帝王治平之道，而且涉及正心、修身、齐家之理。但汉文典籍数量庞杂，翻译时必须有所选择。
Therefore, Taizong issued an order asking the civilian official to translate Han books and all the Han and Jin people are required read those. (Ibid., p.2) Taizong knew well how brief and profound Han classics were. Their essence not only involves the governess of the country and its people, but also discusses inner integrity, decent behavior and family harmony. Nevertheless, a great number and variety of Han classics means what to be translated needs selection.

Therefore, Taizong ordered Confucian officials to translate Han books, while all the Han and Jin people were required to read those. (Ibid., p.2) Taizong knew well that Han classics were sublime works with deep meaning, whose essentials included not only the method of statecraft, but also self-cultivation and family regulation. Nevertheless, among a great number of Han classics, there must be an extraction.
--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 02:14, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081511 罗安怡女==

如天聪六年九月，王文奎奏请从读书笔帖式内，选取“伶俐通文者”一、二人，并从秀才内选取“老成明察者”一、二人，令其“讲解翻写”。天聪九年三月二十一日，仇震向太宗谏言，要求从汉人中选取精通经、史者二、三人，并从金人中选取熟悉字法者三、四人，将各经史典籍及《通鉴》（即《资治通鉴》）中“有裨君道”的精要部分“集为一部”，日日讲解，以便统治者在翻译、日讲中学习汉族文化，以及治世之道。[ 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第24-25、115页。]固然，对于汉文典籍与汉族文化，太宗并非全盘接受，而是辩证地加以吸收。
For instance, in September, 1632, the sixth year of T'ien-ts'ung (the first reign title of Emperor Taizong of Qing Dynasty), Wang Wenkui wrote to His Majesty, advising that they should elect one or two "literates who were skilled at writing and translation" from the bithesi, and one or two "scholars who were learned and perspicacious", for "teaching, interpretation, and translation" of Han classics. On March 21st, 1635, the ninth year of T’ien-ts'ung, Chou Zhen advised Emperor Taizong to elect two or three Han people who were proficient in lections and historical records, and three or four Jin people who were familiar with 字法. These scholars should choose essentials from classics and ''The Zizhi'' (''The Zizhi Tongjian'') , which benefits the ideas of ruling power of feudal emperors, and compile them into one book. Also they should discourse the compiled thoughts frequently, in which the ruler could learn the Han culture and method of statecraft. [Zhenyu, Luo .(罗振玉),《天聪朝臣工奏议》，Beijing：China Renmin University Press, 1989, P24-25, P115.] Of course, Taizong did accepted Chinese classics and han culture critically and dialectically.

For instance, in September, the sixth year of Tian Cong(the first reign title of Emperor Taizong of Qing Dynasty), Wang Wenkui wrote to His Majesty to pick up one or two who are "talented in literature” and pick up one or two who are "sophisticated and insightful"from the scholars for " interpretation, and translation" of Han classics. On March 21st, 1635, the ninth year of T’ien-ts'ung,Qiu Zhen advised Emperor Taizong to pick up two or three Han people who were proficient in lections and historical records, and three or four Jin people who were familiar with grammer to let them choose the essence which are benefical to the reign from classics and ''The Zizhi'' (''The Zizhi Tongjian'') and compile them into one book.After that,they should illuminate the compiled thoughts every day, which is beneficial to the study of the ruler about the Han culture and ruling ways. [Zhenyu, Luo .(罗振玉),《天聪朝臣工奏议》，Beijing：China Renmin University Press, 1989, P24-25, P115.] Definitely speaking, Taizong did accepted Chinese classics and han culture critically and dialectically.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:24, 29 September 2021 (UTC)(Luo Xi罗曦）

==英语语言文学（英美文学） 202120081512 罗曦女==

如天聪九年五月，上谕文馆诸臣：朕观汉文史书，殊多饰辞，虽全览无益也。今宜于《辽》、《宋》、《金》、《元》四史内，择其勤于求治而国祚昌隆，或所行悖道而统绪废坠，与夫用兵行师之方略，以及佐理之忠良、乱国之奸佞，有关政要者，汇纂翻译成书，用备观览。至汉文正史之外，野史所载，如交战几合，逞施法术之语，皆系妄诞，此等书籍，传之国中，恐无知之人信以为真，当停其翻译。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第9页。]

For instance，in May，the ninth year of Tian Cong，the emperor informed all the offcials in the cultural center that：I have read all those historical records in Han Dynasty filled with various ornaments，only to find that I have gotten nothing。Now you had better to pick up some references among <Liao>、<Song>、<Jin>、<Yuan> about some cases like dilligence making a prosperous country or idleness making a weak one,also,you can pick up some military stratedies,and some information about those noble and talented citizens or traitors,and than you ought to translate all those relevence and compile them into a book prepared to be read.As for those unofficial history in Han excluded,like how many rounds did soldiers battle or the spell spoken by wizards,are all the nonsense,which will bewilder the ignorant,deserving to be prohibited from translation.{E Ertai：《清实录、太宗文皇帝实录》，Beijing：Chinese bookstore，1985，p9.}

A modified version: For instance, in May 1653, the Emperor said to the ministers in Literature Institution(that is, the later Cabinet in Qing Dynasty), "I have leafed through the historical works in Chinese language with various ornamental rhetorics, but the complete reading of them is not beneficial. Now it is appropriate to select salient examples referred from the four historical recrods of ''Liao'', ''Song'', ''Jin'' and ''Yuan'', which will be compiled into books for later reading. These examples include those who were dedicated in governing the country thereby with a promising national development, or those who deviated from the correct path with weak administration, and the generals adept at warfare, loyal and honest servants assisting the sovereign to handle state affairs, the treacherous ones rendering the nation disorderly and chaotic as well as other relevant political workers. Meanwhile, apart from the official history, the unofficial historical works that record untrue events, like the conditions of battles, are all fabricated. If those unfavorable books are spread to the mainland, they may bewilder the ignorant and gullible individuals, thus deserving to be prohibited from translation. (E Eratai: ''Records of Qing Dynasty·Emperor Taizong'', Beijing: China Publishing House, 1985, Page9.)--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 04:47, 29 September 2021 (UTC)毛雅文

==英语语言文学（英美文学） 202120081514 毛雅文女==

由上可知，在汉籍翻译的问题上，太宗讲求的是实用，希望将翻译与政要相关联，反对翻译浮华藻饰的汉文书籍，或者野史中所载不足为信者。以《刑部会典》的翻译为例，该译本的刊刻与颁行逐渐成为太宗朝的临政规范。《天聪朝臣工奏议》中说：“近奉上谕，凡事都照《大明会典》行，极为得策。”[ 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。]

From here it can be seen that the Emperor Taizong put an emphasis on practicality with regard to the translation of Chinese works, hoping to associate translation with politics. He objected to the translation of Chinese books with flashy embellishments, or that of unofficial historical works recording unconvincing events. Take the translation of ''The Code of the Ministry of Penalty'' as an example. After its publication and promulgation, the tranlation of this code gradually became the norm of handling state affairs. ''The Petition of Ministers during the Reign of Tiancong'' states, "Recently, by the order of the Emperor, everything should be conducted in accordance with ''The Code of Ming Dynasty'', which is a desirable policy." (Luo Zhenyu: ''The Petition of Ministers during the Reign of Tiancong'', Beijing: China Remin University Press, 1989, Page2.)

From above it can be seen that the Emperor Taizong put an emphasis on practicality with regard to the translation of Chinese works, hoping to associate translation with politics. He objected to the translation of Chinese books with flashy embellishments, or that of unofficial historical works recording unconvincing events. Take the translation of The Code of the Ministry of Penalty as an example. After its publication and promulgation, the tranlation of this code gradually became the norm of handling state affairs. The Petition of Ministers during the Reign of Tiancong states, "Recently, by the order of the Emperor, everything has been conducted in accordance with The Code of Ming Dynasty, which is a desirable policy." (Luo Zhenyu: The Petition of Ministers during the Reign of Tiancong, Beijing: China Renmin University Press, 1989, Page2.)--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 10:19, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081516 牟一心女==

宁完我也说，我国六部的设立原是照“蛮子家立的”，因而金官对于部中当举事宜原本并不知情，而今翻译《会典》（即《明会典》），参汉酌金，加以“打动”，必将使其“去因循之习”而“渐就中国之制”。[ 同上，第82页。]

四世祖时期汉籍（书）翻译之发展

清初儒臣中，除额尔德尼、噶盖和达海之外，通满、蒙、汉字者不乏他人，如伊成额、希福、刚林等，便是其中姣姣者。

Ning Wanwo also said that the establishment of the six ministries in feudal China was based “on that of minority nationalities”, so the officers of Jin Dynasty had no idea about the affairs in the ministries. Now the translation of Code(a record of laws and systems of a dynasty)(namely, Code of Great Ming Dynasty) must refer to both the precedents of Central China and Jin Dynasty and amend them to make it get rid of rigid traditions and turn to the conventions of Central China.[ibidem, Page 82]

FOURTH The development of Chinese literature (books) in Qing Dynasty Shunzhi period

Among the civilian officials in the early Qing Dynasty, besides Erdeni, Gagai, Daher, there is no lack of masters of Manchu language, Mongolian and Chinese, such as Icher, Hifo, Galin, who were the strong performers among them.

Ning Wanwo also said that the establishment of the six ministries of feudal China was based on “that of the southerners”, so Jin Guan had no knowledge of the affairs concerning the appointment in the ministries. Now the translation of Code( a record of laws and systems of a dynasty)( namely, Code of Great Ming Dynasty) must refer to both the precedents of Han and Jin Dynasty and then amend them to make it get rid of rigid traditions and gradually conform to the conventions of Central China. [ibidem, Page 82.]

FOURTH The development of Chinese literature (books) in Shizu Period

Among the civilian officials in the early Qing Dynasty, besides Erdeni, Gagai, Daher, there is no lack of masters of Manchu language, Mongolian and Chinese, such as Icher, Hifo, Galin, who were the best performers of them.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:58, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081521 石丽青女==

据传，伊成额不仅将《太祖高皇帝实录》译成汉文，而且翻译了朝鲜所奏表章，以及《礼部会典》等书。[ 清高宗敕纂：《八旗满洲氏族通谱》，沈阳：辽沈书社，1989年，第10页。]希福兼通满、蒙、汉三种语言，他的翻译有别于伊成额，不是将满文译成汉语，也不是将朝鲜文译成满语，而是主要翻译汉书、汉典，所翻译的汉文书籍包括《辽》、《金》、《元》三史等。希福的上述译书于顺治元年进呈皇帝，获世祖恩赉。

It is said that Yi Cheng'e translated not only the Annals of Emperor Taizu Gao into Chinese, but also the seals played by North Korea and the Book of the Ministry of Ceremonies. [ Qing Gaozong's Royal Compilation: "Eight Banners Manzhou Clan Genealogy", Shenyang: Liaoshen Publishing House, 1989, page10.] Xifu was fluent in Manchu, Mongolian and Chinese. His translation was different from Yicheng'e. He did not translate Manchu into Chinese or Korean into Manchu, but mainly translated Chinese books and Chinese classics, including Liao, Jin and Yuan. Xifu's translation was presented to the emperor in the first year of Shunzhi and won the honor of Shizu. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:50, 29 December 2021 (UTC)

It is said that Yi Cheng'e translated not only the Factual Record of Taizu, but also the memorials presented to the emperor by North Korea, Records of the Board of Rites, and other books. [ Qing Gaozong's Royal Compilation: "Eight Banners Manzhou Clan Genealogy", Shenyang: Liaoshen Publishing House, 1989, page10.] Xi Fu was proficient in Manchu, Mongolian and Chinese, whose translation was different from Yi Cheng’e’s. Neither did he translate Manchu into Chineses nor Korean into Manchu, he mainly translated Chinese books and classics, including Liao, Jin and Yuan. Xi Fu’s translation was presented to the emperor in the first year of Shunzhi and won the honor of Shizu.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:14, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081523 王李菲女==

《清实录·世祖章皇帝实录》中，曾详细记载了希福进呈译本时的情形：窃稽自古史册所载，政治之得失，民生之休戚，国家之治乱，无不详悉具备，其事虽往，而可以诏今；其人虽亡，而足以镜世。故《语》云：“善者吾师，不善者亦吾师。”从来嬗继之圣王，未有不法此而行者也。

In the “Records of Qing Dynasty· Emperor Fu Lin”, there was a detailed record of the situation when Xi Fu presented the translation: in the ancient records, whatever gain and loss in politics, weal and woe of people’s livelihood, or governance and chaos of countries, they’ve all been documented in detail. Although things have passed, they can still enlighten us. The ancestors have passed away, they can also provide references. Therefore, the “Language” said, “The heroes are my teacher, and so are the villains .” Virtuous emperors from ancient times to present have all followed this rule.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:01, 28 September 2021 (UTC)

The “Records of Qing Dynasty· Emperor Fu Lin”, which once recorded in detail the situation when Xi Fu presented the translation: As far as I am concerned, from the ancient records, the gains and losses of politics, the welfare and woe of people’s livelihood, and the governance and chaos in the country, all of which have been documented in detail. Although things have passed, they can still enlighten us. Although the ancestors passed away, they are enough to mirror the world. Therefore, the “Language” says, “The success is my teacher, and so is the failure.” Virtuous emperors from ancient times have all followed this rule.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:01, 28 September 2021 (UTC) Edited by Wang Zhenlong.

==英语语言文学（英美文学） 202120081525 王镇隆男==

辽、金虽未混一，而辽已得天下之半，金亦得天下之大半，至元则混一寰区，奄有天下，其法令政教皆有可观者焉。我先帝鉴古之心，永怀不释，特命臣等将《辽》、《金》、《元》三史，芟（shān）削繁冗，惟取其善足为法，恶足为戒，及征伐畋（tián）猎之事，译以满语，缮写呈书。臣等敬奉纶音，将《辽史》自高祖至西辽耶律大石末年，凡十四帝，共三百七年；《金》凡九帝，共一百十九年；《元》凡十四帝，共一百六十二年，详录其有裨益者，……伏乞皇上万几之暇，时赐省览，懋稽古之德，弘无前之烈，臣等不胜幸甚。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第15-16页。]

Although Liao and Jin did not mix together, Liao had already won half of the world, and Jin had also won the other half. Until the Yuan Dynasty, they were combined into one whole world,and there were considerable and available laws, politics and religions. My first emperor’s desire to learn from the ancients will never be released. I and other ministers were ordered to edit and slash the three histories of "Liao", "Jin" and "Yuan", but take the good part as the law, and the evil part as the precepts. And the matters of conquering and hunting, were translated into Manchu,written and presented in a book. I and others followed respectfully my Lord ‘s orders,took the history of Liao from Gaozu to the last year of Yelu Dashi of Xi Liao, where there were 14 emperors, a total of 370 years; Jin, the nine Emperors, lasted one hundred and nineteen years;Yuan recorded all the fourteen emperors for 162 years, and had careful records of those who have benefited us, ... I beg my Lord to have occasional reviews when my Lord is not dealing with country’s affairs,and to encourage your people to live up to ancient virtues and promote the unparalleled huge achievement. I and other would greatly appreciate it. [E'ertai et al. revised with imperial edict "Records of the Qing Dynasty·Records of Emperor Shizuzhang", Beijing: Zhonghua Book Company, 1985, pp. 15-16. ]

Although Liao and Jin did not unite, Liao had already occupied half of the world, so had Jin. Until Yuan Dynasty, they combined and occupied the whole country, and there were considerable and available laws, politics and religions. My previous emperor’s desire to learn from the ancients will never be released. Other ministers and I were ordered to edit and slash ''the History of Liao, Jin and Yuan Dynasty'', take merits as the principle, and learn lessons from demerits. And the matters of conquering and hunting, were translated into Manchu, written and presented in a book. We followed respectfully my Majesty ‘s orders, took ''The History of Liao Dynasty'' from Gaozu to the last year of Yelu Dashi of Xi Liao, where there were 14 emperors, a total of 370 years; ''Jin'', nine Emperors, lasted one hundred and nineteen years; ''Yuan'' recorded all the fourteen emperors for 162 years, and had careful records of those who have benefited us, ... I beg my Majesty to have occasional reviews when he is not dealing with country’s affairs, and to encourage people to observe traditional virtues and advocate the unprecedent huge achievement. We all would greatly appreciate it. [E'ertai et al. revised with imperial edict ''Records of Emperor Shizuzhang in the Qing Dynasty'', Beijing: China Book Company, 1985, pp. 15-16. ]--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:35, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081526 卫怡雯女==

上文中，不仅明确论及汉文典籍的历史作用，而且阐述了翻译这些典籍的必要性、作用与目的等，其总目标是“懋稽古之德”，以翻译佐文教，治太平。换言之，希福希望通过翻译《辽》、《金》、《元》三史等，从中原汉族王朝中借鉴国家治理经验，以接续太宗皇太极以来以经世致用为核心的翻译思想，并为嗣后翻译汉籍树立原则与典范。据《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》，以及《清代内府刻书目录解题》等综合统计，顺治年间，由官方刊刻的汉书满文译本共九种，分别是《辽史》、《金史》、《元史》、《洪武要训》、《三国志（通俗演义）》、《诗经》、《表忠录》、《孝经》（阿什坦译）和《六韬三略》。其中，顺治七年译成的《三国志（通俗演义）》既有满文本，又有满汉合璧本。

As described in the above, it not only discussed the historical role of Chinese classics, but also illustrated the necessity, the function and the goal of translating these ancient books and records. The overall goal is to encourage people to observe traditional virtues, using translation to assist the country to develop culture and education. In other words, Xifu wanted to draw on the experience of state governance from Han Dynasty in the central China through translating the history of Liao, Jin, and Yuan Dynasty in order to succeed the thought of translation of administering state affairs and applying theory to practice as the core since the emperor Taizong Huangtaiji, and set up the principle and model of translating Chinese books for later generation. According to general statistics of The General Catalogue of The Best Edition and the Ancient Books and Records of Taipei's National Palace Museum, The Catalogue of World’s Manchu Literature and The Union Directory of National Manchu Books and Materials and Solving Problems in the Catalogue of Engraved Books in the Qing Dynasty, during the period of Tongzhi, there are nine Manchu translated versions of the official published Chinese books by blocking print, they are: The History of Liao Dynasty, The History of Jin Dynasty, The History of Yuan Dynasty, Hongwu Yaoxun, The Romance of Three Kingdoms, Book of Songs, The Record of Loyalty, Classic of Filial Piety(translated by Ashtan), Liu Tao and San Lue. Among them, The Romance of Three Kingdoms translated in the seventh year of Tongzhi had both Manchu version and the combined one of Chinese and Manchu.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:23, 29 September 2021 (UTC)

Thereinbefore, it not only discussed the historic role of Chinese classics, but also illustrated the necessity, the function and the goal of translating these books. The overall goal is to encourage people to observe traditional virtues, using translation to develop culture and education and bring social prosperity. In other words, Xifu wanted to draw on the experience of state governance from Chinese dynasty in the central plains through translating the histories of ''Liao'', ''Jin'', and ''Yuan''. In this way, the translation idea originated from the dynasty of Huangtaiji that knowledge should benefit national affairs can be succeeded and set up the principle and model of translating Chinese books for later generation. According to the general statistics of ''The General Catalogue of the Publications and Classics of National Palace Museum'', ''The Catalogue of World’s Manchu Literature'' and ''The Union Catalogue of National Manchu Books and Materials'' and ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty'', during the period of Shunzhi dynasty, there are nine official Manchu translations of Chinese books.They are ''History of Liao Dynasty'', ''History of Jin Dynasty'', ''History of Yuan Dynasty'', ''Hongwuyaoxun'', ''Records of the Three Kingdoms'', ''Classic of Poetry'', ''Record of Loyalty'', ''Classic of Filial Piety''(translated by Ashtan), ''Liutaosanlue''. Among them, ''Records of the Three Kingdoms'' translated in the seventh year of Shunzhi dynasty has both Manchu version and the combined one of Chinese and Manchu.(revised by Wei Chuxuan)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:11, 29 September 2021 (UTC)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:59, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081527 魏楚璇女==

另外，《孝经》曾于顺治、康熙、雍正朝刊刻三次，但版本明显不同：顺治年间的刊行本为阿什坦译本，康熙年间的刊行本为和素译校本，雍正时期的版本则译者未明，仅注明“雍正皇帝敕译”。令人好奇的是，虽然世祖笃信佛教，论佛谈法，但从相关文献看，未见有顺治朝翻译的汉文经书，其中原因，不得而知。
What's more, ''Filial Piety'' has different publications of translation in different dynasties. In Shunzhi dynasty, the publication is Ashtan's translation. In Kangxi dynasty, the publication is Hesu's translation. In Yongzheng dynasty, the translator is unknown. It is only indicated in the publication that the translation is asked by Yongzheng emperor. Curiously according to relevant literature though Shunzhi emperor believed in Buddhism, there is no translation of Buddhist classics made in his dynasty. And the reason of this remains a mystery.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:12, 29 September 2021 (UTC)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:05, 29 September 2021 (UTC)

What's more, ''Filial Piety'' has been published and printed three times in the dynasty of Shunzhi, Kangxi and Yongzheng respectively but with three obvious different versions. During the Shunzhi dynasty was the translation of Ashtan, during the dynasty of Kangxi was of Hesu and during the Yongzheng dynasty was of the unknown writer, only indicating "translating under the order of the emperor Yongzheng". What made people curious was that although Shizu sincerely believed in Buddhism, talking about Buddhism and Buddhist doctrine, there was no Chinese Confucian classics translated during the Shunzhi Dynasty according to the relevant references. And the reason of this remains unknown.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:14, 29 September 2021 (UTC)(Wei Zhaoyan 魏兆妍）

==英语语言文学（英美文学） 202120081528 魏兆妍女==

世祖年间翻译刊行的九种汉文书籍中，《六韬》、《三国志（通俗演义）》和《大乘经》等三种原系达海于天聪六年开始翻译，但由于达海早逝未能译成。三部作品中，尤以《三国志（通俗演义）》的翻译所获世祖认可为甚。《清实录·世祖章皇帝实录》中说：
以翻译《三国志（通俗演义）》告成，赏大学士范文程、刚林、祁充格、宁完我、洪承畴、冯铨、宋权、学士查布海、苏纳海、王文奎、伊图、胡理、刘清泰、来袞（gǔn）、马尔笃、蒋赫德等鞍马、银两有差。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第13页。]

Nine kinds of Chinese literary books has been translated and published during the year of Shizu, among which Da Hai began translating three kinds of the original system of ''Liu Tao'', ''The Popular Romance of the Three Kingdoms'' and ''Mahayana Sutra'' during the sixth year of Tian Cong. However, Da Hai failed to translate them all successfully due to his early death. Among these three works, especially the translation of ''The Popular Romance of the Three Kingdoms'' has received the most approval of Shizu. Said in ''The Real Record of the Qing Dynasty · Real Record of the Emperor Shizu Zhang'': With the completed translation of ''The Popular Romance of the Three Kingdoms'', Shizu would award some side horses and silver to the Grand Master Fan Wenching, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan and Bachelor Zha Buhai, Su Nahai, Wang Wenkui, Yi Tu, Hu Li, Liu Qingtai, Lai Gun, Ma Erdu, Jiang Hede. [ Ertai and others were ordered by the emperor to modify: ''The Real Record of Qing Dynasty · Real Record of the Emperor Shizu Zhang'', Beijing: China Publishing House, 1985, Page 13. ]--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:52, 29 September 2021 (UTC)

Among the nine kinds of Chinese books translated and published during the reign of Shizu emperor , three were first translated by Da Hai in 1632, including "Liu Tao", “The Popular Romance of the Three Kingdoms" and "Mahayana Sutra”. Yet they failed to be finished due to his early death. Of the three works, the translation of "The Popular Romance of the Three Kingdoms" received the most recognition of Shizu emperor. According to "The Real Record of the Qing Dynasty · Real Record of the Emperor Shizu Zhang": Given the successful translation of "The Popular Romance of the Three Kingdoms", Shizu emperor awarded some side horses and silver to the Grand Master Fan Wenching, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan and Bachelor Zha Buhai, Su Nahai, Wang Wenkui, Yi Tu, Hu Li, Liu Qingtai, Lai Gun, Ma Erdu, Jiang Hede, and the amount of awards depended on their position.[ Ertai and others ordered by the emperor to modify: ''The Real Record of Qing Dynasty · Real Record of the Emperor Shizu Zhang'', Beijing: China Publishing House, 1985, Page 13. ]--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 07:32, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081531 肖毅瑶女==

此次获得赏赐者共计十六人，从大学士到学士不等，既赏鞍马，又赏银两，可见其对于该书翻译的重视。值得特别注意的是，关于《三国志（通俗演义）》一书的翻译，《清初内国史院满文档案译编》中也有记载，不仅更加详实，而且内容上也与《清实录》中的记载有较大出入。为便于比较，现一并摘录如下：
A total number of 16 officers, varying from Grand Masters to Bachelors, were awarded saddled horses and silver, which indicated that the emperor had attached great importance to the translation of this book. Besides, what deserves a speacial attention was that ''Translation and Compilation of Manchu Archives of the National Institute of History in the Early Qing Dynasty'' also documented some facts about the translation of the ''Romance of Three Kingdoms''. The records were not only more detailed but also quite different from that of the ''Factual Record of Qing dynasty''. For the convenience of comparison, both were excerpted as follows:

A total number of 16 officers, varying from Grand Academcians to Bachelors, were awarded saddled horses and silver, which indicated that the emperor had attached great importance to the translation of this book. Besides, it is worth paying speacial attention that ''Translation and Compilation of Manchu Archives of the National Institute of History in the Early Qing Dynasty'' also documented some facts about the translation of the ''Romance of Three Kingdoms''. The records were not only more detailed but also quite different from that of the ''Factual Record of Qing dynasty''. For the convenience of comparison, both were excerpted as follows:----[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 13:33, 11 October 2021 (UTC)

==英语语言文学（英美文学） 202120081532 谢佳芬女==

以翻译《三国志（通俗演义）》告成，赏赐内翰林院大臣。赏予大学士范文程巴克什、刚林巴克什、祁充格、宁完我、洪承畴、冯铨、宋权七大臣彩鞍、雕辔（pèi）、……头等马各一匹、银各五十两。赏学士查布海、苏纳海、王文奎、伊图、胡理、清泰、来袞、马迩都、赫德九人无鞍二等马各一匹、银各四十两。

When ''Romance of the Three Kingdoms’’ having been completed，all the ministers in Hanlin Academcian were awarded. The grand secretaries Fan Wencheng, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan were rewarded color saddle, bridle, one first-class horse and fifty liang of silver respectively. The nine scholars, Cha Buhai, Su Nahai, Wang Wenkui, Yitu, Huli, Qingtai, laigon, Ma Youdu and Hede, each have one second-class bareback horse and forty liang of silver

After the completion of “Records of the Three Kingdoms”, ministers of Hanlin Academy were awarded. Maesters including Fan Wencheng, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan were awarded with colorized saddle, bridle, a first-class horse and fifty Liang of silver respectively. Nine scholars like Cha Buhai, Su Nahai, Wang Wenkui, Yitu, Huli, Qingtai, laigon, Ma Youdu and Hede, each of them has one second-class bareback horse and forty liang of silver respectively.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 13:45, 11 October 2021 (UTC)

==英语语言文学（英美文学） 202120081534 熊敏女==

赏内弘文院主事能图、叶成格、曹皮、铿特依、杜当、布尔凯、侍讲学士吕宗烈、侍读学士张皮机、典籍官王丛庞九人银各四十两。赏博士科尔科岱、霍斯霍利、尼曼、苏和、奇同格、芒色、霍托、穆成格、周有德、必利科图、国史院博士图巴海、秘书院秦达浑臣十二人银各二十两。赏笔帖式翁国顺、额斯黑、高利、马齐蘭、乌勒扈、穆成格、必利科图、严楚蘭、阿希图、国史院笔帖式朱臣十人银各二十两。

Chiefs of Hongwen Academy like Neng Tu,Ye Chengge,Cao Pi,Qiang Teyi,Du Dang, But Erkai,teacher like Lv Zonglie, attendant like Zhang Piji, manager of ancient books like Wang Congpang were rewarded forty pounds of silver respectively.Doctor Me Erkedai, Huh Sihuoli,Niman,Su He,Qi Tongge, Mang Se, Huo Tuo,Mu Chengge,Zhou Youde, Bi Liketu,Tu Bahai,Qin Dahun were all awarded 20 pounds of silver. Weng Guoshun,E Sihei,Golly, Ma Qilan,Wu Leba,Mu Chengge, Bi Liketu,Yan Chulan,A Xitu,Zhu Chen were all rewarded with 20 pounds of silver.

Chief cadres of Hongwen Academy including Neng Tu,Ye Chengge,Cao Pi,Qiang Teyi,Du Dang,Bu Erkai,Teacher like Lv Zonglie, Attendant like Zhang Piji, Manager of ancient books Wang Congpang were rewarded forty silver pounds respectively. Doctor Me Erkedai, Huh Sihuoli,Niman,Su He,Qi Tongge, Mang Se, Huo Tuo,Mu Chengge,Zhou Youde, Bi Liketu,Tu Bahai,Qin Dahun were all awarded 20 silver pounds. Weng Guoshun,E Sihei,Golly, Ma Qilan,Wu Leba,Mu Chengge, Bi Liketu,Yan Chulan,A Xitu,Zhu Chen were all rewarded with 20 silver pounds.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 12:23, 30 September 2021 (UTC)

==英语语言文学（英美文学） 202120081539 羊叶女==

以上送礼部一一宣名，跪受赏。[ 中国第一历史档案馆编：《清初内国史院满文档案译编·顺治朝》，北京：光明日报出版社，1989年，第80页。]

显然，上述两种文献提到的系同一件事情，但内容上有明显出入：首先，封赏的人数不同。
The officials above give gifts to the Ministry of Rites one by one, being declared the name, and kneeling to be rewarded. [Editor of China's First Historical Archives: Translation of manchu archives of the National Historical Institute of the early Qing Dynasty, Shunzhi Dynasty, Beijing: Guangming Daily Press, 1989, p. 80.] Obviously,the two documents mention the same thing, but there are obvious differences in content: first, the number of people who are rewarded is quite different.

All these officials on the list will be named in recognition and rewarded on their knees at the Ministry of Rites. [ Edited by the First Historical Archive of China: "Translation and compilation of Manchu archives in the Early Qing Dynasty•Shunzhi Dynasty", GuangMing Daily Press, 1989, P80]

Appartently, the two literatures mentioned above refer to the same thing, but they differ in content: Firstly, the number of rewarded people is different. --[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:34, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081543 杨柳青女==

例如，《清实录》中只有十六人，《清初内国史院满文档案译编》则多达四十七人，二者之间的出入主要在于弘文院主事、侍讲与侍读学士、典籍官、博士，以及笔帖式等职官群体名单。其次，在赏赐的物件问题上，《清初内国史院满文档案译编》的记载较之《清实录》明显更加详实、具体，可信度更高。再次，在个别封赏对象的称呼上，两种文献之间也有差异。

For example, only 16 civil officials are rewarded according to the "Records of the Qing Dynasty" while officials who are rewarded according to the "Translation and Compilation of Manchu Archives of the Chinese Academy in the Early Qing Dynasty" are as many as over 40. This difference mainly lies in the list of official groups such as the director of the Hong Arts Institute, official bachelors, classics officers, learned scholars and clerks handling paperwork. Secondly, the records about rewarded items in the "Translation of Manchu Archives of the Chinese Academy in the Early Qing Dynasty" are obviously more detailed, accurate and credible than those in the "Records of the Qing Dynasty". Thirdly, there are also some differences between the two literatures in terms of the appellation of the rewarded officials.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:30, 29 September 2021 (UTC)

For example, only 16 civil officials were rewarded in the The Records of the Qing Dynasty while officials rewarded in the Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty were as many as over 40. This difference mainly lay in the list of official groups such as the director of the Hong Arts Institute, official bachelors, classics officers, learned scholars and clerks handling paperwork. Secondly, the records about rewarded items in the Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty were obviously more detailed, accurate and credible than those in the The Records of the Qing Dynasty. Thirdly, there were also some differences between the two literatures in terms of the appellation of the rewarded officials.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:11, 29 September 2021 (UTC)--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:11, 29 September 2021 (UTC)Yi Yangfan

==英语语言文学（英美文学） 202120081545 易扬帆女==

例如，《清实录》中的“刘清泰”被写作《清初内国史院满文档案译编》中的“清泰”，“马尔笃”被写作“马迩都”，“蒋赫德”被写作“赫德”，等等。
世祖年间翻译的汉文书籍中，《洪武宝训》、《表忠录》、《诗经》与《孝经》等也各具代表性。《洪武宝训》系明朝皇权政治的象征，反映了明太祖朱元璋治国理政的理念和方针政策。
For example, Liu Qingtai in Factual Record of Qing Dynasty was written as Qingtai in Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty, Mar Du was written as Ma Erdu, and Jiang Hede was written as Hurd, etc.
The translated Chinese books in the certain era of Fulin years, such as HongWu Baoxun, The Record of Loyalty, Books of Songs and Classic of Filial Piety have had their own representatives. HongWu Baoxun was a symbol of the imperial power politics of Ming Dynasty, which reflected the ideas and policies of Zhu Yuanzhang, the emperor Taizu of Ming Dynasty.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 16:03, 28 September 2021 (UTC)Yi Yangfan

For example, “Liu Qingtai” in Factual Record of Qing Dynasty was written as “Qingtai” in Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty, "Mar Du" was written as "Ma Erdu", "Jiang Hede" was written as "Hede", and so on. The translated Chinese books in Fulin years, such as HongWu Baoxun, The Record of Loyalty, Books of Songs and Classic of Filial Piety all were of representative. Hongwu Baoxun was a symbol of imperial power politics in the Ming Dynasty and reflected the ideas and policies of Zhu Yuanzhang, the emperor of the Ming Dynasty.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 02:46, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081546 殷慧珍女==

顺治三年三月，《洪武宝训》的满文翻译完成，成为清朝入关后的首部汉籍译作。世祖对于该部译作极为重视，不仅赏赐了刚林、宁完我、范文程等译者，而且由摄政王多尔衮钦命汉官代笔，以世祖名义为译作制作序文，颁行全国。世祖对明太祖推崇备至，尤其是后者制定的条例章程，认为历代贤君莫如洪武，因而本书的翻译目的性极强。

In the March of the third year of Shunzhi, the Manchu translation of Hongwu Baoxun was completed, becoming the first translation written by Chinese writer after the Qing Dynasty was in power. The emperor Shizu attached great importance to this translation. He not only rewarded the translators such as Gang Lin,Ning Wanwo, and Fan Wencheng, ect., but also the regent Dorgon appointed Han officals to write a preface in the name of Shizu, which was issued throughout the country. The emperor Shizu revered the emperor Taizu of Ming Dynasty, especially the regulations and articles he formulated, and believed that there were no virtuous monarchs of all dynasties like Hongwu, so the translation purpose of this book was very strong.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 01:17, 29 September 2021 (UTC)

In the March of the third year of Shunzhi, the Manchu translation of Hongwu Baoxun was completed, becoming the first translation done by Chinese translators since the Qing Dynasty was established. The Emperor Shizu attached great importance to this translation. Not only he rewarded the translators such as Gang Lin,Ning Wanwo, and Fan Wencheng, ect., but also the regent Dorgon appointed the officals of Han Dynasty to write a preface, which was issued throughout the country, in the name of Shizu. The Emperor Shizu praised the emperor Taizu of Ming Dynasty highly, especially the regulations and articles he formulated, and he believed that there were no more virtuous monarchs of all dynasties than Hongwu, so the translation purpose of this book was very strong.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:21, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081548 尹媛女==

换言之，世祖希望借由此书的翻译，以中原汉族王朝的所谓“正统”巩固满清统治，粉饰民族征服和民族压迫。事实上，以翻译汉书，尤其是汉文典章制度书籍的翻译，作为统治的工具和手段，这一点在太宗时期即已存在。作为国家治理的重要手段，太宗不仅令达海改进老满文，而且钦定翻译了不少汉文书籍，如明太祖颁发的《大诰三编》和《三国演义》等，用作出谋划策和军事征讨的参考。
In other words, Shizu hoped to consolidate the rule of Qing Dynasty with the so-called "orthodox" of Han Dynasty in the Central Plains to deny national conquest and oppression by translating this book. Actually, in the reign of Emperor Taizong, it had existed that the translation of Chinese books, especially the translation of Chinese laws and regulations, was regarded as the tools and means of ruling. As the important mean of national governance, the old manchu scripts were developed by Da Hai and not a few Chinese books, such as ''The third Edition of Penal Code'' and ''The Romance of the Three Kingdoms''issued by Emperor Hongwu were translated under the decree of Emperor Taizong, which were used as a reference for planning and advising and military campaigns.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:44, 28 September 2021 (UTC)

In other words, Shizu hoped to consolidate the rule of Qing Dynasty with the so-called "orthodox" of Han Dynasty in the Central Plains to whitewash national conquests and oppressions by translating this book. Actually, in the reign of Emperor Taizong, it had existed that the translation of Chinese books, especially the translation of Chinese laws and regulations, was regarded as the tools and means of ruling. As an important mean of national governance, the old manchu scripts were developed by Da Hai and not a few Chinese books, such as ''The third Edition of Penal Code'' and ''The Romance of the Three Kingdoms''issued by Emperor Hongwu were translated under the decree of Emperor Taizong, which were used as a reference for planning and military campaigns.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:01, 29 September 2021 (UTC)

==英语语言文学（英美文学） 202120081549 詹若萱女==

《表忠录》同样辑自明朝嘉靖年间，实为杨继盛的两部奏疏，即《请诛贼臣疏》和《请罢马市疏》，由汪宗伊撰于明朝万历年间，属吏部传记类。顺治十三年前后，世祖降旨将杨继盛事迹写成《忠愍记》。所谓“忠愍”，即明穆宗因念及杨继盛参劾严嵩之功，誉其为“直谏诸臣之首”，而追赠给后者的谥号。
The Record of Loyalty was also written from the JiaJing peroid of Ming Dynasty. It was actually consisted of two memorials to throne of Yang JIsheng, namely memorial on killing traitors and memorial on closing the horse market written by Wang Zongyi during the Wanli period of Ming Dynasty. It belonged to official biography. About ShunZhi 13 years, the Emperor Shizu made a decree to write Yang Jisheng’s good deeds into The Record of Zhong Min. The so-called “Zhong Min” referred to the posthumous title given to Yang Jisheng after his death, because Emperor Muzong praised him as “the head of the ministers” for his contribution to impeaching Yan Song.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 02:27, 29 September 2021 (UTC)

The Record of Loyalty was also written in the JiaJing peroid of Ming Dynasty. It was actually consisted of two memorials to throne of Yang JIsheng, namely memorial on killing traitors and memorial on closing the horse market written by Wang Zongyi during the Wanli period of Ming Dynasty. It is a kind of official biography. About ShunZhi 13 years, the Emperor Shizu made a decree to write Yang Jisheng’s good deeds into The Record of Zhong Min. The so-called “Zhong Min” referred to the posthumous title given to Yang Jisheng after his death, because Emperor Muzong praised him as “the head of the ministers” for his contribution to impeaching Yan Song.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 13:16, 11 October 2021 (UTC)

==英语语言文学（英美文学） 202120081553 钟义菲女==

《忠愍记》成书后，世祖御制《表忠录·序》以表彰杨继盛，其中写道：自古贤臣正士效力王家，率授命致身，捐生赴义。迹其所遭，若无厚幸然。
After the record of Zhong Min was written, the emperor Shizu personally wrote a preface to the record of loyalty to commend Yang Jisheng, which wrote: since ancient times, virtuous officials have devotedly served the emperor family, sacrificing their lives for justice. From what happened, there was no luck.

After the Record of Zhong Min was finished, the emperor Shizu personally wrote the Preface to the Record of Loyalty to commend Yang Jisheng, which wrote: since ancient times, virtuous officials and soldiers have devotedly served the loyal family, sacrificing their lives for justice. From what happened to them, there was no luck.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:40, 1 October 2021 (UTC)

==英语语言文学（英美文学） 202120081554 钟雨露女==

而时过论定，声称振杨，及于代远风遥，流徽弥茂，留连曩迹，如遘其人。是以孟轲有言：“奋乎百世之上，百世之下闻者莫不兴起也”。……顾竭志尽忠者，人臣之谊；善善恶恶者，大道之公。

But as time went by, the verdict on Yang Jisheng’s exploits had been reached and he gained considerable fame. When the years have passed, the fame of him spread all around. When people recalled his deeds, it was like meeting him in person. Just as Mencius said, “Those who made themselves distinguished a hundred generations before, and after a hundred generations, some people who heard of them are all aroused in this manner.” ……..Those who were intensely loyal could be harmonious with the ministers; And it was fair to punish the bad and to be kind to the good. --[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:33, 2 October 2021 (UTC)

But as time went by, Yang Jisheng’s exploits have been recognized, and he gained considerable fame. The older the years, the more his fame spread. When people recalled his deeds, it was like meeting him in person. Just as Mencius said, “Those who made themselves distinguished a hundred generations before, and after a hundred generations, some people who heard of them are all aroused in this manner.” ……..Those who were intensely loyal could be harmonious with the ministers. And it was fair to punish the bad and to be kind to the good. --[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 13:09, 11 October 2021 (UTC)

==英语语言文学（英美文学） 202120081555 周玖女==

循省往哲，爱结于中，诚有不能自己者也。朕万机之暇，绎载籍，每览忠孝节义之事，未尝不反复三致意焉。[ 阎崇年校注：《康熙顺天府志》，北京：中华书局，2009年，第482页。]

一方面，世祖赞誉杨继盛为忠臣之典范；另一方面，世祖又斥责严嵩为逆臣，认为正是严嵩父子威福专擅，浊乱王家，致使纪纲废断。

Reflecting on predecessors, despite the disloyal, the love to nation was condensed together. I was bombarded with numerous affairs. But in my spare time, I translated and recorded many books through dictation. When I read books about loyalty, I often analyzed them repeatedly to express my regard. [ Yan Chongnian: Kang Xi Shun Tianfu, Beijing: China Publishing House, 2009, Page 482. ]--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 13:12, 11 October 2021 (UTC)

On the one hand, the emperor Shizu acclaimed Yang Jisheng as the paragon of loyal minister. On the other hand, he denounced Yan Song as a traitor, and believing（believed--Chen Xiangqiong(talk) )the fact that Yan Song and his son misused their authorities to domineer and disturb the loyal family so that the law and regulations became slacked.（were broken--Chen Xiangqiong(talk)）

==外国语言学及应用语言学 202120081480 陈湘琼女==

世祖敕令翻译此书，目的是为了激励官员学做忠谏之臣，劝勉意味浓厚。毋庸置疑，世祖时期的汉籍翻译秉承的原则也是“实用主义”原则，这一点太祖、太宗时期的汉籍翻译并无本质区别。例如，世祖敕译《诗经》，即有显著的现实意义与政治考量。

The Emperor Shunzhi commanded to translate this book for the purpose that officials could be encouraged to become people who dare to tell the truth and give right suggestions to the emperor, which had persuasive and warning meanings by itself. In this period, translation of books from Han dynasty was in fact abiding to the “utilization” principle, which had no difference to translations in the period of Qianlong Emperor and Huang Taiji Emperor. For example , practical significance and political meditation had been considered for Emperor Shunzhi commanding the translation of “Book of Songs”.

The Emperor Shunzhi commanded to translate this book to encourage officials to tell the truth and put forward reasonable suggestions, which was of great persuasive meaning.In this period, translation of canons from Han dynasty actually followed the “utilitarianism” principle, which had no difference to those during the reign of Qianlong Emperor and Huang Taiji Emperor. For example , practical significance and political meditation had been considered for Emperor Shunzhi commanding the translation of “Book of Songs”. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:00, 30 September 2021 (UTC)

==外国语言学及应用语言学 202120081492 黄逸妍女==

《清实录·世祖章皇帝实录》中说，顺治十年二月，“上幸内院，披阅翻译《五经》，谕诸臣曰：‘天德王道，备载于书，真万世不易之理也’”。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第9页。]可见，世祖饬令翻译《诗经》之时，其它各经的翻译也在进行，但《五经》中仅有《诗经》一部付梓。《诗经》译毕，世祖也为其御制序文，认为该部作品能使人明性意，崇礼义，“其言之深者，可用于庙堂；言之浅者，可用于身家。以之事君，必忠；以之事父，必孝。

According to Records of Qing Dynasty •Records of the Emperor Shizu, in February of the tenth year during the reign of the emperor Shunzhi, "After reading the Five Classics in palace, the emperor contended that morals and natural laws are recorded in these books in extenso, which are tough to reach." [Revised by Eertai: Records of Qing Dynasty •Records of the Emperor Shizu, Beijing: Zhonghua Publishing House, 1985:9 ] It was clear that the translating of other classics was also proceeding when the emperor Shizu commanded the translation of The Book of Songs while only the latter had been finished among the five classics. When the translation of The Book of Songs came to an end, the emperor Shizu wrote the preface to it himself and remained steadfast in the belief that that work helped to behave with propriety and righteousness. "The book can be used in imperial court from its profound aspect and in average families from its unadorned aspect. Instilled with the belief, the officials would be faithful and the children filial.
--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 00:44, 29 September 2021 (UTC)

According to Records of Qing Dynasty •Records of the Emperor Shizu, in February of the tenth year during the reign of the emperor Shunzhi, "After having a careful perusal of the Five Classics in adytum, the emperor proclaimed all ministers that morals and natural laws are recorded in these books in extenso, which are tough to reach for all ages." [Revised by Eertai et al: Records of Qing Dynasty •Records of the Emperor Shizu, Beijing: Zhonghua Publishing House, 1985:9 ] It could be seen that the translating of other classics was also proceeding when the emperor Shizu commanded to translate The Book of Songs, while only the latter had been finished among the five classics. When the translation of The Book of Songs came to an end, the emperor Shizu wrote the preface to it himself and believed that reading this work would help us to behave with propriety and righteousness. "It can be used in imperial court from its profound aspect and in average families from its unadorned aspect. Instilled with the belief, the officials would be faithful and the children filial.edit--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:12, 30 September 2021 (UTC)

==外国语言学及应用语言学 202120081513 马新女==

更可以敦厚人伦，端正教化。”[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第72-73页。]

从“教化”的角度思考《诗经》的翻译，既是世祖本人的自觉认识，也是以他为首的统治者在面对稗（bài）官小说盛行，而满洲人竞相翻译时所做的一种调整。正如顺治九年进士、刑科给事中阿什坦指出的那样：学者立志，宜以圣贤为期，读书务以经史为中。

"It could also give depth to moral relations, straighten out educational ideas and transform people." [Ye Shugao: Cultural Policy in the Early Qing Dynasty, Taipei: Daoxiang Publishing House, 2002: 72-73.]

It is not only the conscious understanding of Qingshizhu Emperor himself to think about the translation of The Book of Songs from an "Enlightenment" perspective, but also an adjustment made by the rulers at his head faced with the prevalence of Bai-guan novels and Manchurians competing for translation. As pointed out by Ashtan, an advanced scholar in the ninth year of Shunzhi and a supervising censor of Justice, scholars should aspire to be saints and their reading must focus on classical and historical books. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:11, 30 September 2021 (UTC)

It could also give depth to moral relations, straighten out educational ideas and transform people." [Ye Shugao: Cultural Policy in the Early Qing Dynasty, Taipei: Daoxiang Publishing House, 2002: 72-73.]

Thinking about the translation of The Book of Songs from the "Teaching" perspectives is not only the personal understanding of Qingshizhu Emperor himself but also an adjustment made by the rulers at his head faced with the prevalence of Bai-guan novels and Manchurians competing for translation. As pointed out by Ashtan, an advanced scholar in the ninth year of Shunzhi and a supervising censor of Justice, the scholars should aspire to be saints and focus on classical and historical books.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 15:38, 30 September 2021 (UTC)

==外国语言学及应用语言学 202120081518 秦建安女==

此外杂书无益之言，必概废之而不睹。则庶乎学业日隆，而邪慝（tè）之心无由而入。近见满洲译书内，多有小说秽言，非惟无益，恐流行渐染，则人心易致于邪慝。

Besides, there is no beneficial words in assorted books which should not be allowed to be published and be viewed.(So they shouldn't be allowed to be published and viewed--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 07:26, 29 September 2021 (UTC)) Then the level of study approximately can be uplifted day by day. Meanwhile, the minds of people will also not be degenerate. Recently I found that the translation of some Manchurian books was full of obscene words which personally was of futility. I am afraid that such transition will be so popular that easily erode people’s thoughts.

Revised version:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 13:08, 11 October 2021 (UTC)
Besides, there is no beneficial words in assorted books.So they shouldn't be allowed to be published and viewed.Then the level of study approximately can be uplifted day by day. Meanwhile, the minds of people will also not be degenerate. Recently I found that the translation of some Manchurian books was full of obscene words which personally was of futility. I am afraid that such transition will be so popular that easily erode people’s thoughts.

==外国语言学及应用语言学 202120081522 孙雅诗女==

况圣贤古训，日详究之，犹恐不及，何暇费日时于无用之地？[ 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5339页。]

阿什坦的奏章开宗明义，指出读书必以经史为要，必须摒弃杂书，尤其是污言秽语之书，以免贾祸人心。为此，他奏请皇帝对旗人读书严加限制，要求嗣后翻译书籍也应针对“关圣贤义理，古今治乱之书”，对于其它书籍则“概为禁饬，不许翻译”。[ 同上。]

What's more,there are many sages and wisdom need to be researched.We are afraid that we don't have enough time to do it in details day by day.So why do we waste our time translating those things?[Revised by Eertai ect.,proofread by Li Xun，Zhao De ect.:''Baqitongzhi·chuji'',Changchun:Northeast Normal University Press,1989,p.5339.]

The advice of Ashitan is very clear from the very begining--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:33, 28 September 2021 (UTC),which points that reading should focus on the Confusion classic and history --[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:39, 28 September 2021 (UTC)and abandon those irrelevant books,especially those of dirty words,to get people rid of the obscene thoughts.In order to do this,he advised the emperor be more strict with the Qi people's readings.flag people's learning.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:30, 28 September 2021 (UTC)And he also required his offspring translate books about sages,principles and those can help to govern the society.Besides these books,other books are all forbidden and mustn't be translated.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 11:44, 28 September 2021 (UTC)

==日语语言文学 202120081530 吴映红女==

这一观点既是他翻译《大学》、《中庸》、《孝经》、《潘氏（通鉴）总论》、《太公家教》的原则与标准，也是太祖朝以来一以贯之的译书宗旨。

五汉籍（书）翻译的文化沟通意涵

清初的汉书翻译主要由两部分人员构成：兼通满、汉的旗人（满洲、蒙古、汉军），以及八旗文科举中的举人、进士及第者，特别是顺治朝以来从新科进士中拣选出来学习满文的汉籍士子。
The opinion is not only the principle and standard of his translation about ‘’University‘’, ‘’the doctrine of the mean‘’,‘ ‘’ the book of filial piety‘’, ‘’the general theory of pan (Tongjian) ‘’and ‘’Taigong family education‘’, but also the consistent purpose of translation from the Taizu Dynasty.
FIFTH Cultural communication of Han nationality.
《大学》''The Great Learning'' --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 28 September 2021 (UTC)
In the early Qing Dynasty, the translation of Chinese traditional book was mostly composed of two parts: the flag people who knew Manchu and Han (Manchuria, Mongolia and Han Army), as well as the candidates, Jinshi and others in the eight flag liberal arts test, especially the Chinese bechelors who was selected from the new Jinshi to study Manchu from the Shunzhi Dynasty.

The opinion is not only the principle and standard of his translation about ‘’Daxue‘’, ‘’Zhongyong‘’,‘ ‘’ Xiaojing‘’, ‘’Genneral Theory(Tongjian) of Pan's Family ‘’and ‘’Taigong Family Education‘’, but also the consistent purpose of translation from the Taizu Dynasty.
FIFTH Cultural communication of Han nationality.
《大学》''The Great Learning'' --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 28 September 2021 (UTC)
In the early Qing Dynasty, the translation of Chinese traditional book was mostly composed of two parts: the flag people who knew Manchu and Han (Manchuria, Mongolia and Han Army), as well as the candidates, Jinshi and others in the eight flag liberal arts test, especially the Chinese bechelors who was selected from the new Jinshi to study Manchu from the Shunzhi Dynasty.
--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 12:51, 29 September 2021 (UTC)

==日语语言文学 202120081560 朱壬铎男==

这些人员既是翻译专才，又是文化接触与交流的实践者，代表了满洲统治阶级想要与汉族之间进行文化沟通的意愿。如顺治六年四月，礼科给事中姚文然以“以满汉同心合力为念。窃思满汉一家，咸思报主”为由，奏请从新科进士内广选庶吉士，令其肄习清书，待精熟之后即授以科、道等官。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第11页。]顺治十年，世祖降旨，对此前所选三科庶吉士进行考试，从中选取“通满洲文义者三人”，“以应升之缺用”，并选取“其次可造者十二人”，“仍照原衔，责令勉力学习，俟再试分别。”[ 同上，第7-8页。]

These persons are not only experts in translation,but also practicer in cultral contact and communication,which represented the will,which is to cultrally communicate with the Han people,of the ruling class of Manchu.

For example,in April of the sixth year of Shunzhi,Yao Wenran,the inspectorof the department of rites,with the reason that "with the purpose that is combining the Man ethnic and the Han ethnic,I secretly came up with an idea about the Man-Han family but with my whole life for the emperor",made a request that is to widely select Shujishi from newly selected Jinshi and order them to sutdy the books of Qing Dynasty to get well-learned then teach the bureaucrats from other departments and circuits.[E Ertai et al.write by imperial command:Veritable Records of Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.11]

In the tenth year of Shunzhi,Shizong emperor declared an imperial order about examining the selected Shujishi from all three subjects,from which select three persons who are "familiar with the texts of Manchu",to"fill the vacancy caused by the former Jinshi selection",and select "another 12 gifted persons""remain the former title,make them study hard for the further tests and selection."[E Ertai et al.write by imperial command:Veritable Records of Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.7-8]
--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 02:47, 29 September 2021 (UTC)

These person are not only experts in translation,but also practicers in cultural contact and communication. They represent the will to culturally communicate with the Han people,of the ruling class of Manchu.
For example,in April of the sixth year of Shunzhi,Yao Wenran,the inspector of the Department of Rites,with the reason that "with the purpose that is combining the Manchu and the Han ethnic,I think both Manchu and Han should hold the thought to requite favours to the emperor,made a request to widely select Hanlin bachelor from newly selected Jinshi(a successful candidate in the highest imperial examinations) and order them to sutdy the books of Qing Dynasty to get well-learned then grant them official positions.[E Ertai et al.write by imperial command:Veritable Records of
Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.11]
In the tenth year of Shunzhi, the emperor declared an imperial order about examining the selected Han bachelor of all three subjects,from which select three persons who are "familiar with the texts of Manchu",to"fill the vacancy caused by the former Jinshi selection",and select "another 12 gifted persons""remain the former title,make them study hard for the further tests and selection."[Idem, p.7-8]

--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:10, 29 September 2021 (UTC)

==日语语言文学 202120081477 蔡珠凤女==

雍、乾、嘉年间，从新科进士中选取习满文者的做法得到延续，但每次选取者人数不一，整体上渐呈下降之势，至道光二十年前后废止，为汉书的满文翻译提供了人力来源，同时也为沟通满、汉两族文化提供了桥梁。

事实上，早在太宗时期，由于满人尚居关外，不识汉字，又罔知政体，遂敕达海等翻译汉书，使“满洲臣民未习汉文者，亦能兼通汉书”，而太宗自己也以它们作为“临政规范”，学习汉族的国家治理模式。[ 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5325页。]顺治年间，阿什坦译成《大学》、《中庸》等书后，世祖又以它们作为倡导礼义教化的工具，希望通过此举使“满洲人知崇正学、尚经术”，令“邪说不得行”，而“风俗丕变”。[ 同上。]
In the years of Yong Zheng , Qian Long and Jia Qing , the practice of selecting Manchu scholars from new scholars continued, but the number of candidates selected each time varied, and the overall trend gradually decreased. It was abolished around the 20th year of Dao Guang, which not only provided a source of manpower resources for Manchu translation of Hanshu, but also provided a bridge for communication between Manchu and Han cultures.
In fact, as early as the Taizong period, because the Manchus still lived outside the frontier fortress, did not know Chinese characters and did not know about the regime, they ordered Dahai and other people to translate Chinese books, so that "Manchus who did not learn Chinese could also understand the contents of Chinese books", and Taizong himself used them as "administration norms" to learn the national governance model of the Han nationality. [Writed by Ertai etc.Checked by Li Xun, Zhao Degui etc.:"Ba Qi Tong Zhi I", Changchun: Northeast Normal University Press, 1989, P. 5325.] during the reign of Shunzhi, after Ashitan translated the 《University》《Moderate》and other books, Shizu used them as a tool to advocate etiquette and righteousness education, hoping to make "Manchus know and worship orthodox learning and classics" and "heresy can not be carried out" And "Customs change". [ibid.]

In the years of Yong Zheng , Qian Long and Jia Qing , the practice of selecting Manchu scholars from new scholars was continued, but the number of candidates selected each time varied, and the overall trend gradually tended to decrease. It was abolished around the second decade of Dao Guang, which not only provided human resources for Manchu translation of the Han books, but also builded the bridge of cultural communication between Manchu and Han.
In fact, as early as the the Emperor Taizong period, because the Manchu who still lived outside shanhaiguan pass, did not know Chinese characters and the regime,Taizong ordered Dahai and others to translate the Han books, so that "Manchus who did not learn Chinese could also understand the Han books", and Taizong himself also used them as " the administration norms" to learn the national governance model of the Han nationality. [Written by Ertai etc.Checked by Li Xun, Zhao Degui etc.:"Ba Qi Tong Zhi I", Changchun: Northeast Normal University Press, 1989, P. 5325.] During the reign of Shunzhi, after Ashitan translated the "University""Moderate"and other books,Hong Taiji used them as the tool to advocate confucian code of ethics , hoping to make "Manchus know and worship orthodox learning and classics" and "heresy can not be carried out" and "Customs change". [ibid.]--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 02:40, 29 September 2021 (UTC)

==日语语言文学 202120081486 付诗雨女==

显然，汉文经、史的译印有助于端正满洲的人心风俗，使满、汉文化互通有无，即便是《诗经》中提到的各种花草树木、鸟兽虫鱼，也对拓展满人见闻甚有助益。[ 叶高树：《<诗经>满文译本比较研究——以<周南>、<召南>为例》，《国立台湾师范大学历史学报》1992年第20期。]有清一代，并非只有官方组织汉书的翻译，私人译书也很盛行。但官方译书与私人译书不同，无论是在译书的取材上，还是在译书的组织管理上，抑或是译书的颁行上，都有其特殊的考量。
Obviously,the translation and printing of the classics and history of Han are conductive to correcting the humanity and customs of Manchuria,and exchanging of needed culture between Manchu and Han.Even different kinds of flowers and trees, insects and fish, which were mentioned in ''the Book of Songs'', also contribute to enrich their knowledge.[Ye Gaoshu:"''Comparative Study of the Manchu translation for 'the book of songs'--Taking 'Zhounan' 'Shannan' as example","The Histotrical Journal of National Taiwan Normal University''
"1992;No.20.]In the Qing Dynasty, not only the official organization of the Han Books' translation, private translation was also very popular. However, unlike the private translation, the official translation was considered specially, whether in the materials of translation, the organization and management of the translation, or the publishment of the translation.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 15:16, 28 September 2021 (UTC)
Obviously,the translation and printing of the classics and history of chinese are conductive to correcting the morality and customs of Manchuria,and exchanging of needed culture between Manchu and Han.Even different kinds of flowers and trees, insects and fish, which were mentioned in "the Book of Songs", also contribute to enrich their knowledge.[Ye Gaoshu:"Comparative Study of the Manchu translation for 'the book of songs'--Taking 'Zhounan' 'Shannan' as the example","The Histotrical Journal of National Taiwan Normal University "1992;No.20.]In the Qing Dynasty, not only the official organization of the Han Books' translation, private translation was also very popular. However, unlike the private translation, the official translation was considered specially, whether in the materials,the organization,the management or the publishment of the translation.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:05, 29 September 2021 (UTC)

==日语语言文学 202120081559 周小雪女==

即便是《三国志（通俗演义）》这样的通俗文学作品，译成满文后也被赋予了严肃的兵法与战略意义。以满文遍译汉书，尤其是经、史、子、集等书，并不是为了显示满语语文系统的优越性，所谓“精微巧妙，实小学家所未有”，而是为了“表章经学，天下从风”，通过汉籍的翻译“研究微言，讲求古义”，进行文化沟通。[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第91页。]藉由汉文典籍的翻译，满洲统治者不仅了解了汉族文化，而且在接触与学习中获得了“统制”汉民的重要经验，使满洲政权在性质上逐渐向“中原政权”转化，并实现“治统”与“道统”的和谐统一。
Even popular literature such as The History of the Three Kingdoms was given serious military and strategic significance when translated into Manchu script. The purpose of translating Chinese books with Manchu script ,especially Canon ,History,Philosophy and Literature such book is not to show the superiority of the Manchu language system,but to show the confucian classics。Through the translation of Chinese classics ,study small points ,emphasize the ancient significance and carry out cultural communication.Ye Gaoshu.Cultural Policy in the early Qing Dynasty.Taipei:Rice Village Press,2002,p.91.Through the translation of Chinese classics,Manchu rulers not only understood the Han culture,but also gained important experience of controlling the Han people in the process of contact and learning,so that Manchu regime gradually transformed into central plains regime in nature and realized the unity of regnant orthodoxy and confucian orthodoxy.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:08, 29 September 2021 (UTC)

Modifying canon, history, philosophy and literature to Confusion classics, history, pre Qin hundred works, religion and classical writings.因为经：经书，是指儒家经典著作；史：史书，即正史；子：先秦百家著作，宗教；集：文集，即诗词汇编。泛指我国古代典籍。Canon, history, philosophy and literature did not express the exact meaning.
--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 01:41, 29 September 2021 (UTC)"表章经学，天下从风”The first half of the sentence is not translated accuratelyand the second half of the sentence has not been translated，so I think it should be translated into "Commend Confucian classics and let people all over the world follow"

==日语语言文学 202120081562 邹岳丽女==

结语
清初之际，虽然国家尚未实现从“征服王朝”向“中原王朝”的转变，但统治者在致力于武力开拓的同时，也开始关注文化活动。一方面，统治者念念不忘“国语骑射”的满洲旧制，将其视作立国精神；另一方面，又积极组织汉书翻译，倡导汉文化精神，从中原儒学中探求君主治术，构建国家的治统与道统。汉书翻译不仅让统治者得以接触汉族思想精粹和政治观念，而且让其在了解汉文经典与汉族文化的过程中，学习历代帝王的执政得失，以及古往今来的兴废事迹，从中汲取治国经验。

Conclusion At the beginning of the Qing Dynasty, although the country has not yet realized the transformation from "conquering Dynasty" to "Central Plains Dynasty"，however, while the rulers were committed to the development of force, they also began to pay attention to cultural activities. On the one hand, the rulers never forget the old Manchu system of "national language riding and shooting" and regarded it as the spirit of founding the country;On the other hand, --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)he actively organized the translation of Chinese calligraphy, advocated the spirit of Chinese culture, explored the rule of monarchy from the Confucianism of the Central Plains, and constructed the rule and orthodoxy of the country.Chinese translation not only allows the rulers to get in touch with the
ideological essence and political concepts of the Han nationality, but also allows them to learn from the ruling gains and losses of emperors and the rise and fall deeds from ancient to modern times in the process of understanding Chinese classics and Han
culture, so as to learn from the experience of governing the country. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)from the experience of governing the country. “here the preposition from should be deleted--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)

however, while the rulers were committed to expansion by military force.
国语骑射：Manchu language, horse-riding and archery--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 01:49, 3 October 2021 (UTC)

--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC) ( here "he" is not consistant with the subjective "the rulers", so "he" should be changed in to "they" )

==国别 202120081478 曾俊霖男==

概言之，汉书的翻译既匡扶了社稷，又教化了臣民，令满、汉文化之间的交流得以开启并加深。虽然清初三朝期间，汉书翻译的规模不一，统治者对于汉族文化的具体态度存在差异，但翻译的原则与标准基本未变，那便是以文治教化和典章制度为主，通过翻译汉族典籍，凝聚符合国家需求的集体价值观，并将汉族传统文化落实为国家治理的大政方针，实现兴文教、崇经术、开太平的治国理念。

In short, the translation of books of Han nationality not only helped the whole country, but also educated his people so that the cultural exchange between Manchu and Han can be opened and deepened. During the three dynasties of the early Qing Dynasty, the scale of books of Han nationality translation was different, and the rulers' specific attitudes towards Han culture were different, but the principles and standards of translation remained basically unchanged, which focused on cultural education and the system of laws and regulations, condensed the collective values in line with the national needs through the translation of Han classics, and implemened the Han traditional culture as the major policy of national governance, realized the governing concept of promoting culture and education, advocating studies of Confucian classics and opening up peace.

In short, the translation of Books of Han not only gave great help to the whole country, but also educated its(the Qing Dynasty) people so that it began and then deepened the cultural exchange between Manchu and Han. During the first three emperors' rulings of the early Qing Dynasty, though the scales of translation was different, and the rulers' specific attitudes towards Han culture differed from each other, the principles and standards of translation remained basically unchanged, that is to say, it will focus on cultural education and the system of laws and regulations, condense the collective values in line with the national needs through the translation of Han classics, and implement the Han traditional culture as the major policy of national governance to realize the governing concept of promoting culture and education, advocating studies of Confucian classics and opening up peace.
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 08:19, 29 September 2021 (UTC)Huang Zhuliang

==国别 202120081493 黄柱梁男==
Footnotes and References

1 杨家骆：《金史》，台北：鼎文书局，1985年，第1684页。

2 明珠等奉敕修：《清实录·太祖高皇帝实录》，北京：中华书局，1986年，第2页。

3 中国第一历史档案馆、中国社科院历史研究所译注：《满文老档》，北京：中华书局，1990年，第1196页。

4 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第13页。

5 王钟翰点校：《清史列传》，北京：中华书局，1987年，第187页。

6 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第38页。

1. Yang Jialuo, ''History of the Jin Dynasty''(1115-1234), Taipei, Dingwen Book Company, 1985, pp.1684.

2. Ming Zhu et al. (compiled under the order of Emperor Kangxi ), ''the Imperial Archives of Emperor Taichu(1559-1626, posthumous titled Gao Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1986, pp.2.

3. The First Historical Archives of China, Translated and Noted by the Institute of History in Chinese Academy of Social Sciences, ''Old Documents of Manchu Script'', Peking, Zhonghua Book Company, 1990, pp.1196.

4. E Ertai et al. (compiled under the order of Emperor Yongzheng ), ''the Imperial Archives of Emperor Taizong(1592-1643, posthumous titled Wen Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1985, pp.13.

5. Proofread by Wang Zhongshan, ''Biographies of the Qing Dynasty'', Peking, Zhonghua Book Company, 1987, pp.187.

6. Committee of National History Compilation, ''the Imperial Archives of Joseon Dynasty'', Seoul, Committee of National History Compilation, 1973, pp.38.
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 08:18, 29 September 2021 (UTC)Huang Zhuliang

1 页码标记应为p.1684.

2 posthumous titled Gao Huang Di应改为posthumously titled Gao Huang Di,页码标记为p.2.

3“老满文”指的是清太祖努尔哈赤时期创制的满文，以文字中没有圈和点为特点。《满文老档》即是用老满文写成的档案汇编，所以《满文老档》应为 ''Manchu Archives written in Fore Manwen'',页码标记为p.1196.

4 同第二句，posthumous titled Wen Huang Di改为posthumously titled Wen Huang Di, 页码标记为p.13.

5 页码标记为p.187.

6 页码标记为p.38.
--[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:20, 1 October 2021 (UTC)Liu Wei

==国别 202120081507 刘薇女==
7 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第62页。

8 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第58页。

9 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第10页。

10 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。

11 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第14页。

12 同上，第2页。

7 National History Compilation Committee, ''Records of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, p.62.

8 Ye Gaoshu,'' Cultural policise in the early Qing Dynasty'', Taipei: Daoxiang press, 2002, p.58.

9 E Ertai et al.(compiled by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.10.

10 Luo Zhenyu, ''Collections of secretary's memorial to the throne during the reign of Tencong'', Beijing: Renmin University of China Press, 1989, p.2.

11 E Ertai et al.(compiled by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.14.

12 Ertai et al.(compiled by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.2.
--[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:23, 28 September 2021 (UTC)Liu wei

7 National Institute of Korean History, ''Records of the Korean Dynasty'', Seoul: National Institute of Korean History, 1973, p.62.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 11 October 2021 (UTC)

==国别 202120081537 颜莉莉女==
13 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第24-25、115页。

14 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第9页。

15 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。

16 同上，第82页。

17 清高宗敕纂：《八旗满洲氏族通谱》，沈阳：辽沈书社，1989年，第10页。

18 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第15-16页。

13th. Lou Zhenyu: ''Tiancongchao Chengong Zouyi'' , Beijing: China People's University Press, 1989, pp.24-25,115.

14th. E Ertai eat al revised under order of emperor: ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing: Zhonghua Book Company, 1985, p.9

15th. Lou Zhenyu: ''Tiancongchao Chengong Zouyi'' , Beijing: China People's University Press, 1989, p.2

16th. Idem

17th. Qing emperor Gaozong ordered to write: ''General spectrum of Manchu clan in eight banners'', Shenyang: Liaoshen Book Company, 1989,p.10

18th. E Ertai eat al revised under order of emperor: ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing: Zhonghua Book Company, 1985, pp.15-16

14. E Ertai eat al （eds. on the order of emperor): ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing: Zhonghua Book Company, 1985, p.9

16. Idem, p.82

17. Qing emperor Gaozong ordered to write: ''Genealogy of Manchu clan in eight banners'', Shenyang: Liaoshen Book Company, 1989,p.10

18. E Ertai eat al （eds. on the order of emperor): ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing: Zhonghua Book Company, 1985, pp.15-16

==国别 202120081538 颜子涵女==
19 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第13页。

20 中国第一历史档案馆编：《清初内国史院满文档案译编·顺治朝》，北京：光明日报出版社，1989年，第80页。

21 阎崇年校注：《康熙顺天府志》，北京：中华书局，2009年，第482页。

22 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第9页。

23 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第72-73页。

24 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5339页。

19. Ortai and some people compiled it on the orders of the emperor: ''Records of emperor shizuzhang in the Qing Dynasty'', Beijing: China Book Company, 1989, p.13.

20. Editor of China's First Historical Archives: ''Translation of manchu archives of the National Historical Institute of the early Qing Dynasty, Shunzhi Dynasty'', Beijing: Guangming Daily Press, 1989, p.80.

21. Yan Chongnian made proofreading: ''Kangxi Shuntian Fuzhi'', Beijing: China Book Company, 2009, p.482.

22. Ortai and some people compiled it on the orders of the emperor: ''Records of emperor shizuzhang in the Qing Dynasty'', Beijing: China Book Company ,1989,p.9.

23.Kao-Shu Yeh, ''Cultural policy in the early Qing Dynasty'', Taipei:Daoxiang Press, 2002, pp. 72-73.

24. Ortai and some people compiled，Li Wei, Zhao Degui and others proofread: ''Journal of the eight banners •First Episode'', Changchun: Northeast Normal University Press, 1989, p. 5339.

19. E,Ertai et al. (eds. under the order of the Emperor). ''An Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty'', Beijing:Zhonghua Book Company,1985,p.13.

20. The First Historical Archives of China(ed.). ''A translation of Manchu archives of the Imperial Academy of National History in the Shunzhi Period of the early Qing Dynasty'', Beijing: Guangming Daily Press, 1989, p.80.

21. Yan Chongnian(proofread). ''The History of Shuntian of Emperor Kangxi'', Beijing: China Book Company, 2009, p.482.

22. E,Ertai et al. (eds. under the order of the Emperor). ''An Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty'', Beijing:Zhonghua Book Company,1985,p.9.

23. Kao-Shu Yeh, ''The Cultural Policies of the Early Qing Dynasty'', Taipei:Daoxiang Press, 2002, pp. 72-73.

24. E,Ertai et al.(eds.), Li,Xun&Zhao Degui et al.(proofread). ''The First Collectanea in Ba Qi Tong Zhi'', Changchun:Northeast Normal University Press,1989, p.5339.

==国别 202120081540 阳佳颖女==
25 同上。

26 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第11页。

27 同上，第7-8页。

28 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5325页。

29 同上。

30 叶高树：《<诗经>满文译本比较研究——以<周南>、<召南>为例》，《国立台湾师范大学历史学报》1992年第20期。

31 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第91页。

[25] Idem

[26] Ertai et al. (eds. under the order of the Emperor). "Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty", Beijing:Zhonghua Book Company,1985,p.11.

[27] Idem,pp.7-8.

[28] E,Ertai et al.(eds.), Li,Xun&Zhao Degui et al.(proofread). ''The First Collectanea in Ba Qi Tong Zhi'', Changchun:Northeast Normal University Press,1989, p.5325.

[29] Idem

[30] Ye,Gaoshu. “The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan”.''Historical Inquiry of the National Taiwan Normal University'',no.20(1992).

[31] Ye,Gaoshu. ''The Cultural Policies of the Early Qing Dynasty''. Taipei:Daoxiang Press,2002,p.91.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:16, 29 December 2021 (UTC)

[25] Idem

[26] E,Ertai et al. (eds. under the order of the Emperor). "''Actual Record of Shih Tsu Fu Lin in Factual Record of Tsing Dynasty''", Beijing: China publishing house,1985,p.11.

[27] Idem,p.7-8.

[28] Ertai et al.(eds.), Li,Xun & Zhao Degui et al.(proofread). "''General History of the Eight Banners''", Changchun: Northeast Normal University Press,1989, p.5325.

[29] Idem

[30] Ye,Gaoshu. "''The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan.''", Bulletin of Historical Research of National Taiwan Normal University, No.20(1992).

[31] Ye,Gaoshu. "''The Cultural Policies of the Early Tsing Dynasty''". Taipei: Daoxiang Publishing House,2002,p.91. --Ye Weijie

=Hongloumeng=
HERE STARTS A NEW TRANSLATION: REST OF CHAPTER 19 OF HONGLOUMENG

PLEASE READ [[Joint_translation_terms|Joint translation terms]]

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

==国别 202120081544 叶维杰男==

第十九回 ... 这些丫头们明知宝玉不讲究这些；二则李嬷嬷已是告老解事出去的了，如今管不着他们：因此只顾玩笑，并不理他。那李嬷嬷还只管问：“宝玉如今一顿吃多少饭？什么时候睡觉？”丫头们总胡乱答应。有的说：“好个讨厌的老货！” 李嬷嬷又问道：“这盖碗里是酪，怎么不送给我吃？”说毕，拿起就吃。一个丫头道：“快别动，那是说了给袭人留着的，回来又惹气了。你老人家自己承认，别带累我们受气。”李嬷嬷听了，又气又愧，便说道：“我不信他这么坏了肠子。别说我吃了一碗牛奶，就是再比这个值钱的，也是应该的。难道待袭人比我还重？难道他不想想怎么长大了？我的血变了奶，吃的长这么大，如今我吃他碗牛奶，他就生气了？我偏吃了，看他怎么着！你们看袭人不知怎么样，那是我手里调理出来的毛丫头，什么阿物儿！”一面说，一面赌气把酪全吃了。

Chapter XIX...These girls' busy joking with each other and not much cared about Nanny Li as they previously knew Pao'yue was not particular about these, and there's no room left for Nanny Li to discipline them for she's already be dismissed. While Nanny Li kept asking:“ How's Pao-yue's appetite these day? And the time he make rest?” Always with so less careness girls reply. Some complained:“Aye! Such an old nosy lady!” Still Nanny Li asked：“A bowl of cheeze here! Why don't you bring it to me?”Then she directly grabbed some to her mouth. One girl hurriedly said:“Quit it! That's what Pao'yue reserved for Xiren! You take the blame yourself if he gets discontented, don't get us involved.” Angry but ashamed also Nanny Li went, and said:“I don't believe it！I even deserve something more valuable, let alone a bowl of milk! Is Xi'ren more important than me? Pao'yue can't be this heartless! Think about it, I myself raised him up this good step by step heart and soul with my own blood! How can he get discontented merely because of a bowl of milk? Still I'm gonna take it, even if he did! And Xi'ren? I taught her everything! Mad at me? Don't be ridiculous!”Nagging, Nanny Li emptied the whole bowl.

Chapter XIX...These maids knew clearly that Baoyu didn't care the trifles. Furthermore, Mammy Li was already retired and she had no control over them. Therefor she just ignored him in her teasing. Mammy Li always asked:"How many meals did Baoyu eat recently? When did he go to bed?" The maids'answers always were irrelevant. Some of them said:"What a nasty old woman!" While Mammy Li kept asking :"There is some cheese in the bowl. Why don't you give me?" As soon as the voice fell down, she grabbed the cheese and had it. One maid hurriedly said:“Quit it! That's what Baoyu reserved for Xiren! You take the blame yourself and don't get us involved.” Angry but ashamed also Mammy Li was, and said:“I don't believe he has such a bad temper！I even deserve something more valuable, not to mention a bowl of milk! Is Xi'ren more important than me? Think about it, I raised him up by my breast nursing with my own blood! How can he get discontented merely because of a bowl of milk? Still I'm gonna take it, even if he would! And Xiren? That's me who taught her everything! Mad at me? Don't be ridiculous!”Nagging, Mammy Li emptied the whole bowl.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:29, 2 October 2021 (UTC)

Chapter XIX ... these servant-girls were well aware that Precious Jade was not particular in these respects, and that in the next place Nanny Plum，having pleaded old age, resigned her place and gone home，had nowadays no control over them，so that they simply gave their minds to romping and joking，and paid no heed whatsoever to her. Nanny Plum however still kept on asking about Precious Jade，"How much rice do you now eat at one meal? And at what time do you go to sleep?" to which questions the servant-girls replied quite at random；some of those being there observed: "What a dreadful despicable old thing she is!" - "In this covered bowl," she continued to inquire, "is cream, and why not give it to me to eat?" and having concluded these words，she took it up there and then began eating it." Be quick，and leave it alone!" a servant-girl expostulated，"that，she said, was kept in order to be given to Aroma, and on his return，when he again gets into a huff，you，old lady，must，on your own motion，confess to having eaten it，and not involve us in any way as to have to bear his resentment." Nanny Plum，at these words，felt both angry and ashamed. "I can't believe，" she forthwith remarked，"that he has become so bad at heart！Not to speak of the milk I've had. I have，in fact every right to even something more expensive than this；for is it likely that he holds Aroma dearer than myself？ It can't forsooth be that he doesn't bear in mind how that I've brought him up to be a big man，and how that he has eaten my blood transformed into milk and grown up to this age！and will be because I'm now having a bowl of milk of his be angry on that score！I will，yes，eat it，and we'll see what he'll do！I don't know what you people think of Aroma，but she was a lowbred girl，whom I've with my own hands raised up! And what fine object indeed was she！"As she spoke，she flew into a temper, and taking the cream, she drank the whole of it.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:02, 11 October 2021 (UTC)Zhang Yang

==国别 202120081551 张扬男==

又一个丫头笑道：“他们不会说话，怨不得你老人家生气。宝玉还送东西给你老人家去，岂有为这个不自在的？”李嬷嬷道：“你也不必装狐媚子哄我，打量上次为茶撵茜雪的事我不知道呢！明儿有了不是，我再来领。”说着，赌气去了。
少时，宝玉回来，命人去接袭人。只见晴雯躺在床上不动，宝玉因问：“可是病了？还是输了呢？”秋纹道：“他倒是赢的，谁知李老太太来了，混输了，他气的睡去了。”宝玉笑道：“你们别和他一般见识，由他去就是了。”
说着，袭人已来，彼此相见。袭人又问宝玉何处吃饭，多早晚回来；又代母、妹问诸同伴姊妹好。一时换衣卸妆。宝玉命取酥酪来，丫鬟们回说：“李奶奶吃了。”宝玉才要说话，袭人便忙笑说道：“原来留的是这个，多谢费心。前儿我因为好吃，吃多了，好肚子疼，闹的吐了，才好了。他吃了倒好，搁在这里白糟蹋了。我只想风干栗子吃，你替我剥栗子，我去铺炕。”

Another servant-girl grinned:“They don’t know how to speak properly, and it’s no wonder you old lady should get angry. Precious Jade still sends you great things, and it’s impossible that he will feel uncomfortable for a thing like this.” “You don’t have to act like a vixen to cajole me!” Nanny Plum said, “You think I’m not aware that you pushed Snow Alizarin away on account of a cup of tea the other day? And if I did make a mistake, I’ll come by and admit it!” Having said this, she went off, pissed off.
Soon Precious Jade came back and gave orders to go and fetch Aroma. Seeing Sunny Cloud Formation lying perfectly still on bed, Precious Jade asked:“ Is she ill? Or has she lost at cards?” “She had been a winner,” Autumn Vein answered,“but Nanny Plum came and muddled her so that she lost, and angry at that she rushed off to sleep,” Precious Jade smiled:“Don’t place yourselves on the same footing as nanny Plum. Leave her alone.”Aroma came as Precious Jade was saying his words. After the mutual salutations, Aroma went on to ask of Precious Jade:“ Where did you have your dinner? And when did you come back?” and to present likewise on behalf of her mother and sisters her salutations to all the girls, who were her companions. In a short while, she changed her costume and washed off her make up. When Precious Jade bade them fetch the cream, the servant-girls answered:“ Nanny Plum has eaten it.” And as Precious Jade was on the point of making some remarks Aroma hastened to interfere, laughing:“ Is it really this that you have kept for me? Many thanks for troubling. The other day when I ate some of it, I found it very tasty and had a lot of it, then I got a pain in the stomach. I was so upset that it was only after I had thrown it all up that I feel right. So it's fine that she has had it. If it had been kept there, it would have been wasted all for no use. What I want are dry chestnuts, and if you can clean a few for me, I'll go and lay the bed."
--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:58, 29 September 2021 (UTC)Zhang Yang

Another servant-girl grinned, “They don’t know how to talk properly, and no wonder you, old lady, get angry. Precious Jade still sends you great things, and it’s no need to be unpleased with it.” “You don’t have to cheat me!” Nanny Plum said, “You think I’m not aware that you sent Snow Alizarin away just on account of a cup of tea the other day? I will get it when it is prepared well tomorrow!” Having said this, she went off with sulks. Soon Precious Jade came back and asked someone to pick up Aroma. Seeing Sunny Cloud Formation lying still on bed, Precious Jade asked, “ Is she ill? Or has she lost at cards?” “She had been a winner,” Autumn Vein answered,“but Nanny Plum came and muddled her, so she lost the game and rushed off to sleep for the anger.” Precious Jade smiled, “Don’t take it serious and just leave her alone.”Aroma came as Precious Jade was saying his words. After the mutual salutations, Aroma went on to ask Precious Jade about the place for dinner and the time he would come back, then greet everyone on behalf of her mother and sisters. In a short while, she changed her costume and washed off her make-up. When Precious Jade asked one to fetch the cream, the servant-girls answered,“ Nanny Plum has taken it.” As Precious Jade was on the point of saying something, Aroma laughing, “ Is it this that you have kept for me? Thanks for troubling. The other day when I ate some of it, I found it very tasty and had a lot of it, then I got a pain in the stomach. It was better that she did so, for at least it is not wasted before getting bad. I just want some drying chestnuts. Could you please peel them while I will make the beds.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:23, 29 September 2021 (UTC)

==国别 202020080595 陈静女==

宝玉听了，信以为真，方把酥酪丢开，取了栗子来，自向灯下检剥。一面见众人不在房中，乃笑问袭人道：“今儿那个穿红的是你什么人？”袭人道：“那是我两姨姐姐。”宝玉听了，赞叹了两声。袭人道：“叹什么？我知道你心里的缘故，想是说他那里配穿红的？”宝玉笑道：“不是，不是。那样的人不配穿红的，谁还敢穿？我因为见他实在好的很，怎么也得他在咱们家就好了。”袭人冷笑道：“我一个人是奴才命罢了，难道连我的亲戚都是奴才命不成，定还要拣实在好的丫头才往你们家来？”宝玉听了，忙笑道：“你又多心了。我说往咱们家来，必定是奴才不成，说亲戚就使不得？”袭人道：“那也般配不上。”
宝玉便不肯再说，只是剥栗子。袭人笑道：“怎么不言语了？想是我才冒撞冲犯了你？明儿赌气花几两银子，买进他们来就是了。”
宝玉笑道：“你说的话，怎么叫人答言呢？我不过是赞他好，正配生在这深宅大院里，没的我们这宗浊物倒生在这里。”

Hearing this, Precious Jade fell for it and throw the curds away, taking some chestnuts and then peeling them under the lantern. Finding others not in the room except Aroma, Precious Jade quipped: “Who is the the person in red today?” Aroma answered, “Two of my cousins”. Knowing it, Precious Jade couldn’t repress a sigh of admiration. “What do you sigh for? I know it is because they could not wear red.” Aroma said. Precious Jade replied with smile: “No! Who dares to wear red if such persons doesn't deserve it? I just admire them and hope if they can stay in our home.” Aroma sneered, “I am just a slave. So all of my families are slaves and we should pick up the best girls to be slaves in your home?” Precious Jade said with smile, “Don’t be touchy. It doesn’t mean to be the slave but to be our relatives in our house.” Aroma replied, “It doesn’t match, either.” Precious Jade refused to say any more, but just peeled chestnuts. Aroma smiled and said, “Why are you silent? I just offended you. You could spend some money and buy them if you want.” Precious Jade smiled and said, “How to respond to your words. I just show my admiration and think they should be in such circumstance where the persons like me live.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 29 September 2021 (UTC)

Hearing this, Master Bao fell for it, threw the curds away, took some chestnuts and then peeled them under the lantern. Finding others not in the room except Aroma, Master quipped: “What’s the relationship between you and the person in red today?” Aroma answered, “Two of my cousins”. Knowing it, Master Bao couldn’t repress a sigh of admiration. “What do you sigh for? I know what you are thinking. You must think they don’t deserve to wear red.” Aroma said. Master Bao replied with smile: “No! Who dares to wear red if such persons don’t deserve it? I just admire them and hope if they can stay in our house.” Aroma sneered, “I live as a maid. So all of my families should be the same as me? And we should pick up the best girls to be maids in your home?” Master Bao said with smile, “Don’t be touchy. It doesn’t mean to be the maid but to be our relatives in our house.” Aroma replied, “It doesn’t match, either.” Master Bao refused to say any more, but just peeled chestnuts. Aroma smiled and said, “Why are you silent? I think I just offended you. You could spend some money and buy them if you want.” Master smiled and said, “How to respond to your words. I just show my admiration and think they are born to be in such circumstance where the persons like me live. ”--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:34, 29 September 2021 (UTC)

==翻译学 202120081481 陈心怡女==

袭人道：“他虽没这样造化，倒也是娇生惯养的，我姨父、姨娘的宝贝儿似的。如今十七岁，各样的嫁妆都齐备了，明年就出嫁。”宝玉听了“出嫁”二字，不禁又嗐了两声。正不自在，又听袭人叹道：“我这几年，姊妹们都不大见；如今我要回去了，他们又都去了。”
宝玉听这话里有文章，不觉吃了一惊，忙扔下栗子，问道：“怎么着，你如今要回去？”袭人道：“我今儿听见我妈和哥哥商量，教我再耐一年，明年他们上来，就赎出我去呢。”宝玉听了这话，越发忙了，因问：“为什么赎你呢？”袭人道：“这话奇了。我又比不得是这里的家生子儿，我们一家子都在别处，独我一个人在这里，怎么是个了局呢？”宝玉道：“我不叫你去，也难哪。”袭人道：“从来没这个理。就是朝廷宫里，也有定例：几年一挑，几年一放，没有长远留下人的理，别说你们家。” 宝玉想一想，果然有理。又道：“老太太要不放你呢？”

Aroma said, “Although she has few achievements, she is pampered and the apple of my uncle’s, aunt’s eyes. She is now 17. Since all kinds of dowries had been prepared, she could get married next year. ” Hearing “get married”, Precious Jade Merchant signed spontaneously. He was still ill at ease and then heard Aroma said, “I have rarely met with my sisters in the past few years. Now I’m going back, however, they came.” Precious Jade Merchant thought that there’s more to it than what is said. He was amazed, threw chestnuts at once and asked, “what’s wrong? You are going back now?” Aroma said, “I heard my mother and brother talking about it today. They want me to remain patient for another year and they will come here to redeem me next year. ” Precious Jade heard it, felt anxious and asked, “Why they want to redeem you?” Aroma said, “What you said is pretty strange. I’m not a daughter of maids here. My family is elsewhere, and I’m the only one here. How can it be like this?” Precious Jade said, “I’m afraid I can’t let you go.” Aroma said, “It makes no sense. There are routines even in the imperial palace: palace maids are selected once every few years and then set free. There is no reason to keep a person for a long time in the imperial palace, let alone in your house.” Precious Jade thought about it for a while and thought it made sense. Then he said, “What if my grandmothers doesn’t let you go?”--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:02, 29 September 2021 (UTC)
.

Aroma said, “Though not born as good, she is also spoilt and pampered, being the apple of my aunt and uncles’ eyes. She is now 17 and dowries of all sorts have been prepared for her marriage next year.” At the hearing of the word “marriage”, Precious Jade Merchant gave a sigh. As he was feeling ill at ease, Aroma sighed and continued, “I rarely met my sisters in the past few years. While I’m going back home, they are all about to leave.” Precious Jade Merchant felt surprised at what she said. He threw away chestnuts at once and asked, “why, you are going back home?” Aroma answered, ““I heard my mother and my brother talking today. They told me to stay here for another year and they will come here to ransom me next year.” Hearing that, Precious Jade got more anxious and asked, “Why do they want to ransom you?” Aroma replied, “what a strange question! I’m no daughter of maids here. My family lives elsewhere and I’m all alone here. How can we be together?” Precious Jade sighed, “If I won’t let you go, I suppose it’s difficult.” Aroma answered, “It makes no sense. There are routines even in the imperial palace: maids are selected once every few years and then set free. There is no reason to keep a servant for a long time in the imperial palace, let alone in your house.”Precious Jade thought for a while and considered it reasonable. Then he said, “What if my grandmothers won’t let you go?”--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 09:47, 29 September 2021 (UTC)

==翻译学 202120081487 高蜜女==

袭人道：“为什么不放呢？我果然是个难得的，或者感动了老太太、太太，不肯放我出去，再多给我们家几两银子留下，也还有的；其实我又不过是个最平常的人，比我强的多而且多。我从小儿跟着老太太，先伏侍了史大姑娘几年，这会子又伏侍了你几年。我们家要来赎我，正是该叫去的，只怕连身价不要，就开恩放我去呢。要说为伏侍的你好，不叫我去，断然没有的事。那伏侍的好，是分内应当的，不是什么奇功；我去了，仍旧又有好的了，不是没了我就使不得的。”
宝玉听了这些话，竟是有去的理，无留的理，心里越发急了。因又道：“虽然如此说，我只一心要留下你，不怕老太太不和你母亲说，多多给你母亲些银子，他也不好意思接你了。”
袭人道：“我妈自然不敢强：且慢说和他好说，又多给银子；就便不好好和他说，一个钱也不给，安心要强留下我，他也不敢不依。但只是咱们家从没干过这倚势仗贵霸道的事。这比不得别的东西，因为喜欢，加十倍利，弄了来给你，那卖的人不吃亏，就可以行得的；如今无故平空留下我，于你又无益，反教我们骨肉分离，这件事，老太太、太太肯行吗？”

Aroma said, “Why won’t she let me leave? I should be so important, or I have somehow moved Grandma Merchant and Lady King so that they won’t let go of me and give some more money to my family so as to make me stay. Actually, I am a most ordinary person. A whole lot people are better than me. Bought in by Grandma Merchant since I was a child, I had served Lady History for the first several years, and these several years I have been serving you. Now my family are about to pay the ransom. When I ask for a leave, I’m thinking that you could have mercy on me and allow my leaving without the ransom money. I certainly don’t buy it that you stop me from leaving just because I have served you well. Even if it’s true, I’m just doing what I’m supposed to do, which is really no big deal. Nothing will go wrong without me as there are still good servants who will take my place when I leave.” Hearing that, Precious Jade Merchant became all the more anxious because she had a reason to leave and no reason to stay. Therefore, he continued, “Since all I want is to keep you here, I might as well tell you that I wish Grandma Merchant to talk to your mother and give her a lot more money so that she has no reason to come and take you home. Aroma replied, “My mother certainly dares not to ask for my leaving, not to mention that you talk to her in a mild and polite way and give her extra money. Even if you force her without a penny, she dares not to defy. It’s only that your family has never done such a thing as to throw your weight about. It’s feasible when you buy something with ten times of its original price out of love, for the seller suffers no loss. Unlike anything else, it does you no good to keep me for no reason, which instead separates me from my mother. Do you think Grandma Merchant and Lady King will let that happen?”--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 16:09, 28 September 2021 (UTC)

Aroma said, “Why won’t she let me leave? I should be so important, or I have somehow moved Grandma Merchant and Lady King so that they won’t let go of me and give some more money to my family so as to make me stay. Actually, I can't be more ordinary, and too many maids out there are better than me. Bought in by Grandma Merchant when I was a child, I had served Lady History for the first several years, and these years I have been serving you. Now my families are about to pay the ransom. When I ask for leaving, I’m thinking that you could have mercy on me and allow my leaving without the ransom money. I certainly don’t buy it that you stop me from leaving just because I have taken good care of you. Even if it’s true, I’m just doing what I’m supposed to do, which is really no big deal. Nothing will go wrong without me as there are still good maids who will take my place when I leave.” Hearing that, Precious Jade Merchant became more anxious because she had every reason to leave but no reason to stay. Therefore, he continued, “Since all I want is to keep you here, I might as well tell you that I may beg Grandma to talk to your mother and give her extra money so that she has no reason to come and take you home.” Aroma replied, “My mother certainly dares not to ask, not to mention that you talk to her in a mild and polite way and give her extra money. Even if you force her without a penny, she dares not to defy. It’s only that your family has never done such a thing as to throw your weight about. It’s feasible when you buy something with ten times of its original price out of love, for the seller suffers no loss. Unlike anything else, it does you no good to keep me for no reason, which instead separates me from my family. Do you think Grandma Merchant and Lady King will let that happen?”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 10:02, 29 September 2021 (UTC)

==翻译学 202120081489 何芩女==

宝玉听了，思忖半晌，乃说道：“依你说来说去，是去定了？”袭人道：“去定了。”宝玉听了，自思道：“谁知这样一个人，这样薄情无义呢！”乃叹道：“早知道都是要去的，我就不该弄了来，临了剩我一个孤鬼儿。”说着，便赌气上床睡了。原来袭人在家，听见他母、兄要赎他回去，他就说：“至死也不回去。”又说：“当日原是你们没饭吃，就剩了我还值几两银子，要不叫你们卖，没有个看着老子娘饿死的理；如今幸而卖到这个地方儿，吃穿和主子一样，又不朝打暮骂。况如今爹虽没了，你们却又整理的家成业就，复了元气；若果然还艰难，把我赎出来，再多掏摸几个钱，也还罢了。其实又不难了，这会子又赎我做什么？权当我死了，再不必起赎我的念头了。”因此哭了一阵。他母、兄见他这般坚执，自然必不出来的了；况且原是卖倒的死契。明仗着贾宅是慈善宽厚人家儿，不过求求，只怕连身价银一并赏了，还是有的事呢。

After hearing this, Precious Jade Merchant thought for a while and said, “According to you, you have to go?” “I have to.” Aroma confirmed. Hearing this, Precious Jade thought to himself, “Who knows how heartless you are.” “I should not have had you here, since you are doomed to go, leaving me alone as a ghost.” Precious Jade sighed and went to bed with complaints. However, during her stay at home, Aroma heard her mother and elder brother wanted to redeem her back. “I won’t go back until I die.” Aroma railed, “At that time, you were starved to death. Nothing but I was worth some money. If I had refused to be sold, you would have been dead. I was fortunately to be sold to the Merchant’s and treated as a lady, free from abuses. Though my father has passed away, you have recollected yourselves and established new lives. If you were still in trouble, it would make sense that you wanted to reap some profit by redeeming me out. Since you are not, why are you bothering to do this? Don’t ever think about it! Just pretend I’m dead.” Seeing Aroma’s tears and insistence, her mother and elder brother knew it was impossible for her to leave the Merchant’s, besides, it was a sold-out death indenture. In fact, it was not impossible for the Merchant’s, who was a charitable and generous family, to set Aroma free with compensation money, if Aroma pleaded.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:03, 28 September 2021 (UTC)

After hearing this, Precious Jade Merchant thought for a while and said, “According to you, you have to go?” “Yes, I have to.” Aroma confirmed. Hearing this, Precious Jade thought, “Who knows how heartless she is.” “I should not have had you here, since you are doomed to go, leaving me alone as a ghost.” Precious Jade sighed and went to bed with complaints. However, during her stay at home, Aroma heard her mother and elder brother want to redeem her back. “I won’t return home until I die.” Aroma railed, “At that time, you were starved to death. Nothing but I was worth some money. If I had refused to be sold, you would have been dead. I was fortunately to be sold to the Merchant’s and treated as a lady, free from abuses. Though my father has passed away, you have reorganized the family and established new lives. If you were still in trouble, it would make sense that you wanted to reap some profit by redeeming me out. Since you are not, why are you bothering to do this? Don’t think about it anymore! Just pretend I’m dead.” Seeing Aroma’s tears and insistence, her mother and elder brother knew it was impossible for Aroma to leave the Merchant’s, besides, it was a sold-out lifetime indenture. In fact, it was possible for the Merchant’s, who was a charitable and generous family, to set Aroma free with compensation money, if Aroma pleaded.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:41, 29 September 2021 (UTC)

==翻译学 202120081499 李双女==

二则，贾府中从不曾作践下人，只有恩多威少的；且凡老少房中所有亲侍的女孩子们，更比待家下众人不同，平常寒薄人家的女孩儿也不能那么尊重。因此他母子两个就死心不赎了。
次后忽然宝玉去了，他两个又是那个光景儿，母子二人心中更明白了，越发一块石头落了地，而且是意外之想，彼此放心，再无别意了。
且说袭人自幼儿见宝玉性格异常，其淘气憨顽出于众小儿之外，更有几件千奇百怪、口不能言的毛病儿。近来仗着祖母溺爱，父母亦不能十分严紧拘管，更觉放纵弛荡，任情恣性，最不喜务正。每欲劝时，谅不能听。今日可巧有赎身之论，故先用骗词以探其情，以压其气，然后好下箴规。今见宝玉默默睡去，知其情有不忍，气已馁堕。自己原不想栗子吃，只因怕为酥酪生事，又像那茜雪之茶，是以假要栗子为由，混过宝玉不提就完了。
What’s more, the Merchant’s was very good to the servants, and never treated them cruelly. All the girls who served the old or the young received more respect than the others, even more than the girls who lived in poor families. Consequently Aroma’s mother and brother made their minds not to redeem her. Later the sudden arrival of Precious Jade and his meeting with Aroma still further reassured them and put down their stone in heart. The unexpected situation dispelled their other thoughts. When Precious Jade Merchant was young, Aroma found that he was different from ordinary children and that he was naughtier and had some foibles which can’t be told to others. Recently, because Grandma Merchant spoiled Precious Jade too much, his parents couldn’t discipline him too. He was therefore more indulgent and willful, and hated doing the right thing. Whenever others persuaded him, he was stubborn. Today it happened to talk about redemption, so Aroma deliberately lied to Precious Jade to test his attitude and to restrain his anger, and then made the rules. She saw Precious Jade go to sleep silently. She knew the truth, therefore she couldn’t help feeling some guilt, and her anger also subsided. Aroma hadn’t wanted to eat the chestnuts, but was just afraid of the problems that would result from the milk, just like Snow Alizarin’s tea. For this reason, she tricked Precious Jade into not mentioning milk by pretending she wanted to eat chestnuts.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 04:50, 29 September 2021 (UTC)

What’s more, the Merchant’s was very nice to the servants, and never treated them cruelly. All the girls who served as maids of the family members, old or young, were generally treated more kindly than the servants in other position, and were even better off than daughters of ordinary families. Consequently Aroma’s mother and brother made their minds not to buy her freedom. Then the sudden arrival of Precious Jade and the acquaintance between Aroma and her master showed the true situation of Aroma, which made them reassure. The unexpected situation dispelled their other thoughts. These years had shown Aroma that Baoyu with some indescribably odd habits, was no ordinary youth and was more willful than others. Recently, Precious Jade was so indulged by his grandma that his parents couldn’t discipline him strictly. Therefore, he became more indulgent, headstrong and impatient at conventions. Whenever she wanted to exhort him to clean up his act, she was convinced he would not listen to her. Luckily, using the incident as a convenient excuse, Aroma enabled to sound him out, pacify his mood, and give him a good lecture. She saw Precious Jade go to sleep silently. She knew his sadness about her departure, so she didn’t have the heart to give a lecture to him. As for chestnuts, Aroma hadn’t wanted to eat but she had pretended to be eager for them, for fear that the junket would creat a disturbance, just like Snow Alizarin’s tea. She made Precious Jade forget the junket by pretending to hanker after chestnuts.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:53, 1 October 2021 (UTC)

==翻译学 202120081506 刘胜楠女==

于是命小丫头子们将栗子拿去吃了，自己来推宝玉，只见宝玉泪痕满面。
袭人便笑道：“这有什么伤心的？你果然留我，我自然不肯出去。”宝玉见这话头儿活动了，便道：“你说说，我还要怎么留你？我自己也难说了。”
袭人笑道：“咱们两个的好，是不用说了。但你要安心留我，不在这上头。我另说出三件事来，你果然依了，那就是真心留我了；刀搁在脖子上，我也不出去了。”
宝玉忙笑道：“你说那几件？我都依你。好姐姐，好亲姐姐，别说两三件，就是两三百件，我也依的。只求你们看守着我，等我有一日化成了飞灰，——飞灰还不好，灰还有形有迹，还有知识的。——等我化成一股轻烟，风一吹就散了的时候儿，你们也管不得我，我也顾不得你们了，凭你们爱那里去，那里去就完了。”

Aroma thereupon gave the chestnuts to the other maids and nudged Precious Jade gently. She found his face is tear-strained .“Why you so sad about that?”she cajoled. “If you really want me to remind here, I won’t leave of course.” Reading between the lines, Precious Jade quickly replied , “Just tell me what I can do to keep you. I don't know how to persuade you.” She laughed, “We needn’t mention how well we get along with each other. If you really want to keep me, that’s a whole other story. If you promise me two or three things I come up with, I’ll assume that you are truly want me to stay. Then even a knife at my throat could not make me get out of here.”Precious Jade merrily said, “Well, what are these three conditions? I will agree them all, dear sister, my nice sister. I’d agree to two or three hundred conditions, let alone two or three. I merely implore you all to stay and take care of me until the day that I turn into flying ashes. No, I don’t want to turn into ashes because ashes have a trace of form and awareness . I’d like to let you all stay until I’ve turned into a wisp of smoke and been blown away by the wind. Then you will not be able to watch over me, and l will not be able to care about you. I will let you go wherever you please as well.”--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 04:48, 29 September 2021 (UTC)

Xi Ren thereupon gave the chestnuts to the other maids and nudged Baoyu gently. She found his face tear-strained .
“Why are you so sad about that?”she cajoled . “If you really want me to remind in Jia’s mansion, I won’t leave naturally.” Reading between the lines, Baoyu quickly replied , “Just tell me what else I can do to keep you. I don't know.”
She laughed, “We needn’t mention how well we get along with each other. If you really want to keep me, that’s a whole other story. If you promise me two or three things I come up with, I‘ll assume that you are truly want me to stay. Then even a knife at my throat could not make me get out of here.” Baoyu merrily said, “Well, what are these three conditions? I will agree them all, good sister, my dear sister. I’d agree to two or three hundred conditions, let alone two or three. I merely implore you all to stay and take care of me until the day that I turn into flying ashes. No, I don’t want to turn into ashes because ashes have a trace of form and awareness . I’d like to let you all stay until I’ve turned into a wisp of smoke and been blown away by the wind. Then you will not be able to take care of me, and l will not be able to care about you. I will let you go wherever you want as well.”--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:38, 29 September 2021 (UTC)

==法语语言文学 202120021494 金晓童女==

急的袭人忙捂他的嘴道：“好爷，我正为劝你这些个，更说的狠了。”宝玉忙说道：“再不说这话了。”袭人道：“这是头一件要改的。”宝玉道：“改了，再说你就拧嘴。还有什么？”
袭人道：“第二件，你真爱念书也罢，假爱也罢，只在老爷跟前，或在别人跟前，你别只管嘴里混批，只作出个爱念书的样儿来，也叫老爷少生点儿气，在人跟前也好说嘴。老爷心里想着：我家代代念书，只从有了你，不承望不但不爱念书(已经他心里又气又恼了)，而且背前面后混批评：凡读书上进的人，你就起个外号儿，叫人家‘禄蠹’；又说只除了什么‘明明德’外就没书了，都是前人自己混编纂出来的。这些话，你怎么怨得老爷不气，不时时刻刻的要打你呢？”
宝玉笑道：“再不说了。那是我小时候儿不知天多高地多厚，信口胡说的，如今再不敢说了。还有什么呢？”
Aroma covered his mouth in a hurry and said:"my dear lord, I'm trying to persuade you, but you said these even harder." Precious Jade Merchant quickly said:"I will not say these again.""This is the first thing you need to change."Aroma replied.Precious Jade Merchant said:"OK,if I say it again,you can twist my mouth.Anything else?＂
Aroma said:” The second thing, whether you like studying or not, except for nonsense you just need to pretend that you like reading when talking to milord or other people, which can make milord less angry so that he have something to talk. Milord will say to himself:“Everyone in my family have studied from generation to generation except you. And I can’t imagine that not only do you hate reading(already he was angry and bitter), but also making criticism everywhere----if someone are motivated and love reading, you will call him ‘greedy man’; or you will say every book is fabricated but ‘li Ji’Because of these above, why did you complain that milord are usually annoyed and beat your ass?” “I will never be like that before. When I was a kid, I didn’t understand bragging and talk whatever I want. My dare not say now, and what else?” Precious Jade Merchant said with a smile.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:49, 28 September 2021 (UTC)

Xiren covered his mouth in a hurry and said: "my dear lord, I'm trying to persuade you, but you're exaggerating these."Baoyu quickly said: "I will not say these again. " "This is the first thing you need to change. "Xiren replied.Baoyu said: "OK, if I say it again,you can twist my mouth. Anything else? "Xiren said: "The second thing, whether you like studying or not, you can't just talk nonsense, you just need to pretend that you like reading when talking to milord or other people, which can make milord less angry so that he have something to talk with others. Milord will say to himself: "Everyone in my family have studied from generation to generation except you .And I can't imagine that not only do you hate reading (already he was angry and bitter), but also making criticism everywhere casually----if someone are motivated and love reading, you will call him 'greedy man'; you also said there were no other books in the world except 'li Ji', that all other books were made up groundlessly by predecessors. Because of these above, why did you complain that milord are usually annoyed and beat your ass? "
"I will never be like that before. When I was a kid, I didn't understand bragging and talk whatever I want. My dare not say now, and what else? "BaoYu said with a smile.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 02:19, 2 October 2021 (UTC)

==法语语言文学 202120081504 李怡女==

袭人道：“再不许谤僧毁道的了。还有更要紧的一件事：再不许弄花儿，弄粉儿，偷着吃人嘴上擦的胭脂和那个爱红的毛病儿了。”宝玉道：“都改，都改。再有什么，快说罢。”
袭人道：“也没有了，只是百事检点些，不任意任性的就是了。你要果然都依了，就拿八人轿也抬不出我去了。”宝玉笑道：“你在这里长远了，不怕没八人轿你坐。”袭人冷笑道：“这我可不稀罕的！有那个福气，没有那个道理，纵坐了也没趣儿。”
二人正说着，只见秋纹走进来说：“三更天了，该睡了。方才老太太打发嬷嬷来问，我答应睡了。”宝玉命取表来看时，果然针已指到子初二刻了。方从新盥漱，宽衣安歇，不在话下。
至次日清晨，袭人起来，便觉身体发重，头疼目胀，四肢火热。先时还扎挣的住，次后挨不住，只要睡，因而和衣躺在炕上。
Aroma said :Stop denigrating monks and dhamma.There is a more important things : no more indulging in flowers and rouge and powder,no more touching lipstick on other people's lips secretly ,and give up the habit of applying makeup. Precious Jade Merchant said :i will change it all .And anything else ? Aroma said : Nothing,you must be careful of everything and stop being capricious. If you change them all, I won't leave even if you lift me in a huge Jiao. Precious Jade Merchant laughed and said : If you stay here long enough, you'll be able to ride in a big Jiao. Aroma sneered and said :I don't desire it, and even if I were lucky enough to ride in the big Jiao, it would be against the rules and boring.
While the two were talking, Autumn Vein came in and said : It's early in the morning and it's time to go to bed. Grandma Merchant sent her maid to ask after you, and I said you were asleep. Precious Jade Merchant took a watch and checked the time, and it was already midnight, he cleaned up again and then undressed and went to bed and stopped talking.
When Aroma got up early the next morning, she felt heavy and dizzy,and she felt her body was burning. At first she managed to stand up, then she couldn't hold on and felt sleepy, and finally she lay down in bed with her clothes on.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:35, 29 September 2021 (UTC)

Aroma said, “Stop denigrating monks and dhamma. There is a more important things : no more indulging in flowers and rouge and powder, no more eating lipstick on other people’s lips secretly, and give up the habit of applying makeup.” Precious Jade Merchant said, “I I will rectify all these addictions. And anything else ? ” Aroma said: “No, however, you must be careful of everything and stop being capricious. If you were a kind man, I won’t leave even if you had an eight-man palanquin. Precious Jade Merchant laughed and said: “If you stay here long enough, you’ll be able to in an eight-person palanquin. Aroma sneered and said: “I don’t desire it, and even if I were lucky enough to be in the palanquin, it would be against the rules. That’s boring.” While the two were talking, Autumn Vein came in and said, “It's almost dawn and it’s time to go to bed. Grandma Merchant sent her maid to ask after you, and I said you were asleep.” Precious Jade Merchant asked his servant to bring the watch and checked the time, and it was already midnight. He cleaned up again, undressed and went to bed promptly. When Aroma got up the next morning, she felt heavy and dizzy with a body burning. At first, she was able to stand up, but couldn’t hold on after a short while, and felt extremely sleepy. Thus, she lay down in bed with her clothes on.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:59, 29 September 2021 (UTC)彭瑞雪

==法语语言文学 202120081517 彭瑞雪女==

宝玉忙回了贾母，传医诊视，说道：“不过偶感风寒，吃一两剂药，疏散疏散就好了。”开方去后，令人取药来煎好。刚服下去，命他盖上被窝焐汗。宝玉自去黛玉房中来看视。
彼时黛玉自在床上歇午，丫鬟们皆出去自便，满屋内静悄悄的。宝玉揭起绣线软帘，进入里间，只见黛玉睡在那里，忙上来推他道：“好妹妹，才吃了饭，又睡觉。”将黛玉唤醒。黛玉见是宝玉，因说道：“你且出去逛逛。我前儿闹了一夜，今儿还没歇过来，浑身酸疼。”宝玉道：“酸疼事小，睡出来的病大。我替你解闷儿，混过困去就好了。”黛玉只合着眼，说道：“我不困，只略歇歇儿。你且别处去闹会子再来。”宝玉推他道：“我往那里去呢？见了别人就怪腻的。”
After hastily greeting Granny Merchant, Precious Jade Merchant invited a doctor to see Aroma at home. The doctor said,“This young lady has only caught a cold by chance, take a few pills, the illness will slowly fade away.” According to the prescription prescribed by the doctor, the servant was ordered to pick out the medicine in the pharmacy and to cook it. As soon as Aroma finished the soup, the doctor asked her to cover herself with a quilt in order to sweat and get rid of the cold in her body. Then, Precious Jade Merchant went alone to Mascara Jade Forest’s room to visit her. At that time, she was lying alone in bed, taking a nap, and the maids had all gone off to do their own things, and silence filled the whole room. Precious Jade Merchant gently lifted the curtain and entered the room, only to see her sleeping there, and hurriedly went up to her, nudged her and said to her: “Lovely sister, you just went to bed after eating, how can you do that?” He tried to wake Mascara Jade Forest up. When she was awakened, she saw that the person who had woken her up was Precious Jade Merchant, she saisd, “Could you go out for a walk for the time being. I was up all night the night before, and to this day I still have not recovered my energy. I feel sick.” he answered, “Feeling sick is not a big problem. But if you keep sleeping, you will become really very ill. I will relieve your boredom so that the sleepiness is dispelled, and you will be refreshed.” Mascara Jade Forest just closed her eyes and said,“I’m not sleepy, I just want to rest for a while. Go and play somewhere else for a while, after that, you can come back to me.” Precious Jade Merchant nudged her and said, “Where can I go? I’m tired of others.”--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:37, 29 December 2021 (UTC)

After hastily greeting Grandma Merchant, Precious Jade invited a doctor to see Aroma at home. The doctor said,“This young lady has only caught a cold by chance, take a few pills and she will be recovered.” According to the prescription prescribed by the doctor, the servant was ordered to pick out the medicine in the pharmacy and to decoct it. As soon as Aroma finished the medicine, the doctor asked her to cover herself with a quilt in order to sweat and get rid of the cold in her body. Then, Precious Jade went alone to Mascara Jade's room to visit her. At that time, Mascara Jade was lying alone in bed, taking a nap, and the maids had all gone off to do their own things, and silence filled the whole room. Precious Jade gently lifted the curtain and entered the room, only to see Daiyu sleeping there, and hurriedly went up to her, nudged her and said to her: “Lovely sister, you just went to bed after eating, how can you do that?” Precious Jade tried to wake Mascara Jade up. When she was awakened, she saw that the person who had woken her up was Precious Jade , she saisd, “Could you go out for a walk for the time being. I was up all night the night before, and to this day I still have not recovered my energy. I feel sick.” Precious Jade answered, “Feeling sick is not a big problem. But if you keep sleeping, you will become really very sick. I will relieve your boredom so that the sleepiness will be dispelled, and you will be refreshed.” Mascara Jade just closed her eyes and said,“I’m not sleepy, I just want to rest for a while. Go and play somewhere else for a while, after that, you can come back to me.” Precious Jade nudged her and said, “Where can I go? I’m tired of others.”--Yang Kun(talk) 21;22, 29 September 2021 (UTC)

==法语语言文学 202120081542 杨堃女==

黛玉听了，嗤的一笑道：“你既要在这里，那边去老老实实的坐着，咱们说话儿。”宝玉道：“我也歪着。”黛玉道：“你就歪着。”宝玉道：“没有枕头，咱们在一个枕头上罢。”黛玉道：“放屁！外头不是枕头？拿一个来枕着。”
宝玉出至外间，看了一看，回来笑道：“那个我不要，也不知是那个腌臜老婆子的。”黛玉听了，睁开眼，起身笑道：“真真你就是我命中的魔星！请枕这一个。”说着，将自己枕的推给宝玉，又起身将自己的再拿了一个来枕上，二人对着脸儿躺下。
黛玉一回眼，看见宝玉左边腮上有钮扣大小的一块血迹，便欠身凑近前来，以手抚之细看道：“这又是谁的指甲划破了？”宝玉倒身，一面躲，一面笑道：“不是划的，只怕是才刚替他们淘澄胭脂膏子，溅上了一点儿。”说着，便找绢子要擦。

When Mascara Jade heard this, she giggled and said, "Since you want to sit here, sit honestly there and let's talk." Precious Jade Merchant said, "I want to lie down here,too." "You can do it!" said Mascara Jade. " Precious Jade said, "There isn't other pillow. Let's be on the same pillow." Mascara Jade said, "Bullshit! It's not a pillow outside? Take one !"

Precious Jade went out to the outer room, looked at it, came back and smiled, "I don't want that, and I don't know if it belongs to a certain pickled old woman." Hearing this, Mascara Jade opened her eyes, got up and smiled, " You are the magic star I hit! Please rest with this one. " Then, she pushed her pillow to Precious Jade, got up and fetched another one .After that,the two lay down face-to-face.

As soon as Mascara Jade looked back and saw a piece of blood ,the size of a button, on Precious Jade's left cheek. She leaned forward and looked closely with her hand, saying, "whose nails cut your face?" Precious Jade turned back, hiding, and said with a smile, "It's not a wound. I think it's just spattered with a little blusher when I washed it for them just now." With that, he looked for the handkerchief to wipe.--Yang Kun (talk) 23:50, 28 September 2021 (UTC)

When Mascara Jade heard this, she giggled and said, "Since you want to stay here, sit there quietly and let's have a talk." Precious Jade said, "I want to lie down, too." "Do as you like" said Mascara Jade. " Precious Jade said, "There isn't other pillow. Let's share the pillow." Mascara Jade said, "Don’t talk rot! It's not a pillow outside? Take one !" Precious Jade went out to the outer room, looked at it, came back and smiled, "I don't want that, and I don't know if it belongs to a certain pickled old woman." Hearing this, Mascara Jade opened her eyes, got up and smiled, " You are the magic star I hit! Please rest with this one. " Then, she pushed her pillow to Precious Jade, got up and fetched another one. After that, the two lay down face-to-face. As soon as Mascara Jade looked back and saw a piece of blood ,the size of a button, on Precious Jade’s left cheek. She leaned forward and looked closely with her hand, saying, "whose nails cut your face?" Precious Jade turned back, hiding, and said with a smile, "It's not a wound. I think it's just spattered with a little blusher when I washed it for them just now." With that, he looked for the handkerchief to wipe.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 05:12, 29 December 2021 (UTC)

==法语语言文学 202120081556 周俊辉女==

黛玉便用自己的绢子替他擦了，咂着嘴儿说道：“你又干这些事了；干也罢了，必定还要带出幌子来。就是舅舅看不见，别人看见了，又当作奇怪事，新鲜话儿，去学舌讨好儿，吹到舅舅耳朵里，大家又该不得心净了。”
宝玉总没听见这些话，只闻见一股幽香，却是从黛玉袖中发出，闻之令人醉魂酥骨。
宝玉一把便将黛玉的衣袖拉住，要瞧瞧笼着何物。黛玉笑道：“这时候谁带什么香呢？”宝玉笑道：“那么着，这香是那里来的？”黛玉道：“连我也不知道，想必是柜子里头的香气熏染的，也未可知。”宝玉摇头道：“未必。这香的气味奇怪，不是那些香饼子、香球子、香袋儿的香。”黛玉冷笑道：“难道我也有什么罗汉、真人给我些奇香不成？就是得了奇香，也没有亲哥哥亲兄弟弄了花儿、朵儿、霜儿、雪儿替我炮制。我有的是那些俗香罢了。”

Mascara Jade wiped his cheek with her handkerchief. Smacking her mouth, she said:“ You did it again. You always make excuses to do the trifles. You’re lucky that my uncle doesn’t know. But if other people saw it, they would take it as an anecdote, an opportunity to play up to my uncle. As soon as my uncle hears about it, there will be no peace in the house.”
The words went in one his ear and out the other. At that moment, he smelled a faint fragrance coming from Mascara Jade’s sleeve, which was intoxicating.
Precious Jade grabbed Mascara Jade’s sleeve to see what it was. Mascara Jade laughed and said, “Who brings balsam at this time?” He laughed: “Then where does the fragrance come from?” “Even I don’t know. Maybe it came out of the closet.” Precious Jade shook his head:“Not necessarily, the smell is very strange, not like the fragrance of incense cake, of incense ball, of incense bag.” Mascara Jade sneered: “ Will some god give me some magic spice? Even if I really get it, there is no brothers to help me find flowers, buds, frost and snow, then help me make incense. All I have is mediocre spices.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:04, 2 October 2021 (UTC)

Mascara Jade Forest wiped his mouth with her mocket,she pouted and said:“You did it again, but you also make trouble to us. Although uncle couldn't see it, other people could and would take it as a anecdote. Mabye he heard of it beacause of someone's flattery, there won't be quiet.”
The words went in one of his ears and out the other. At that moment, he smelled a faint fragrance coming from Mascara Jade Forest’s sleeve,which was intoxicating.
Precious Jade Merchant grabbed her sleeve to see what stuff hide im. Mascara Jade Forest smiled and said, “Who brings balsam at this time?” He laughed: “Then where does the fragrance come from?” “Even I don’t know. Maybe it's fumigated by the fragrance of the closet.” Precious Jade Merchant shook his head:“Not necessarily, the smell is very strange, not like the fragrance of incense cake, of incense ball, of incense bag.” Mascara Jade Forest sneered: “ Will some god give me some magic spice? Even if I really get it, there is no brothers to help me find flowers, buds, frost and snow, then help me make incense. All I have is mediocre spices.”--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 13:13, 29 September 2021 (UTC)

==法语语言文学 202120081558 周清女==

宝玉笑道：“凡我说一句，你就拉上这些。不给你个利害也不知道，从今儿可不饶你了。”说着，翻身起来，将两只手呵了两口，便伸向黛玉膈肢窝内两胁下乱挠。黛玉素性触痒不禁，见宝玉两手伸来乱挠，便笑的喘不过气来。口里说：“宝玉，你再闹，我就恼了。”宝玉方住了手，笑问道：“你还说这些不说了？”黛玉笑道：“再不敢了。”一面理鬓，笑道：“我有奇香，你有‘暖香’没有？”
宝玉见问，一时解不来，因问：“什么‘暖香’？”黛玉点头笑叹道：“蠢才，蠢才！你有‘玉’，人家就有‘金’来配你；人家有‘冷香’，你就没有‘暖香’去配他？”宝玉方听出来，因笑道：“方才告饶，如今更说狠了。”说着又要伸手。黛玉忙笑道：“好哥哥，我可不敢了。”宝玉笑道：“饶你不难，只把袖子我闻一闻。”说着便拉了袖子，笼在面上，闻个不住。黛玉夺了手道：“这可该去了。”宝玉笑道：“要去不能。咱们斯斯文文的躺着说话儿。”说着，复又躺下。黛玉也躺下，用绢子盖上脸。

Precious Jade Merchant smiled and said:"if i say a word,you will do something like this. You don't know how to constrain, from now on, i won't forgive you anymore if you won't change." As he said, he stood up and exhaled two warm breaths to his both hands, and then put them into the two flanks of Mascara Jade Forest's diaphragm and scratched randomly. Mascara Jade Forest still couldn't help itching, so she couldn't breathe with a smile. She said:"Baoyu, if you make a disturbance,i will bw anoyed." Baoyu stopped, he smiled and said:"Will you still say this?" "i'll never do it again. But i have a special perfume, do you have the 'warm perfume'." Mascara Jade Forest smiled and said.
Precious Jade Merchant couldn't solve it for a while, so he asked:"What's the "warm perfume?" Mascara Jade Forest nodded and signed with a smile:"stupd, stupid!You have "jade", people will have "gold"to match you;i have "cold perfume", but you don't have "warm perfume?" Precious Jade Merchant undstood:"You just surrendered, and now it's even more excesive." He was about to stretch out his hand again. Mascara Jade Forest hurriedly smiled: "Good brother, I don't dare anymore."Precious Jade Merchant smiled: "It's not difficult to spare you. I just smell your sleeves." As he said, he pulled up his sleeves, caged on his face, and couldn't help smelling it.Mascara Jade Forest grabbed his hand and said, "This is the time to go." Precious Jade Merchant smiled and said, "I can't go. Let's lie down and talk quietly." As he said, he lay down again. Mascara Jade Forest also lay down and covered her face with silk.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 12:54, 11 October 2021 (UTC)

Baoyu smiled and said:"if i say a word,you will do something like this. You don't know what happened if I'm not serious. I won't let you off from this day forward. " As he said, he stood up and exhaled two warm breaths to his both hands, and then put them into the two flanks of Daiyu's diaphragm and scratched randomly. Daiyu still couldn't help itching, so she couldn't breathe with a smile. She said:"Baoyu, if you make a disturbance,i will bw anoyed." Baoyu stopped, he smiled and said:"Will you still say this?" "i'll never do it again. But i have a special perfume, do you have the 'warm perfume'." Daiyu smiled and said.
Baoyu couldn't solve it for a while, so he asked:"What's the "warm perfume?" Daiyu nodded and signed with a smile:"stupd, stupid!You have "jade", people will have "gold"to match you;i have "cold perfume", but you don't have "warm perfume?" Baoyu undstood:"You just surrendered, and now it's even more excesive." He was about to stretch out his hand again. Daiyu hurriedly smiled: "Good brother, I don't dare anymore."Baoyu smiled: "It's not difficult to spare you. I just smell your sleeves." As he said, he pulled up his sleeves, caged on his face, and couldn't help smelling it.Daiyu grabbed his hand and said, "This is the time to go." Baoyu smiled and said, "I don't go. Let's lie down and talk quietly." As he said, he lay down again. Daiyu also lay down and covered her face with silk.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 13:56, 29 September 2021 (UTC)

==俄语语言文学 202120081488 宫博雅女==

宝玉有一搭没一搭的说些鬼话，黛玉总不理。宝玉问他几岁上京，路上见何景致，扬州有何古迹，土俗民风如何。黛玉不答。宝玉只怕他睡出病来，便哄他道：“嗳哟！你们扬州衙门里有一件大故事，你可知道么？”黛玉见他说的郑重，又且正言厉色，只当是真事，因问：“什么事？”宝玉见问，便忍着笑顺口诌道：“扬州有一座黛山，山上有个林子洞。”黛玉笑道：“这就扯谎，自来也没听见这山。”宝玉道：“天下山水多着呢，你那里都知道？等我说完了，你再批评。”黛玉道：“你说。”
宝玉又诌道：“林子洞里原来有一群耗子精。那一年腊月初七，老耗子升座议事，说：‘明儿是腊八儿了，世上的人都熬腊八粥。如今我们洞里果品短少，须得趁此打劫些个来才好。’乃拔令箭一枝，遣了个能干小耗子去打听。小耗子回报：‘各处都打听了，惟有山下庙里果、米最多。’老耗子便问：‘米有几样？果有几品？’小耗子道：‘米、豆成仓。果品却只有五样：一是红枣，二是栗子，三是落花生，四是菱角，五是香芋。’

Precious Jade Merchant chattered by fits and starts, Mascara Jade Forest kept silent. Precious Jade Merchant asked, “How old were you when you went to the captical? What did you see along the road? Are there any historical sites in Yangzhou? How about the folk customs?” She didn’t answer. Precious Jade Merchant was worried she will get ill for sleeping too long , and coaxed her, “ Ah! There is an important event in yamen of Yangzhou, you know that? ” Mascara Jade Forest saw what he said with a stern look,so she aslo took it seriously. Then she asked, “What envent? ” Upon seeing this, Precious Jade Merchant concealed a smile and kept cooking up, “in Yangzhou there is a mountain called Daishan and a forest cave upon there. ” Mascara Jade Forest smiled, “It is nonsense, I have not heard of it at all. ”Precious Jade Merchant replied, “There are so many landscapes in the world, how do you know all of them? Keeping your comments until i finish my words. ” She said, “Say it. ” Precious Jade Merchant talked recklessly again, “There used to be a bunch of ratspirits in the forest cave. On the seventh day of the twelfth lunar month, the elder ratspirit held a meeting. On the meeting, he said, ‘Tomorrow is the eighth day of the twelfth lunar month. People will all make laba rice porridge. Now that we are short of grain in the cave, we must seize the chance to rob some. ’ Cosequently he threw a command arrow and sent an able young ratspirit to inquire. Young ratspirit returned and reported, ‘I have made inquiries everywhere. The temple at the mountain foot stores most fruits and rice. ’ The old ratspirit asked, ‘ How many kinds of grain? How many kinds of tribute? ’ The young ratspirit said, ‘There's a whole warehouse of rice and bean. There are only five kinds of cereal: one is red dates, two is chestnuts, three is peanuts, four is water chestnut, five is taro. ’--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 01:55, 13 October 2021 (UTC)

Chinese names can be translated directly in pinyin.(宝玉—Baoyu；黛玉—Daiyu);Bao Yu was talking nonsense, but Dai Yu always ignored it. She asked him how old he was when he went to Beijing, what sights he saw on the way, what are the monuments in Yangzhou, and what are the customs and folklore. Daiyu did not answer. She was afraid that he would fall asleep and get sick, so she coaxed him, "Oh! There is a big story in your Yangzhou government office, do you know it?" The first time I saw him, I thought he was telling the truth, so I asked, "What is it?" When Baoyu saw the question, he stifled a laugh and said smoothly, "There is a Dai Mountain in Yangzhou and there is a Lin Zi Cave on the mountain." Daiyu laughed and said, "That's a lie, I haven't heard of this mountain since." The world is full of mountains and rivers, where do you know them all? When I've finished, you can criticise again." Daiyu said, "You say it." Bao Yu said, "There was a group of rat spirits in the forest cave. That year, on the seventh day of the lunar month, the old rats rose to their seats and said: 'Tomorrow is the eighth day of the lunar month, and everyone in the world is making lunar porridge. Now we are short of fruits in the cave, so we must take advantage of this to rob some of them.' He drew an arrow and sent a competent little rat to inquire. The little rat reported, 'I have asked everywhere, but the temple at the bottom of the hill has the most fruit and rice.' The old rat then asked, 'How many kinds of rice are there? How many kinds of fruit are there?' The little rat said, 'Rice and beans are in the warehouse. But there are only five kinds of fruits: first, red dates, second, chestnuts, third, groundnuts, fourth, lozenges, and fifth, taro.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:46, 29 September 2021 (UTC)

==俄语语言文学 202120081515 毛优女==

“老耗子听了大喜，即时拔了一枝令箭，问：‘谁去偷米？’一个耗子便接令去偷米。又拔令箭问：‘谁去偷豆？’又一个耗子接令去偷豆。然后一一的都各领令去了。只剩下香芋，因又拔令箭问：‘谁去偷香芋？’只见一个极小极弱的小耗子应道：‘我愿去偷香芋。’
“老耗子和众耗子见他这样，恐他不谙练，又怯懦无力，不准他去。小耗子道：‘我虽年小身弱，却是法术无边，口齿伶俐，机谋深远。这一去，管比他们偷的还巧呢。’众耗子忙问：‘怎么比他们巧呢？’小耗子道：‘我不学他们直偷；我只摇身一变，也变成个香芋，滚在香芋堆里，叫人瞧不出来，却暗暗儿的搬运，渐渐的就搬运尽了。这不比直偷硬取的巧吗？’众耗子听了，都说：‘妙却妙，只是不知怎么变？你先变个我们瞧瞧。’小耗子听了，笑道：‘这个不难，等我变来。’说毕，摇身说：‘变！’竟变了一个最标致美貌的一位小姐。众耗子忙笑说：‘错了，错了。原说变果子，怎么变出个小姐来了呢？’小耗子现了形，笑道：‘我说你们没见世面，只认得这果子是香芋，却不知盐课林老爷的小姐才是真正的香玉呢。’”

The old mouse was overjoyed and immediately drew an arrow and asked:"Who is going to steal the rice?" A mouse took the order to steal the rice. Then he drew /pulled another arrow and asked again :"Who is going to steal the beans?" Another mouse took the order to steal the beans. All the mouses One by one received the orders, only the order of taro was left. So the old mouse drew this left arrow and asked:"Who is going to steal the taro?" At this time a very small and weak mouse responded:"I am willing to steal the taro." The old mouse and all the mice saw him like this, and they would not allow him to go because they were afraid that he would be unskilled and cowardly. But the little mouse said: ‘Although I am young and weak, I have boundless power, skillful tongue and foresight. I will steal more cleverly than others. "The mice hurriedly asked: "How can you do that?" The little mouse said: "I won't learn from them to steal directy. I just changed my body and turned into a taro, rolled in the taro pile. In that way people can't see me. Then I will secretly carry the taros, and gradually they were exhausted. Isn't this more clever than stealing directly? All the mice heard this, and they all said, "It's indeed a wonderful way, but how can you change yourself into a taro? Can you show us now? let's see!"The little mouse listened and said with a smile: "This is not difficult, wait for me!" After speaking, he said: "Change! "She has turned into the most beautiful girl in this world. The mice laughed and said:"it’s wrong, it’s wrong. Originally you said that you would turn into fruit, why did you turn into a girl?" The little mouse appeared, and smiled: "I said you hadn't seen the world, because you only recognized that it was a taro, but you didn't know that master Lin's daughter was the real fragrant jade. "(In Chinese pronounciation of the word "taro" is as the same as the word "fragrant jade")--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 14:28, 28 September 2021 (UTC)Sept. 28

The old mouse was overjoyed and immediately drew an arrow and asked:"Who is going to steal the rice?" A mouse took the order to steal the rice. Then he pulled another arrow and asked again :"Who is going to steal the beans?" Another mouse took the order to steal the beans. All the mouses One by one received the orders, only the order of taro was left. So the old mouse pulled this left arrow and asked:"Who is going to steal the taro?" At this time a very small and weak mouse responded:"I am willing to steal the taro." The old mouse and all the mice saw him like this, and they would not allow him to go because they were afraid that he would be unskilled and cowardly. But the little mouse said: ‘Although I am young and weak, I have boundless supernatural power, skillful tongue and foresight. I will steal more cleverly than others. "The mice hurriedly asked: "How can you do that?" The little mouse said: "I won't learn from them to steal directy. I just changed my body and turned into a taro, rolled in the taro pile. In that way people can't see me. Then I will secretly carry the taros, and gradually they were exhausted. Isn't this more clever than stealing directly? All the mice heard this, and they all said, "It's indeed a wonderful way, but how can you change yourself into a taro? Can you show us now? let's see!"The little mouse listened and said with a smile: "This is not difficult, wait for me!" After speaking, he said: "Change! "She has turned into the most beautiful girl in this world. The mice laughed and said:"it’s wrong, it’s wrong. Originally you said that you would turn into fruit, why did you turn into a girl?" The little mouse appeared, and smiled: "I said you hadn't seen the world, because you only recognized that it was a taro, but you didn't know that master Lin's daughter was the real fragrant jade. "--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:00, 11 October 2021 (UTC)

==俄语语言文学 202120081529 吴婧悦女==

黛玉听了，翻身爬起来，按着宝玉笑道：“我把你这个烂了嘴的！我就知道你是编派我呢。”说着便拧。宝玉连连央告：“好妹妹，饶了我罢，再不敢了。我因为闻见你的香气，忽然想起这个故典来。”黛玉笑道：“饶骂了人，你还说是故典呢。” 一语未了，只见宝钗走来，笑问：“谁说故典呢？我也听听。”黛玉忙让坐，笑道：“你瞧瞧，还有谁？他饶骂了，还说是故典。”宝钗笑道：“哦！是宝兄弟哟，怪不得他，他肚子里的故典本来多么。就只是可惜一件：该用故典的时候儿，他就偏忘了。有今儿记得的，前儿夜里的芭蕉诗就该记得呀，眼面前儿的倒想不起来。别人冷的了不得，他只是出汗。这会子偏又有了记性了。”黛玉听了，笑道：“阿弥陀佛！到底是我的好姐姐。你一般也遇见对子了。可知一还一报，不爽不错的。”
刚说到这里，只听宝玉房中一片声吵嚷起来。
未知何事，下回分解。

Mascara Jade Forest listened, turned over and got up, she laughed at Precious Jade and said: “ Why you love to gossip so much? I knew that you were making fun of me.” She said and tweaked his ear. Precious Jade hastened to say that: “ my dear sister, forgive me please, I dare not do it again. Because I smelt your scent, and suddenly remembered this literary allusion.” Mascara Jade Forest smiled and added: “ You spout insults but said that it is an allusion.” Didn’t finish saying, while Precious hairpin came in, she also smiled and said: “ Who is telling allusions? I want to know, too.” Mascara Jade Forest offered her seat to Precious hairpin , and said: “ Look! Who else? He spout insults, but said they are allusion.” Precious hairpin added with a smile: “ Oh! It is brother Precious Jade, it’s none of his business, because he knew a lot of allusions, but it is a pity that he didn’t remember the allusion when it needed. He should have remembered the Plantain poem, but didn’t remember the allusion before him. The others were so cold, but he only sweated, and this time he unexpectedly had a good memory.” Mascara Jade Forest listened to her, laughing: “ God! You exactly my good sister. Now you also meet with your opponent. It is true that measure for measure.” By this time, Precious Jade‘s room rang out a noise. Unknown what had happened, it will be told in the next chapter.

Daiyu heard, turned over and got up, she laughed at Baoyu and said: “ Why you love to gossip so much? I know that you are making fun of me.” She said and tweaked his ear. Baoyu hastened to say that: “ my dear sister, forgive me please, I dare not do it again. Because I smelt your scent, and suddenly remembered this literary allusion.” Daiyu smiled and added: “ You spout insults but said that it is an allusion.” Didn’t finish saying, while Baochai came in, she also smiled and said: “ Who is telling allusions? I want to know, too.” Daiyu offered her seat to Baochai, and said: “ Look! Who else? He spout insults, but said they are allusion.” Baochai added with a smile: “ Oh! It is brother Baoyu, it’s none of his business, because he knew a lot of allusions, but it is a pity that he didn’t remember the allusion when it needed. He should have remembered the Plantain poem, but didn’t remember the allusion before him. The others were so cold, but he only sweated, and this time he unexpectedly had a good memory.” Daiyu listened to her, laughing: “ God! You are exactly my good sister. Now you also meet with your opponent. It is true that measure for measure.” By this time, Baoyu’s room rang out a noise. Unknown what had happened, it will be told in the next chapter. --[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:20, 29 September 2021 (UTC)

==俄语语言文学 202120081533 谢庆琳女==

花解语──解：理解，领会。语本“解语花”，出自五代·王仁裕《开元天宝遗事·卷下·解语花》：“秋八月，太液池有千叶白莲，数枝盛开，帝(唐玄宗)与贵戚宴赏焉。左右皆叹羡。久之，帝指贵妃示于左右曰：‘争如我解语花！’”(争：怎。)原指唐玄宗把杨贵妃比做善解人意的鲜花。引申以比喻善解人意的美女。曹雪芹化用为“花解语”，则变为美女善解人意；而“花”又为袭人之姓，则“花解语”就是花袭人善解人意。
玉生香──玉：指林黛玉。生香：散发出香气。语或本“活色生香”，出自唐·薛能《杏花》诗：“活色生香第一枝，手中移得近青楼。”原形容杏花呈现出生机盎然的美丽颜色，散发出沁人心脾的香气。引申以形容女子的天生美貌和芳香气息。这里用以形容林黛玉的天生美貌和芳香气息。
“Hua Jie Yu” - " Jie": to understand, to comprehend. The phrase is from Wang Renyu's "The Legacy of Kaiyuan Tianbao - Volume 2 - The Flower of Explanation": "In the eighth month of autumn, there were a thousand leaves of white lotus in full bloom at the Taiyan Pond. The Emperor (Tang Xuanzong) and his noble relatives enjoyed the feast, and all the people around him admired them. After a long time, the emperor pointed to the noble princess and showed her to the left and right, saying: 'Compete with me to interpret the flowers!'" (Strive: how.) Originally, Emperor Tang Xuanzong compared Yang Guifei to an understanding flower. This is a metaphor for a beautiful woman who understands people. Cao Xueqin's use of the word "Hua Jie Yu" is a metaphor for a beautiful woman who understands people's feelings; and since "Hua" is also the surname of Assailant, "Hua Jie Yu" means that Hua Assailant understands people's feelings. “Jade is fragrant” - “Jade” refers to Lin Daiyu. The name of the poem is "Jade". The phrase is derived from the poem 'Apricot Blossoms' by Xue Neng: "The first branch of apricot blossoms is in living colour and fragrance, and the hand has moved close to the green tower." The original description is that the apricot blossoms are of a vibrant and beautiful colour, emitting a refreshing fragrance. It is also used to describe the natural beauty and fragrance of a woman. Here it is used to describe the natural beauty and fragrance of Lin Daiyu.
--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:02, 29 September 2021 (UTC)
“Hua Jie Yu” - " Jie": to understand, to comprehend. The phrase is from five dynasties and ten years ·Wang Renyu's "The Legacy of Kaiyuan Tianbao - Volume 2 - The Flower of Explanation": "In the eighth month of autumn, there were a thousand leaves of white lotus in full bloom at the Taiye Pond. The Emperor (Tang Xuanzong) and his relatives enjoyed the beautiful scenery, and all the people around him admired them. After a long time, the emperor pointed to Yang Guifei（his wife）and showed her to the left and right, saying: 'Compete with me to interpret the flowers!'" (Strive: how.) Originally, Emperor Tang Xuanzong compared Yang Guifei to an understanding flower. This is a metaphor for a beautiful woman who understands people. Cao Xueqin used the word "Hua Jie Yu" as a metaphor for a beautiful woman who understands people's feelings; and since “Hua” is also the surname of Aroma, “Hua Jie Yu” means that “Aroma Hua” understands people's feelings. “Yu Sheng Xiang” - “Yu”(Jade) refers to Mascara Jade Forest. “Sheng Xiang”- exude fragrance. Or it could be called ''Huo Se Sheng Xiang''.The phrase is derived from the poem 'Apricot Blossoms' by Xue Neng: "The first branch of apricot blossoms is in living colour and fragrance, when got it in hand has moved close to the brothel." The original description is that the apricot blossoms are of a vibrant and beautiful colour, emitting a refreshing fragrance. It is also used to describe the natural beauty and fragrance of a woman. Here it is used to describe the natural beauty and fragrance of Mascara Jade Forest.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 03:24, 29 September 2021 (UTC)

==俄语语言文学 202120081552 张怡然女==

掷骰(t óu投)子——是一种游戏，即互掷骰子，以点数多少决输赢。骰子：游戏或赌博用具。多用兽骨制成，为立体小方块，六面分别刻以一、二、三、四、五、六点，一、四点涂以红色，其馀涂以黑色，故又称“色子”。相传为曹操之子曹植发明。
《丁郎认父》──取材于小说《升仙记》的弋阳腔剧目。写明代杜文学因受奸相严嵩迫害，流落湖广，入赘胡丞相府，与前妻所生子丁郎曲折相认的故事。
《黄伯央大摆阴魂阵》──或作《黄伯英大摆阴兵阵》。是由《七国春秋平话》改编的地方戏目。写燕国大将乐毅请师父黄伯央(《七国春秋平话》作“黄伯杨”)下山摆设阴魂阵围困齐将孙膑，最后两国讲和的故事。
Cast the dice - is a game in which two people cast in turn, using the size of the dice to determine the winner. Dice: a game or gambling device.Most of them are small cubes made of animal bones, six sides are engraved on one, two, three, four, five, six points, one and four coated into red, and the rest is also black, so the dice is called again ''Shai zi''.It is said to be invented by Cao Zhi, the son of Cao Cao.
''Ding lang got acquainted with his father''-- based on the novel ''Sheng Xian Ji'' yiyang repertoire. It tells the story of a man named Du Wenxue in the Ming Dynasty, who was forced to live in Huguang area because of the persecution of Yan Song, the adulterous phase. He entered the residence of Prime Minister Hu and met ding Lang, the son of his ex-wife with twists and turns.
''Huang Boyang's Great display of ghosts'' ─ or ''Huang Boying's great display of died soldiers''. It is a local opera adapted from ”The story collection of the Seven Kingdoms In the Spring and Autumn Period”. It tells the story of the state of Yan general Yue Yi please master Huang Boyang (''The story collection of the Seven Kingdoms In the Spring and Autumn Period'' for ''Huang Boyang'' ) Down the mountain set up the ghost array besiege Qi general Sun Bin， finally the last two countries peace story.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 15:47, 28 September 2021 (UTC)
Cast the dice - is a game in which two people cast in turn, using the size of the dice to determine the winner. Dice: a game or gambling device.Most of them are small cubes made of animal bones, six sides are engraved on one, two, three, four, five, six points, one and four coated into red, and the rest is coated into black, so the dice is also called 'Shai zi''.It is said to be invented by Cao Zhi, the son of Cao Cao.
''Ding lang got acquainted with his father''-- based on yiyang repertoire of the novel ''Sheng Xian Ji''. It tells the story of a man named Du Wenxue in the Ming Dynasty, who was forced to live in Huguang area because of the persecution of Yan Song, the adulterous phase. He entered the residence of Prime Minister Hu and met ding Lang, the son of his ex-wife with twists and turns.
''Huang Boyang's Great display of ghosts'' ─ or ''Huang Boying's great display of died soldiers''. It is a local opera adapted from ”The story collection of the Seven Kingdoms In the Spring and Autumn Period”. It tells the story of the state of Yan general Yue Yi please master Huang Boyang (''The story collection of the Seven Kingdoms In the Spring and Autumn Period'' for ''Huang Boyang'' ) Down the mountain set up the ghost array besiege Qi general Sun Bin， finally the last make peace between the two countries.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 10:26, 29 September 2021 (UTC)

==亚非语言文学 202120081509 刘越女==

香玉──典出唐·温庭筠《晚归曲》：“弯堤弱柳遥相瞩，雀扇团圆掩香玉。”原比喻美女散发的香气和洁白如玉的肌肤。这里是把玉石的“玉”和林黛玉的“玉”合为一体，以比喻美女林黛玉。
《孙行者大闹天宫》──京剧和地方戏均有此剧目，取材于小说《西游记》。写孙悟空跟随唐僧前大闹天宫的故事。
《姜太公斩将封神》──京剧和地方戏均有此剧目，取材于小说《封神演义》。写姜太公助周灭商后斩将封神的故事。按：以上四剧皆为闹剧，隐寓宁国府子弟粗俗不堪。
献酬──亦作“献醻”。指酒席上主宾互相敬酒。《诗经·小雅·楚茨》：“献醻交错，礼仪卒度，笑语卒获。”郑玄笺：“始主人酌宾为献，宾既酌主人，主人又自饮酌宾曰醻。”
行令──即行酒令。是一种宴会中助兴的游戏。其方法是：由一人任令官，按一定规矩行令，违令或按令该饮者都要饮酒。
Sweet jade -- classic tang · Wen Tingjun late homing song : "Bent dike weak willow distant look, bird fan reunion mask sweet jade." Originally used as a metaphor for beauty to send out fragrance and white jade skin. Here, the "jade" of jade and the "jade" of Mascara Jade Forest are combined as a whole to compare the beauty Lin Daiyu.
Monkey King Makes Havoc in Heaven-- a play in Both Beijing and local operas, based on the novel 'Journey to the West.' It tells the story of Sun Wukong who caused havoc in heaven before he followed Tang Priest.
Jiang Taigong beheaded a General and canonized a God. This play is used in Both Beijing Opera and local opera, and is based on the novel Creation of the Gods(Fengshen Yanyi). Write the story of Jiang Taigong, who helped Zhou destroy the Shang dynasty and then beheaded the generals and sealed the gods. The author explains: the above four plays are farce, alluding to the vulgar children of the Ningguo mansion.
献酬（Make toasts）─ can also be said 献醻. Refers to the banquet guests toasting each other. The Book of Songs· xiaoya ·chuets : "The host and the guest toast each other, the etiquette completely conforms to the law, then a word and a smile are appropriate natural." Zheng Xuanjian: "First, the host toasts to the guests. After the guests drink the wine revered by the host, the host drinks it, which is called making toasts ."
Order -- that is, order to drink. It's a fun game at a banquet. Its method is: by a person as an officer, according to certain rules of the order, the violation or according to the order of the drinker to drink.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 10:26, 29 September 2021 (UTC)
Here is the "jade" of Jade and Lin Daiyu "jade" into one--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 10:38, 29 September 2021 (UTC)

==亚非语言文学 202120081550 张秋怡女==

家生子儿——奴仆在主子家生养的子女。清代规定家奴之子女必须为奴，世代如此。清·赵翼《陔馀丛考·家生子儿》：“奴仆在主家所生子，俗谓家生子。按《法苑珠林》记庸岭有大蛇为患，都尉令长求人家生婢子及有罪家女祭之，‘家生’之名见此。”(按：《法苑珠林》为唐·释道世撰。)又《汉书·陈胜传》“秦令少府章邯免骊山徒、人奴产子”唐·颜师古注：“奴产子，犹今人云家生奴也。”“家生奴”即“家生子”。可知“家生子”或“家生奴”之称至少在唐代已有。
卖倒的死契——指双方约定卖出后不能赎身、必须终生为奴的卖身契。卖倒：犹“卖定”、“卖死”。不可变更或反悔之意。
禄蠹——禄：身居官爵，享受俸禄。蠹：蛀虫。 “禄蠹”或本“国蠧”，出自《左传·襄公二十二年》：“不可使也，而傲使人，国之蠧也。”意思是本无治国之才而身居高位，便是国家的蛀虫。“禄蠹”与“国蠧” 的意思基本上一样，也是指身居高位、坐享国家俸禄而不干实事的官吏。
Offspring - The offspring of a servant in his master's house.The Qing Dynasty stipulated that the children of domestic slaves must be slaves,from generation to generation so.Qing · Zhaoyi “Gai Yu Cong Kao·The offspring of a servant in his master's house”：“A son born to a slave in his master's house is called a son of the family. according to the story in the Pearl forest of Fayuan that there was a snake in yongling, the commander ordered the family to give birth to maidservants and guilty family female sacrifice, the name of ‘Jia Sheng’ can be seen here.”(according to: the Pearl forest of Fayuan was written for Tang· Shi Daoshi.) Also in The Book of Han · Biography of Chen Sheng, “The Qin Dynasty sent Zhang Han to pardon those who had served in mount Lishan for crimes and the sons born to house slaves”Tang · Yan Shigu notes: “Slaves give birth to children, and is also slaves”.“family born slave” is “family born child”. It can be known that “family born son” or “family born slave” had been known at least in the Tang Dynasty.Dead deed of sale refers to the deed of sale in which both parties agree that they cannot redeem themselves and must be slaves for life. Sell down: “sell it” and “sell it to death”.The meaning of not changing or repentance.“LU DU”-Lu：official status, enjoy the salary. Du：moth. “Ludu” or “Guodu” from “Zuo Zhuan · Xianggong 22 years”: “do not make, but proud to make people the worm of the nation.It means that if you are in a high position without the ability to govern a country, you are the moth of the country. “Ludu” and “Guodu” basically the same meaning, also refers to a high position, enjoy the state salary and do not work officials.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 01:29, 29 September 2021 (UTC)
--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:47, 11 October 2021 (UTC)
Annotation:
First:The common term for a son born to a slave in his master’s house is a family son.
Second:It means that if you are in a high position without the ability to govern a country,you are the moth of the country.

==亚非语言文学 202120081524 王逸凡女==

明明德——头一个“明”为动词。彰明、弘扬之意。明德：美德，至德，完美的道德。语出《礼记·大学》：“大学之道，在明明德，在亲民，在止于至善。”意思是弘扬完美的道德。这里是指贾宝玉只肯定包括《大学》在内的《四书》(《论语》、《大学》、《中庸》、《孟子》)是正经书，其他书都要不得。
魔星——曹雪芹的原作为“天魔星”，显然是借用了佛家和道家的“天魔”之说。佛家说“天魔”为欲界第六天主。如《楞严经》卷九说：“或汝阴魔，或复天魔。”又《百喻经·小儿得大龟喻》说：“邪见外道，天魔波旬，及恶知识，而语之言，汝但极意六尘，恣情五欲，如我语者，必得解脱。”道家则说“天魔”为天上的魔怪。如《云笈七签》卷四说：“有经无符，则天魔害人。”这里的“魔星”则为冤家之意。

Mingmingde-The first Ming is a verb which means obviousness, clearness or carrying forward and the word Mingde means virtue,supreme virtue,perfect morality.TheBook of Rites·Great learningsaid that The way of a university lies in being clear and virtuous,being close to the people and being perfect.It means to promote perfect morality.Jiabaoyu only affirmed The Four Books including Great learning.(Analects,Great Learning,The Doctrine of the Mean,Mencius) are the proper scriptures and the other books are not acceptable.
Devil star—Cao Xueqin's original as heaven devil star apparently borrowed Buddhism and Taoism’s doctrine of heaven devil.Buddhists say that demons are the sixth god of desire.For example,volume 9 of the Surangama Sutra says, Either you cast shadows or you recover demons from heaven.And Buddhist parables said Evil sees the outside world,the sky is full of demons,and evil knowledge.But as you speak,you will be free from your desires.Taoism says that demons of heaven are demons in the sky.Such as Cloud gupta seven signs volume 4 said there is no sign,then the devil harm people.The devil star here is the meaning of enemy.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 12:34, 30 December 2021 (UTC)

Laba Porridge-Originated from what Buddhism calls "Buddha Bathing Day". According to legend, Sakyamuni was born on the eighth day of the fourth month of the lunar calendar. Therefore, since the Han Dynasty, every Buddhist temple has held commemorative activities on this day. , "Buddhist Bathing Festival" or "Buddha Day". "The Book of the Later Han Dynasty·Tao Qian Biography" said:" Every time Buddha baths, to provid alms and rice to the road."In the Southern Dynasties Liang Zongmo's "Jingchu Sui Shi Ji" said: "April 8th, all monasteries Set up a fast, bath the Buddha with five-color perfume, and make Longhua Hui together. According to "The Biography of the Eminent Monk": ‘On April 8th, to bathe the Buddha, use Duliang incense as blue water, tulip as red water, Qiulong incense as white water, aconite incense as yellow water, benzoin as black water, to infuse the top of the Buddha. ’"In the Song Dynasty, the day of Sakyamuni’s Buddhahood, the eighth day of the twelfth lunar month, was the "Buddha Bathing Day." Every time this day, all the temples held commemorative activities, not only followed the alms, bathing Buddha and other items, but also added laba porridge, known as "Buddha Bathing Day." "On the eighth day of the lunar New Year, three or five monks and nuns in the streets chanted Buddha in teams. They would sit on a gold, bronze or wooden Buddha statue in a silver or bronze saro or a good basin. They would soak it in perfume and shower it with the branches of a tree and intended for the edification of the masses. The great monasteries served as bathing buddhas, and gave seven treasures and five flavors porridge and disciples, called "laba porridge". Since then every families also cooks porridge with fruit and miscellaneous ingredients. "Since then, the phase has become a common practice, and it has not faded to this day.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:47, 11 October 2021 (UTC)

Laba congee - Originated from a festival which calls “Buddha Bathing Day” in Buddhism. According to legend, Sakyamuni was born on the eighth of forth lunar month. Therefore, on this day, every Buddhist temple will hold activities since Han Dynasty. People will practice alms all over the place, and wash Buddha statues with water full of spices, which is called “Buddha Bathing Day”, “Buddha Bathing Festival” or “Buddha Buddhism Day”. “Book of Later Han Dynasty · Tao Qian Biography” said: “Every time Buddha baths, there are more drinking and rice to the homeless people. And Liang Zongmo, the author of “Jingchu Sui Shi Ji”, said: “April 8th, all monasteries set up a fast, bath the Buddha with five-color perfume, and make Longhua Hui together.”
According to “The Biography of the Eminent Monk”: “On April 8th, people use Duliang incense as blue water, Yujin incense as red water, Qiulong incense as white water, Fuzi incense as yellow water, and Anxi incense as black water, to infuse the top of the Buddha”. In Song Dynasty, the day when Sakyamuni became a Buddha, the eighth of twelfth lunar month, was the "Buddha Bathing Day." On that day, all Buddhist temples held the activities which called “Buddha Bathing Activities”, not only followed the traditional items, but also added Laba congee. The folks also follow the example and eat Laba congee. We can see these things from “DongJingMengHualu·Volume Ten·December”, a book written by Meng in Song Dynasty: three or five monks and nuns in the streets chanted Buddha in teams. They would sit on a gold, bronze or wooden Buddha statue in a silver or bronze saro or a good basin. They would soak it in perfume and shower it with the branches of a tree and intended for the edification of the masses. The great monasteries served as bathing buddhas, and gave seven treasures and five flavors porridge and disciples, called ‘Laba congee’. Since then every families also cooks porridge with fruit and miscellaneous ingredients.” Since then, the phase has become a common practice, and it has not faded to this day.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:55, 11 October 2021 (UTC)

20211222 homework

2021-12-23T06:30:00Z

Wang Yifan21: /* 王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523 */

20211222 homework

2021-12-23T06:27:46Z

Wang Yifan21: /* 王逸凡 Wáng Yìfán 亚非语言文学女 202120081524 */

Comp Stud Trans EN 7

2021-12-16T03:30:39Z

Wang Yifan21: /* Xu Yuanchong’s life and career as a scholar and a translator */

==A Comparative Study on Xu Yuanchong’s and Ezra Pound’s Theories and Practices on the Translation of Classical Chinese Poetry==
许渊冲与庞德中诗英译思想与实践比较研究

王逸凡, Wang Yifan, Hunan Normal University, China

==Abstract==
The Classical Chinese poetry is an important part of the Chinese culture, and also a valuable contribution of the Chinese literature to the world literature. For the last one and a half centuries or so, scholars both at home and abroad have made significant efforts in the translation of the classical Chinese poetry. Quite a few of them have not only attributed excellent versions but also insightful views on translation theories. In the history of verse translation, Ezra Pound took up a crucial and unique position. His ''Cathy''（《华夏集》） made a stir upon publication in 1915 and was considered his “most enduring contribution” to the English poetry. The success of ''Cathy'' is actually the success of the classical Chinese poetry in the United States. “Ever since then, the classical Chinese poetry began to attract the western eyes.” As for the translation in contemporary China, Xu Yuanchong is definitely the most influential one, whose excellent versions of the classical Chinese poetry are well accepted by readers both in China and overseas, whose criteria of verse translation - “beauty in sense, beauty in sound and beauty in form” have been widely recognized and appreciated. Taking Pound and Xu Yuanchong as the research objects, this paper attempts to clearly demonstrate the similarities and differences between Pound and Xu's thoughts on translation of Chinese poetry into English. On this basis, this paper makes a comparative analysis of Xu Yuanchong's and Pound's focus on the image in classical Chinese poetry considering skopos theory, in an attempt to find out the social and cultural factors that influence their translation activities.(Zhao Yiheng：1985，150）

==Key Words==
the Classical Chinese Poetry, Xu Yuanchong, Ezra Pound, image; translation theory, comparative study

==中文摘要==
古典诗歌是中国文化的重要组成部分，也是中国文学对世界文学宝库的巨大贡献。中外学者在古典诗歌翻译方面做很多有益的尝试，不少学者亲自从事翻译实践，而且还就诗歌翻译理论提出了精辟的见解。在早期译者中，埃兹拉•庞德无疑占据着一个极为重要而又特殊的地位。他的《神州集》在一九一五年四月出版后就引起了极大的轰动，从而被看作是他对英语诗歌的“最持久的贡献”，也是中国古典诗歌在美国的第一次真正的成功。“自此以后，庞德将中国诗变成了大众瞩目的东西”。而在当今中国的诗歌翻译界，许渊冲是最具影响力的翻译家。在其六十年的翻译生涯中，许渊冲翻译了大量的古典诗词，并在国内外深受好评。他关于诗歌翻译的“意美、音美、形美”的标准也得到了广泛的认同。本文以庞德和许渊冲为研究对象，试图分析庞德和许渊冲中诗英译思想的异同。在此基础上，就许渊冲和庞德对于中国古典诗歌中意象的关注并结合翻译目的论对他们的译本进行了对比分析，试图找出影响他们翻译活动的社会和文化因素。（赵毅衡：1985，150）

==关键词==
中国古典诗歌；许渊冲；庞德；意象；翻译理论；比较研究

==Xu Yuanchong’s Life and Thoughts==

===Xu Yuanchong’s life and career as a scholar and a translator===

Xu Yuanchong was born in 1921 in Nanchang, Jiangxi, and in 1936, when he was fifteen years old, he was in his first year of high school at Nanchang No. 2 High School in Jiangxi, where the Japanese had occupied the north-east of China and were advancing into northern China. But after his victory in the war, Mr. Xu recalls that experience as a solid foundation for his future path in life and for his career as a translator.In 1938, at the age of 17, Xu Yuanchong was admitted to the Southwest Associated University, a joint venture between Peking University, Tsinghua University and Nankai University in Kunming, Yunnan Province, during the war years. It was here that Xu Yuanchong became a student of Qian Zhongshu, Wu Mi, Wen Yiduo, Feng Youlan and many other great artists, and became lifelong friends with the future Nobel Prize winner in physics, Yang Zhenning, and Wang Xiji, the father of the two bombs and one star. All this inspired and established Xu Yuanchong's style of seeking common ground and being unconventional in his translations.

Mr. Xu also recalled that it was only after tracing his roots that he discovered that the source of influence on Mr. Xu's path to translation was his father's love of a tidy lifestyle and his ability to work with excellent finances. From an early age, Mr. Xu Yuanchong's father taught him to keep the four literary treasures in the most accessible places, which was later expanded by Mr. Xu from the four literary treasures to the written word, or the best way to express himself, and the most accessible place can also be summarized as the best location. Mr. Xu's father cultivated the habit of putting the best words in the most appropriate places. Mr. Xu's mother's love of drawing was an education in 'beauty' and 'joy'. Mr. Xu's mother was a student at the Jiangxi Provincial Vocational School a hundred years ago. Although his mother died young, among Mr. Xu's mother's belongings were two books of drawings and one essay, in which the flowers, trees, birds and animals greatly aroused Mr. Xu's love of 'beauty'. The story "Xiang Yu and Napoleon" in the essay fostered the idea that Mr. Xu would not judge a hero by his success or failure. All of this had a profound impact on Mr. Xu's later translation style and practice. During his time at SWLU, Mr. Xu received guidance from many famous teachers. Mr. Wu Mi was one teacher who changed his concept of translation. In his secondary school days, Mr. Xu thought that the idea of direct translation proposed by Lu Xun was correct because he liked his satirical essays so much. However, after hearing Mr. Wu critique the translation examination papers of postgraduate students, it was definitely still the case that the Italian translation made more sense. On the question of translation, Mr. Qian Zhongshu mentioned in his English letter to Xu Yuanchong that there were two ways to translate poems, one was the method of translating from a colourless glass plate and the other was the method of translating from a coloured glass plate. The former would offend the poem and the latter would offend the translation. Choosing the lesser of the two, he preferred to offend the poem. But Xu Yuanchong believed that the colourless glass translation method pursued truth, while the tinted glass translation method pursued beauty. If the original poem is beautiful and true, the translation cannot be considered a facsimile if it is true but not beautiful; if the translation is beautiful but not true, then there is a risk of distortion. So how exactly should we deal with this? Xu Yuanchong finds the answer in the ''Analects'': "The greatest of the arts is to follow the heart without exceeding the rules".(Zhao Yiheng：1985，130）

In 1939, when he was a first-year student, he translated Lin Huiyin's poem "Don't Lose It" into English and published it in the Literary Translation Journal, his earliest translation, and in He then enrolled in the Institute of Foreign Literature at Tsinghua University, where he also taught English to the first graduating class of 1943 at Tianxiang High School. After the victory of the war, Mr. Xu Yuanchong applied to study at the University of Paris through the first major examination held by the Ministry of Education to study abroad. At the University of Paris, Mr. Xu read the realist literature of Balzac and Shakespeare, and the romantic poetry of Victor Hugo, which laid a solid foundation for his later translations of Chinese and French poetry.

===General Introduction to Xu Yuanchong’s Theories on Literary Translation===

Xu Yuanchong once said, "Western translations are about equivalence, one word for another, and 90% of their major words and vocabulary are equivalent. Unlike other scripts, only 50% of Chinese words and vocabulary are equivalent. While reciprocity does not contradict objective laws, it does not take advantage of subjective dynamics. Without distorting the author's meaning, a translation must bring out the flavor, essence and soul of a nation's culture", so Xu Yuanchong's theory of translation, specifically, contains the following main elements.

The Ontology of Literary Translation: Theory of Three Beauties. In the preface to Forty-two poems of Mao Zedong(1978), Xu for the first time put forward his Theory of Three Beauties on poetry translation “A translated lyric should not only be faithful to the original but also as beautiful as it is in sense, in sound and in form.” Being beautiful in sense means that in translating a poem, the translator should not only translate the surface level meaning of the poem, but also the deep level sense of it, or even the sense beyond word level. According to Xu, the translation process would be relatively easy if the content and form of the poem are in harmony. While if the content and form of a poem do not match, then the content would be the first priority in translation. In the situation that the form of the original might contain several different meaning, the most beautiful kind should be chosen in translation. Actually what Xu wants to emphasize here is the unique artistic conception of classical Chinese poetry which features implicitness, subtlety and succinctness. Being beautiful in sound means that the translator should try his/her best to present meter, rhythm, and alliteration in the original poem. To Xu, if the original is rhymed, the translation should also be; if the original uses classical Chinese tonal patterns, the translation could use light and stressed tone; if the original tends to use phrases having two or more characters with the same initial constant, then the translation could use alliteration. Being beautiful in form includes the layout of lines, antithesis formed by lines matched in sound and sense, and repetition of words or lines. Xu also made a hierarchical relation among the three beauties form: beauty in sense is the most important, which is followed by beauty in sound, and then beauty in form. In translating classical Chinese poetry, taking presenting the beauty in sense as the first priority, the translator should also try the best to present the beauty in sound; while by achieving the presentation of the beauty in sense and in sound, the translator then should endeavor to present the beauty in form. To Xu, the pursuit of three beauties should be the guiding principle and ultimate goal in classical Chinese poetry translation.(Jiang Hongxin 2001,77-80)

The Methodology of Literary Translation: Particularization, Equalization and Generalization. In the preface to 150 Tang Poems(1984), Xu raised the methodology of literary translation: particularization, equalization and generalization. Particularization refers to translation techniques like specialization, concretization, adding words splitting words and so on. Generalization includes translation techniques like abstractization, cutting words or merging words. And equalization means the translation techniques like flexible equalization, changing word function, active form and passive form. The great scholar and translator Qian Zhongshu had made a famous definition on translation that the highest standard of literary translation in “sublimation” by which means to transfer the language of a text into another language without any trace of stiltedness resulting from the differences in usage and at the same time retaining all the flavor of the original. Particularization, equalization and generalization are actually three aspects of the standard – “sublimation”. Particularization is to explore the deep level meaning of the original text through its surface level form. If the translation reaches the deeper level of meaning than the original, then particularization is achieved. On the other hand, generalization tends to turn the abstruse original into plain and understandable translation.

The Teleology of Literary Translation: Comprehension, Appreciation and Admiration. Translation is recreation, that is to say translation should make readers cheerful and relaxed - it should be recreational. To Xu，the aim of literary translation, especially poetry translation, is to make readers comprehend, appreciate and even admire the translation. Literary translation, from translator to reader, is an aesthetic process. Comprehension means the reader understands what the translation conveyed. Appreciation means the reader enjoys what the translation tells how it tells-the reader delights in it. In Xu’s theory, the translator should use the methods of generalization to reverse the disadvantage of target language, which would in turn make the reader comprehend the translation; the translator should use the method of equalization to reach balance which would make the reader appropriate the translation; and the translator should use the method of particularization to fully exploit the advantage of the target language, which would in turn make the reader admire the translation.(Xu Yuanchong，2003:146）

Xu concluded his translation theory as “Art of beautifulization and creation of the best as in rivalry”.

==Ezra Pound’s Life and His Theories on Translation==

===Ezra Pound’s Life===

Ezra Pound was born in Hailey Township, Idaho, USA, on 30 October 1885. Before going to Europe, he attended the University of Pennsylvania, where he studied American history, classics and Romance languages and literature. Pound made his first trip to Europe in 1898, then four more in 1902, 1906 and 1908, settling in London in 1908, where he became a major figure in the literary world for a time. Pound was a poet and literary critic, an important representative of the Imagist poetry movement, as well as an accomplished translator who collected and translated a dozen ancient Chinese poems ''Cathy''（《华夏集》） in his 1915 and also translated the ''Great Learning''（《大学》）, ''the Doctrine of the Mean''（《中庸》） and ''The Analects of Confucius''（《论语》）.Pound and Eliot were both leading figures in late Symbolist poetry, and his theory of 'poetic imagery', derived from classical Chinese poetry and Japanese haiku, made a remarkable contribution to the cross-fertilisation of Eastern and Western poetry.

In 1908 Pound's first collection of poems, ''A Lume Spento'' (《灯火熄灭之时》), was self-published in Venice, Italy, and in 1909 his collection ''Personae''（《人物》）was published in London, and in 1910 his anthology ''The Spirit of Romance''（《罗曼斯精神》）was published. The collection consists mainly of his early translations as well as the results and insights of his scholarly research over the years. In 1912 he became the London correspondent of the small Chicago magazine ''Poetry''（《诗歌》）, and in 1914 he married Dorothy Shakespeare.

During his time in Paris and London, in addition to continuing his creative work, he explored and nurtured talent, travelled extensively with European and American literary figures, and made a unique contribution to breaking the sedimentation of British and American literature, especially British and American poetry, and to promoting the 'revival' of American literature. He had extensive contacts with sculptors, painters and musicians, and played a significant role in the formation and development of modernist thought in Europe and America. Between 1914 and 1916 Pound was very close to the Irish poet W.B. Yeats. He admired Yeats and took him as his teacher. Yeats was also influenced by him to some extent. After leaving Paris in 1924 and up to the eve of the Second World War, Pound's attention gradually shifted from literary creation to the political and economic problems of capitalism. At the end of the war, he was arrested by the U.S. military authorities and was held for six months at a Disciplinary Training Center near Pisa. In 1958, the joint effort of such eminent personalities as T.S. Eliot, Robert Frost, and Ernest Hemingway secured his release. He returned to Italy, where he worked until his death in 1972.(Kenner,1953)

===Pound As Translator===

Pound’s translation stimulated and strengthened his poetic innovations, which in turn guided and promoted his translations. In Pound’s literary works, it is often difficult to tell translation or adaptation from original composition. For Pound, there seem to be no foundational distinction between the two. Translation to Pound assumes an importance seldom found in other modern poets. To some extent, Pound’s poetics is essentially the poetics of translation. Pound’s theory of translation focuses upon the precise rendering of details, of individual words, and of single or even fragmented images. Actually, his translation theories reinforced and promoted his imagist poetics.

According to the principles of Imagism, translation of poems should also be terse, precise and compose in the sequence of musical phrase. Pound doesn’t see much difference between a poet and a poem translator. A poem translator should explore deep into the mind of the poet to think what he thought and to feel what he felt, so that the “overlap of mind” could occur and the cultural and linguistic barriers could be surpassed. Thus the translation could achieve “fidelity to the original” in both “meaning” and “atmosphere”. Pound doesn’t put much emphasis on words and sentences. Instead, he puts himself in the position of the poet and summarizes the poet’s thoughts and emotions, then turns it into the target language. Words and sentences are not the source text for him, but merely a media to introduce him to the source text, which is the thoughts and feeling of the poet.

Pound’s emphasis is less on the “meaning” of the translated text or even on the meaning of specific words. He emphasizes the rhythm, diction, and movement of words. By the movement of words, he refers to the contextual meaning and the intertextual. Pound thinks the “meaning” of a work of art can never be fixed; it changes as language changes. The range of associations of the words within an original work of art would differ with its new versions in a different age or culture. Pound explains the energy of languages as “words construction new relations to other words at any particular place and time, this quality lends language its energy”. Pound also takes words as “electrified”, the interaction of which could generate energy. Here Pound is actually talking about contextual meaning. He thinks new relations of words forms new meaning, that’s “the energy of language”. As words are not isolated from context, translator should bear in mind the context of the source text.

Pound’s theory of translation requires the translator to keep the historical atmosphere in which the words occur so that the translation process reveals not just what the words mean, but also their various implications. He believes that meaning is not something abstract and part of a universal language, but something that is always located in historical settings-the “atmosphere” in which that meaning occurs. To unpack the meaning, one has to know the history and reconstruct the atmosphere in which that the meaning occurs. Pound says, “Three or four words in exact just apposition are capable of radiating this energy at a very high potentially....The peculiar energy which fills words is the power of tradition, of centuries of race consciousness, of agreement, of association.”（Guo Jianzhong：2000，57）

==The Comparative Study on Image Translation of the Classical Chinese Poetry between Xu and Pound==

Different cultural backgrounds between China and western countries must lead a lot of diversities in the cultural comprehension of the same object, which are the causes of translation divergence. Chinese classical poetry has the characteristics of implicit in connotation, harmonious in metre, bright in rhythm and well-balanced in pattern, so no single theories or schools have given them a satisfactory understanding framework yet. Chinese classical poetry as a relatively independent language world, its transference specially emphasizes the transmission of cultural connotation and aesthetic effect, which is called the transmission of cultural connotation and aesthetic effect, which is called the transmission of “language-image-meaning”(言象意). In Chinese classical philosophy, aesthetics and poetics, “image”（象） is the load of “meaning”(意), therefore, “reflecting through image”(象思维) and “expressing through image”(象表达) are affirmation and belief of Chinese language philosophy, especially poetics. However, English has an evident character of “expressing through language”(言表达), so there must be some problems existed during image transference. The following discussion will give us a comparison among some influential translators’ works. After the detailed analysis, we will have a clear view about their methods of image translation.

===Case Study of Ezra Pound===

Ezra Pound was one of the most influential and innovative poets in the 20th century. As the representative of Western Imagism, Pound makes significant contributions to American poetry not only as a poet but also as a translator, editor, critic and essayist. In order to break away from tradition and romanticism of British poetry, Pound and other imagist poetic principles: (1) To treat things directly whether subjective or objective; (2) To use absolutely no word that does not contribute to the presentation; (3) To compose in sequence of the musical phase, not in sequence of a metronome as regarding rhythm. In Pound’s opinion, image must be concrete and direct which will unfetter the poetic expression from the habit of convention.(Kang Lianxing，2004：114)

Most of the Chinese poems translated by Pound are poems of scenery in Tang Dynasty, which takes mountains, water and vast landscapes as their subjects. Poets of such poems tend to embody their feelings and sentiments in these natural scenes. Chinese classical poetry combines poems and pictures together which get rids of moralization and comments that features the Victorian poetry. Greatly influenced by the writing techniques of Chinese classical poetry, such as the ellipsis of conjunctions and the juxtaposition of images, Pound used them into his poetic creation. Not only his creation but also his translation work caused a tremendous stir in American poetic circle. In 1915, Pound published his most influential translation work Cathy which is the first collection of translated Chinese poetry published in America.

Pound’s translation of Chinese classical poetry is not a mechanical one, but an innovative reconstruction. Some of the reconstructions are ignorant, but some are designed. Ignorant or designed, Pound’s translation is highly valuable. It gives us some inspiration in image translation. A study on Pound’s image translation of Chinese classical poetry would shed light on the research goal of the following thesis. A designed example can be taken as the best one to explore Pound’s creative translation. It also reflects the language difference between Chinese and English:

送友人（李白）
青山横北郭，白水绕东城。
此地一为别，孤蓬万里征。
浮云游子意，落日故人情。
挥手自兹去，萧萧班马鸣。

The theme of the poem is about saying farewell to a departing friend. Under this theme, vivid images are scattered skillfully in every line of the poem which can be classified into two categories-those don’t have cultural connotations, such as “青山”, “万里”, “东城”, and those culture-loaded, such as “孤蓬”, “万里”, “浮云”, “游子”, “落日”, The third line is juxtaposition of images with deep connotations: the image “浮云” is used as a metaphor to express the wandering life of the poet’s friend, while the image “落日” is used to convey the poet’s reluctance to part with his friend. The affection between the poet and his friend reaches climax in the fourth line. The image “斑马” means a stray and lonely horse. Horses can understand their masters’ affection and neigh to express their grief over parting. It is through a series of rich images that the poet expresses his deep affection to the departing friend vividly. Let’s take a look at Pound’s translation:

Taking Leaves of a Friend(Li Bai)
Blue mountains to the north of the walls,
White river winding about them;
Here we must make separation
And go out through thousand miles of dead grass.
Mind like a floating wide cloud.
Sunset like the parting of old acquaintances
Who bow over their clasped hands at a distance.
Our horses neigh to each other as we are departing.

From the translation of the title “Taking Leave of a Friend”, we can see Pound’s recreation. The phrase “take leave of” in English refers to the subject’s departure, but it is clear that the original title is the friend’s departure. The poet sees his friend off not the poet himself leaving. It is accredited that the first two lines are almost word for word translation because the non-cultural loaded images are ranged neatly from his translation. In the fourth line, “孤蓬” is a culture-loaded image which is usually compared to a person who leads a wandering life and has no one to depend on in the classical Chinese literature. Although it is not mentioned in original poem whether the poet’s friend leaves by boat or horseback, Pound gets information from “萧萧班马鸣”, so he uses “dead grass” to show that two friends are sadly departing on the grassland. This is a faithful but rigid translation which loses aesthetic equivalence. “万里” is also not a simple image. Pound translates it in the form of the target language, which turns out that he ignores it is not the actual figure “一万里”, but implies the remote way the friend has to take. “浮云游子意，落日故人情” is the key in delivering the original poem’s sensation for its concise and profound images. The juxtaposed and vivid images directly constitute two metaphors, and thus endless meanings and sensation are conveyed in such ten characters. Pound here uses two “like” to target readers about the inner meaning of “floating cloud” and “sunset” in Chinese literature.
About translation type, Pound adopts imitation, which means to form and individual style. In image translation, Pound always tries his best to combine his feelings with the poet, and no convey the mood of thinking and emotion in the original poem into the target language. We must admit that some of his translation is not words or lines. He emphasizes each single image and individual detail which he thinks reveal the truth of the original poem. Ezra Pound was not familiar with Chinese culture, even did not know Chinese language when he translated these poems, which is the main reason causing cultural misunderstanding and image translation. Correctly Understanding on the semantic meaning of the original image is the foundation of conveying aesthetic feeling of the original poem equivalently.

===Case Study of Xu Yuanchong===

It is widely accepted that Xu Yuanchong is prolific and influential poetry translator in contemporary Chinese academic who has published more than sixty books about translation and practice in his more than sixty years of translation career. With the painstaking research about literary translation, Xu Yuanchong has established a set of translation theories of his own, one of which-theory of three beauties (beauty in sense, in mind and in form)-gives light to our image translation. Beauty in sense is the most important one which means that in translating a poem, the translator should not only translate the surface meaning of the poem, but also the deep sense of it, or even the sense beyond the literal level. “sense” in Xu Yuanchong’s theory not only refers to meaning, but also refers to aesthetic conception, thus his beauty in sense could be interpreted as trying to present the aesthetic conception and poetic beauty of the original poem. Let’s choose Li Bai’s Farewell to A Friend(《送友人》) as an example again to appreciate Xu Yuanchong’s beauty in images in his translation work:

Farewell to A Friend
Blue mountains bar the northern sky;
While river girds the eastern town.
Here is the place to say goodbye;
You’ll drift like lonely thistledown.
With floating cloud you’ll float away;
Like parting day I’ll part from you.
You wave your hand and go your way;
Your steed still neighs, “Adieu, adieu!” (Xu 2006:123)

Compared with Pound’s translation, this title conveys to us equivalent information of who will leave. Dynamic image “bar” in the first line depicts a magnificent scene that mountains stretch endlessly across the sky, which is closer to Li Bai’s bold and unconstrained poetic style. The image “lonely thistledown” in the second line is more suitable than Pound’s “dead grass”. From this place on, the poet’s friend will drift along just like thistledown blown by the wind, which transmits the deep level sense of “孤蓬”. Pound’s translation of the third line surpasses Xu’s in that Xu’s translation is a kind of recreation which loses deep level sense. If we translate it back into Chinese, it could be “你随着浮云而去，如同分别之日我与你分别一样”. “Floating cloud” and “sunset” are two metaphors. The poet’s friend will leave his hometown, family and friends, so his wife will be unstable like floating cloud. The poet’s affection to his friend is hard to part with just like being sentimentally attached to the sunset. In the last line, “wave hand” and “bow over their clasped hands” are two different ways to say goodbye which embody different cultures between Chine and the West. As for the sound image “萧萧”, Xu Yuanchong uses “adieu” to personalize the horse, which aims to build a sense of parting grief. Though the two translations have their own strong points, Xu Yuanchong’s version seems more likely to present the original beauty of images.

To grasp cultural-loaded image well is the key point in image translation. Compared with Pound, Professor Xu seems more dominant to translate Chinese classical poetry because he is accomplished in Chinese language and culture. During the sixty years’ research, Xu Yuancong takes promoting Chinese culture as his responsibility, and id dedicated to the cultural communication between China and Western countries. From some of Xu Yuanchong’s translation we find that Xu is inclined to target-culture-oriented translation, and sometimes in order to keep aesthetic conception of the original poem, he will recreate the poem according to his understanding towards the poet’ s affection.

==Conclusions==

In the thesis of the conclusion, skopos theory is employed to analyze Xu Yuanchong’s and Ezra Pound’s different translation purposes, which lead to their different strategies in their translation practice, and that is the reason of their different versions of the same original texts.

In his preface to The Art of Translation, Xu Yuanchong proposes that it should be translators’ obligation to bring the essence of the world culture into the Chinese culture and introduce the best of the Chinese culture to the whole world. He believes that translation is the catalyst in the integration of Chinese culture with the world civilization and that classical Chinese poetry is, undoubtedly, the greatest and everlasting contribution China has made to the world civilization, which is the reason why Xu Yuanchong chooses poetry as his translation object. In other words, the purpose of Xu Yuanchong’s translation of classical poetry lies in introducing and spreading to the world the gorgeous Chinese culture.

As for Ezra Pound, there are two reasons why he turns to the East and translates classical Chinese poetry. The first is the background Pound was in. At the turn of the twentieth century, English literature was dominated by conservatism. Unable to bear the monotonous and dull Victorian poems, Pound hurled himself into transforming British verse and into saving tottering civilization by injecting into it the cultures of the past and the alien. In the process of his exploration, Pound ran into classical Chinese poetry in which he found great interest and was greatly enlightened. The second reason is that Pound is the advocate of the Imagist Movement. He finds values in classical Chinese poetry because classical Chinese poetry is, by virtue of the ideographic and pictographic nature of the Chinese language, essentially imagist poetry. Therefore, classical Chinese poetry satisfies his poetic intent to some extent. By translating classical Chinese poetry, he hopes to make it clear that the presentation of individual images and the superposition of images can help regain immediate experiences. The Imagist Poetics has greatly influenced him, making him manipulate translations to serve his poetic innovations.

As Xu and Pound have different purposes of translating classical Chinese poetry, they have different criteria for their selection of the source text. Xu aims at introducing the best part of Chinese culture to the world. So long as a poem is beautiful and represents a certain aspect of the essence of Chinese culture, Xu is ready to work on it. But it’s not the case with Pound. In the 150 poems in Ernest Fenollosa’s manuscripts-the resourse where Pound obtains notes about classical Chinese poetry, he carefully selects 19 poems, the images and poetic sentiment of which he feels may best represent and promote his Imagist Movement.

==REFERENCES==

*Albright, D.1997. Quantum Poetics – Yeats, Pound, Eliot and the Science of Modernism. Cambridge: Cambridge University Press.
*Cheadle, M.P. 1997. Ezra Pound’s Confucian Translations. East Lansing: The University of Michigan Press.
*Edwin, Gentzler 1990. Contemporary Translation Theories. Cambridge: Cambridge University Press.
*Kenner, H. 1953. Introduction to the Translation of Ezra Pound. Terre Haute: Indiana University Press.
*Nida, E.A. 1993, Language, Culture, and Translating. Shanghai: Shanghai Foreign Language Education Press.
*Xu, Yuan. Translation Techniques in Image Reproduction. Beijing: Beijing Language and Culture University, 2002.
*Xu Yuanchong. 300 Tang Poems. Beijing: Chinese Translation press
*Xu Yuanchong, 1994. Song of The Immortals—An Anthology of Classical Chinese Poetry. Beijing: New World Press.
*Xu Yuanchong, 1991, Development of Verse Translation, 《外国语》第1 期，35-45页 Foreign Languages, Issue 1, Page 35-45
*Zhao Yiheng 赵毅衡，1985，《远游的诗神》 The poetic god of distant wanderings，重庆：四川人民出版社 Chongqing:Sichuan People's Publishing House.
*Guo Jianzhong 郭建中，1999，《当代美国翻译理论》 Contemporary American Translation Theory，武汉：湖北教育出版社 Wuhan:Hubei Educational Publishing House.
*Jiang Hongxin 蒋洪新，2001，庞德的《华夏集》探源 An Exploration of Pound's Huaxia Collection,《中国翻译》第1期，56-59页 Chinese Translation, Issue 1, Page 56-59.
*Jiang Hongxin 蒋洪新，2001，庞德的翻译理论研究 A Study of Pound's Theory of Translation，《外国语》第4期, 77-80页 Foreign Languages, Issue 4, Page 77-80.
*Guo Jianzhong 郭建中，2000，美国翻译研讨班和庞德翻译思想 American Translation Seminars and Pound's Ideas on Translation, 《外语与外语教学》第2期 Foreign Languages and Foreign Language Teaching, Issue 2.
*Xu Yuanchong 许渊冲，1998，读“翻译文化竞赛论” Reading "Translation Culture Contest Theory"，《外语与翻译》第2期，15-18页 Foreign Languages and Translation Issue 2, Page 15-18.

Written by: --[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:00, 16 December 2021 (UTC)

Comp Stud Trans EN 7

2021-12-16T03:29:52Z

Wang Yifan21: /* REFERENCES */

==A Comparative Study on Xu Yuanchong’s and Ezra Pound’s Theories and Practices on the Translation of Classical Chinese Poetry==
许渊冲与庞德中诗英译思想与实践比较研究

王逸凡, Wang Yifan, Hunan Normal University, China

==Abstract==
The Classical Chinese poetry is an important part of the Chinese culture, and also a valuable contribution of the Chinese literature to the world literature. For the last one and a half centuries or so, scholars both at home and abroad have made significant efforts in the translation of the classical Chinese poetry. Quite a few of them have not only attributed excellent versions but also insightful views on translation theories. In the history of verse translation, Ezra Pound took up a crucial and unique position. His ''Cathy''（《华夏集》） made a stir upon publication in 1915 and was considered his “most enduring contribution” to the English poetry. The success of ''Cathy'' is actually the success of the classical Chinese poetry in the United States. “Ever since then, the classical Chinese poetry began to attract the western eyes.” As for the translation in contemporary China, Xu Yuanchong is definitely the most influential one, whose excellent versions of the classical Chinese poetry are well accepted by readers both in China and overseas, whose criteria of verse translation - “beauty in sense, beauty in sound and beauty in form” have been widely recognized and appreciated. Taking Pound and Xu Yuanchong as the research objects, this paper attempts to clearly demonstrate the similarities and differences between Pound and Xu's thoughts on translation of Chinese poetry into English. On this basis, this paper makes a comparative analysis of Xu Yuanchong's and Pound's focus on the image in classical Chinese poetry considering skopos theory, in an attempt to find out the social and cultural factors that influence their translation activities.(Zhao Yiheng：1985，150）

==Key Words==
the Classical Chinese Poetry, Xu Yuanchong, Ezra Pound, image; translation theory, comparative study

==中文摘要==
古典诗歌是中国文化的重要组成部分，也是中国文学对世界文学宝库的巨大贡献。中外学者在古典诗歌翻译方面做很多有益的尝试，不少学者亲自从事翻译实践，而且还就诗歌翻译理论提出了精辟的见解。在早期译者中，埃兹拉•庞德无疑占据着一个极为重要而又特殊的地位。他的《神州集》在一九一五年四月出版后就引起了极大的轰动，从而被看作是他对英语诗歌的“最持久的贡献”，也是中国古典诗歌在美国的第一次真正的成功。“自此以后，庞德将中国诗变成了大众瞩目的东西”。而在当今中国的诗歌翻译界，许渊冲是最具影响力的翻译家。在其六十年的翻译生涯中，许渊冲翻译了大量的古典诗词，并在国内外深受好评。他关于诗歌翻译的“意美、音美、形美”的标准也得到了广泛的认同。本文以庞德和许渊冲为研究对象，试图分析庞德和许渊冲中诗英译思想的异同。在此基础上，就许渊冲和庞德对于中国古典诗歌中意象的关注并结合翻译目的论对他们的译本进行了对比分析，试图找出影响他们翻译活动的社会和文化因素。（赵毅衡：1985，150）

==关键词==
中国古典诗歌；许渊冲；庞德；意象；翻译理论；比较研究

==Xu Yuanchong’s Life and Thoughts==

===Xu Yuanchong’s life and career as a scholar and a translator===

Xu Yuanchong was born in 1921 in Nanchang, Jiangxi, and in 1936, when he was fifteen years old, he was in his first year of high school at Nanchang No. 2 High School in Jiangxi, where the Japanese had occupied the north-east of China and were advancing into northern China. But after his victory in the war, Mr. Xu recalls that experience as a solid foundation for his future path in life and for his career as a translator.In 1938, at the age of 17, Xu Yuanchong was admitted to the Southwest Associated University, a joint venture between Peking University, Tsinghua University and Nankai University in Kunming, Yunnan Province, during the war years. It was here that Xu Yuanchong became a student of Qian Zhongshu, Wu Mi, Wen Yiduo, Feng Youlan and many other great artists, and became lifelong friends with the future Nobel Prize winner in physics, Yang Zhenning, and Wang Xiji, the father of the two bombs and one star. All this inspired and established Xu Yuanchong's style of seeking common ground and being unconventional in his translations.

Mr. Xu also recalled that it was only after tracing his roots that he discovered that the source of influence on Mr. Xu's path to translation was his father's love of a tidy lifestyle and his ability to work with excellent finances. From an early age, Mr. Xu Yuanchong's father taught him to keep the four literary treasures in the most accessible places, which was later expanded by Mr. Xu from the four literary treasures to the written word, or the best way to express himself, and the most accessible place can also be summarized as the best location. Mr. Xu's father cultivated the habit of putting the best words in the most appropriate places. Mr. Xu's mother's love of drawing was an education in 'beauty' and 'joy'. Mr. Xu's mother was a student at the Jiangxi Provincial Vocational School a hundred years ago. Although his mother died young, among Mr. Xu's mother's belongings were two books of drawings and one essay, in which the flowers, trees, birds and animals greatly aroused Mr. Xu's love of 'beauty'. The story "Xiang Yu and Napoleon" in the essay fostered the idea that Mr. Xu would not judge a hero by his success or failure. All of this had a profound impact on Mr. Xu's later translation style and practice. During his time at SWLU, Mr. Xu received guidance from many famous teachers. Mr. Wu Mi was one teacher who changed his concept of translation. In his secondary school days, Mr. Xu thought that the idea of direct translation proposed by Lu Xun was correct because he liked his satirical essays so much. However, after hearing Mr. Wu critique the translation examination papers of postgraduate students, it was definitely still the case that the Italian translation made more sense. On the question of translation, Mr. Qian Zhongshu mentioned in his English letter to Xu Yuanchong that there were two ways to translate poems, one was the method of translating from a colourless glass plate and the other was the method of translating from a coloured glass plate. The former would offend the poem and the latter would offend the translation. Choosing the lesser of the two, he preferred to offend the poem. But Xu Yuanchong believed that the colourless glass translation method pursued truth, while the tinted glass translation method pursued beauty. If the original poem is beautiful and true, the translation cannot be considered a facsimile if it is true but not beautiful; if the translation is beautiful but not true, then there is a risk of distortion. So how exactly should we deal with this? Xu Yuanchong finds the answer in the ''Analects'': "The greatest of the arts is to follow the heart without exceeding the rules".(Zhao Yiheng：1985，130）

In 1939, when he was a first-year student, he translated Lin Huiyin's poem "Don't Lose It" into English and published it in the Literary Translation Journal, his earliest translation, and in He then enrolled in the Institute of Foreign Literature at Tsinghua University, where he also taught English to the first graduating class of 1943 at Tianxiang High School. After the victory of the war, Mr. Xu Yuanchong applied to study at the University of Paris through the first major examination held by the Ministry of Education to study abroad. At the University of Paris, Mr. Xu read the realist literature of Balzac and Shakespeare, and the romantic poetry of Victor Hugo, which laid a solid foundation for his later translations of Chinese and French poetry.

No reference inserted--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 09:08, 14 December 2021 (UTC)
--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:15, 16 December 2021 (UTC)

===General Introduction to Xu Yuanchong’s Theories on Literary Translation===

Xu Yuanchong once said, "Western translations are about equivalence, one word for another, and 90% of their major words and vocabulary are equivalent. Unlike other scripts, only 50% of Chinese words and vocabulary are equivalent. While reciprocity does not contradict objective laws, it does not take advantage of subjective dynamics. Without distorting the author's meaning, a translation must bring out the flavor, essence and soul of a nation's culture", so Xu Yuanchong's theory of translation, specifically, contains the following main elements.

The Ontology of Literary Translation: Theory of Three Beauties. In the preface to Forty-two poems of Mao Zedong(1978), Xu for the first time put forward his Theory of Three Beauties on poetry translation “A translated lyric should not only be faithful to the original but also as beautiful as it is in sense, in sound and in form.” Being beautiful in sense means that in translating a poem, the translator should not only translate the surface level meaning of the poem, but also the deep level sense of it, or even the sense beyond word level. According to Xu, the translation process would be relatively easy if the content and form of the poem are in harmony. While if the content and form of a poem do not match, then the content would be the first priority in translation. In the situation that the form of the original might contain several different meaning, the most beautiful kind should be chosen in translation. Actually what Xu wants to emphasize here is the unique artistic conception of classical Chinese poetry which features implicitness, subtlety and succinctness. Being beautiful in sound means that the translator should try his/her best to present meter, rhythm, and alliteration in the original poem. To Xu, if the original is rhymed, the translation should also be; if the original uses classical Chinese tonal patterns, the translation could use light and stressed tone; if the original tends to use phrases having two or more characters with the same initial constant, then the translation could use alliteration. Being beautiful in form includes the layout of lines, antithesis formed by lines matched in sound and sense, and repetition of words or lines. Xu also made a hierarchical relation among the three beauties form: beauty in sense is the most important, which is followed by beauty in sound, and then beauty in form. In translating classical Chinese poetry, taking presenting the beauty in sense as the first priority, the translator should also try the best to present the beauty in sound; while by achieving the presentation of the beauty in sense and in sound, the translator then should endeavor to present the beauty in form. To Xu, the pursuit of three beauties should be the guiding principle and ultimate goal in classical Chinese poetry translation.(Jiang Hongxin 2001,77-80)

The Methodology of Literary Translation: Particularization, Equalization and Generalization. In the preface to 150 Tang Poems(1984), Xu raised the methodology of literary translation: particularization, equalization and generalization. Particularization refers to translation techniques like specialization, concretization, adding words splitting words and so on. Generalization includes translation techniques like abstractization, cutting words or merging words. And equalization means the translation techniques like flexible equalization, changing word function, active form and passive form. The great scholar and translator Qian Zhongshu had made a famous definition on translation that the highest standard of literary translation in “sublimation” by which means to transfer the language of a text into another language without any trace of stiltedness resulting from the differences in usage and at the same time retaining all the flavor of the original. Particularization, equalization and generalization are actually three aspects of the standard – “sublimation”. Particularization is to explore the deep level meaning of the original text through its surface level form. If the translation reaches the deeper level of meaning than the original, then particularization is achieved. On the other hand, generalization tends to turn the abstruse original into plain and understandable translation.

The Teleology of Literary Translation: Comprehension, Appreciation and Admiration. Translation is recreation, that is to say translation should make readers cheerful and relaxed - it should be recreational. To Xu，the aim of literary translation, especially poetry translation, is to make readers comprehend, appreciate and even admire the translation. Literary translation, from translator to reader, is an aesthetic process. Comprehension means the reader understands what the translation conveyed. Appreciation means the reader enjoys what the translation tells how it tells-the reader delights in it. In Xu’s theory, the translator should use the methods of generalization to reverse the disadvantage of target language, which would in turn make the reader comprehend the translation; the translator should use the method of equalization to reach balance which would make the reader appropriate the translation; and the translator should use the method of particularization to fully exploit the advantage of the target language, which would in turn make the reader admire the translation.(Xu Yuanchong，2003:146）

Xu concluded his translation theory as “Art of beautifulization and creation of the best as in rivalry”.

==Ezra Pound’s Life and His Theories on Translation==

===Ezra Pound’s Life===

Ezra Pound was born in Hailey Township, Idaho, USA, on 30 October 1885. Before going to Europe, he attended the University of Pennsylvania, where he studied American history, classics and Romance languages and literature. Pound made his first trip to Europe in 1898, then four more in 1902, 1906 and 1908, settling in London in 1908, where he became a major figure in the literary world for a time. Pound was a poet and literary critic, an important representative of the Imagist poetry movement, as well as an accomplished translator who collected and translated a dozen ancient Chinese poems ''Cathy''（《华夏集》） in his 1915 and also translated the ''Great Learning''（《大学》）, ''the Doctrine of the Mean''（《中庸》） and ''The Analects of Confucius''（《论语》）.Pound and Eliot were both leading figures in late Symbolist poetry, and his theory of 'poetic imagery', derived from classical Chinese poetry and Japanese haiku, made a remarkable contribution to the cross-fertilisation of Eastern and Western poetry.

In 1908 Pound's first collection of poems, ''A Lume Spento'' (《灯火熄灭之时》), was self-published in Venice, Italy, and in 1909 his collection ''Personae''（《人物》）was published in London, and in 1910 his anthology ''The Spirit of Romance''（《罗曼斯精神》）was published. The collection consists mainly of his early translations as well as the results and insights of his scholarly research over the years. In 1912 he became the London correspondent of the small Chicago magazine ''Poetry''（《诗歌》）, and in 1914 he married Dorothy Shakespeare.

During his time in Paris and London, in addition to continuing his creative work, he explored and nurtured talent, travelled extensively with European and American literary figures, and made a unique contribution to breaking the sedimentation of British and American literature, especially British and American poetry, and to promoting the 'revival' of American literature. He had extensive contacts with sculptors, painters and musicians, and played a significant role in the formation and development of modernist thought in Europe and America. Between 1914 and 1916 Pound was very close to the Irish poet W.B. Yeats. He admired Yeats and took him as his teacher. Yeats was also influenced by him to some extent. After leaving Paris in 1924 and up to the eve of the Second World War, Pound's attention gradually shifted from literary creation to the political and economic problems of capitalism. At the end of the war, he was arrested by the U.S. military authorities and was held for six months at a Disciplinary Training Center near Pisa. In 1958, the joint effort of such eminent personalities as T.S. Eliot, Robert Frost, and Ernest Hemingway secured his release. He returned to Italy, where he worked until his death in 1972.(Kenner,1953)

===Pound As Translator===

Pound’s translation stimulated and strengthened his poetic innovations, which in turn guided and promoted his translations. In Pound’s literary works, it is often difficult to tell translation or adaptation from original composition. For Pound, there seem to be no foundational distinction between the two. Translation to Pound assumes an importance seldom found in other modern poets. To some extent, Pound’s poetics is essentially the poetics of translation. Pound’s theory of translation focuses upon the precise rendering of details, of individual words, and of single or even fragmented images. Actually, his translation theories reinforced and promoted his imagist poetics.

According to the principles of Imagism, translation of poems should also be terse, precise and compose in the sequence of musical phrase. Pound doesn’t see much difference between a poet and a poem translator. A poem translator should explore deep into the mind of the poet to think what he thought and to feel what he felt, so that the “overlap of mind” could occur and the cultural and linguistic barriers could be surpassed. Thus the translation could achieve “fidelity to the original” in both “meaning” and “atmosphere”. Pound doesn’t put much emphasis on words and sentences. Instead, he puts himself in the position of the poet and summarizes the poet’s thoughts and emotions, then turns it into the target language. Words and sentences are not the source text for him, but merely a media to introduce him to the source text, which is the thoughts and feeling of the poet.

Pound’s emphasis is less on the “meaning” of the translated text or even on the meaning of specific words. He emphasizes the rhythm, diction, and movement of words. By the movement of words, he refers to the contextual meaning and the intertextual. Pound thinks the “meaning” of a work of art can never be fixed; it changes as language changes. The range of associations of the words within an original work of art would differ with its new versions in a different age or culture. Pound explains the energy of languages as “words construction new relations to other words at any particular place and time, this quality lends language its energy”. Pound also takes words as “electrified”, the interaction of which could generate energy. Here Pound is actually talking about contextual meaning. He thinks new relations of words forms new meaning, that’s “the energy of language”. As words are not isolated from context, translator should bear in mind the context of the source text.

Pound’s theory of translation requires the translator to keep the historical atmosphere in which the words occur so that the translation process reveals not just what the words mean, but also their various implications. He believes that meaning is not something abstract and part of a universal language, but something that is always located in historical settings-the “atmosphere” in which that meaning occurs. To unpack the meaning, one has to know the history and reconstruct the atmosphere in which that the meaning occurs. Pound says, “Three or four words in exact just apposition are capable of radiating this energy at a very high potentially....The peculiar energy which fills words is the power of tradition, of centuries of race consciousness, of agreement, of association.”（Guo Jianzhong：2000，57）

==The Comparative Study on Image Translation of the Classical Chinese Poetry between Xu and Pound==

Different cultural backgrounds between China and western countries must lead a lot of diversities in the cultural comprehension of the same object, which are the causes of translation divergence. Chinese classical poetry has the characteristics of implicit in connotation, harmonious in metre, bright in rhythm and well-balanced in pattern, so no single theories or schools have given them a satisfactory understanding framework yet. Chinese classical poetry as a relatively independent language world, its transference specially emphasizes the transmission of cultural connotation and aesthetic effect, which is called the transmission of cultural connotation and aesthetic effect, which is called the transmission of “language-image-meaning”(言象意). In Chinese classical philosophy, aesthetics and poetics, “image”（象） is the load of “meaning”(意), therefore, “reflecting through image”(象思维) and “expressing through image”(象表达) are affirmation and belief of Chinese language philosophy, especially poetics. However, English has an evident character of “expressing through language”(言表达), so there must be some problems existed during image transference. The following discussion will give us a comparison among some influential translators’ works. After the detailed analysis, we will have a clear view about their methods of image translation.

===Case Study of Ezra Pound===

Ezra Pound was one of the most influential and innovative poets in the 20th century. As the representative of Western Imagism, Pound makes significant contributions to American poetry not only as a poet but also as a translator, editor, critic and essayist. In order to break away from tradition and romanticism of British poetry, Pound and other imagist poetic principles: (1) To treat things directly whether subjective or objective; (2) To use absolutely no word that does not contribute to the presentation; (3) To compose in sequence of the musical phase, not in sequence of a metronome as regarding rhythm. In Pound’s opinion, image must be concrete and direct which will unfetter the poetic expression from the habit of convention.(Kang Lianxing，2004：114)

Most of the Chinese poems translated by Pound are poems of scenery in Tang Dynasty, which takes mountains, water and vast landscapes as their subjects. Poets of such poems tend to embody their feelings and sentiments in these natural scenes. Chinese classical poetry combines poems and pictures together which get rids of moralization and comments that features the Victorian poetry. Greatly influenced by the writing techniques of Chinese classical poetry, such as the ellipsis of conjunctions and the juxtaposition of images, Pound used them into his poetic creation. Not only his creation but also his translation work caused a tremendous stir in American poetic circle. In 1915, Pound published his most influential translation work Cathy which is the first collection of translated Chinese poetry published in America.

Pound’s translation of Chinese classical poetry is not a mechanical one, but an innovative reconstruction. Some of the reconstructions are ignorant, but some are designed. Ignorant or designed, Pound’s translation is highly valuable. It gives us some inspiration in image translation. A study on Pound’s image translation of Chinese classical poetry would shed light on the research goal of the following thesis. A designed example can be taken as the best one to explore Pound’s creative translation. It also reflects the language difference between Chinese and English:

送友人（李白）
青山横北郭，白水绕东城。
此地一为别，孤蓬万里征。
浮云游子意，落日故人情。
挥手自兹去，萧萧班马鸣。

The theme of the poem is about saying farewell to a departing friend. Under this theme, vivid images are scattered skillfully in every line of the poem which can be classified into two categories-those don’t have cultural connotations, such as “青山”, “万里”, “东城”, and those culture-loaded, such as “孤蓬”, “万里”, “浮云”, “游子”, “落日”, The third line is juxtaposition of images with deep connotations: the image “浮云” is used as a metaphor to express the wandering life of the poet’s friend, while the image “落日” is used to convey the poet’s reluctance to part with his friend. The affection between the poet and his friend reaches climax in the fourth line. The image “斑马” means a stray and lonely horse. Horses can understand their masters’ affection and neigh to express their grief over parting. It is through a series of rich images that the poet expresses his deep affection to the departing friend vividly. Let’s take a look at Pound’s translation:

Taking Leaves of a Friend(Li Bai)
Blue mountains to the north of the walls,
White river winding about them;
Here we must make separation
And go out through thousand miles of dead grass.
Mind like a floating wide cloud.
Sunset like the parting of old acquaintances
Who bow over their clasped hands at a distance.
Our horses neigh to each other as we are departing.

From the translation of the title “Taking Leave of a Friend”, we can see Pound’s recreation. The phrase “take leave of” in English refers to the subject’s departure, but it is clear that the original title is the friend’s departure. The poet sees his friend off not the poet himself leaving. It is accredited that the first two lines are almost word for word translation because the non-cultural loaded images are ranged neatly from his translation. In the fourth line, “孤蓬” is a culture-loaded image which is usually compared to a person who leads a wandering life and has no one to depend on in the classical Chinese literature. Although it is not mentioned in original poem whether the poet’s friend leaves by boat or horseback, Pound gets information from “萧萧班马鸣”, so he uses “dead grass” to show that two friends are sadly departing on the grassland. This is a faithful but rigid translation which loses aesthetic equivalence. “万里” is also not a simple image. Pound translates it in the form of the target language, which turns out that he ignores it is not the actual figure “一万里”, but implies the remote way the friend has to take. “浮云游子意，落日故人情” is the key in delivering the original poem’s sensation for its concise and profound images. The juxtaposed and vivid images directly constitute two metaphors, and thus endless meanings and sensation are conveyed in such ten characters. Pound here uses two “like” to target readers about the inner meaning of “floating cloud” and “sunset” in Chinese literature.
About translation type, Pound adopts imitation, which means to form and individual style. In image translation, Pound always tries his best to combine his feelings with the poet, and no convey the mood of thinking and emotion in the original poem into the target language. We must admit that some of his translation is not words or lines. He emphasizes each single image and individual detail which he thinks reveal the truth of the original poem. Ezra Pound was not familiar with Chinese culture, even did not know Chinese language when he translated these poems, which is the main reason causing cultural misunderstanding and image translation. Correctly Understanding on the semantic meaning of the original image is the foundation of conveying aesthetic feeling of the original poem equivalently.

===Case Study of Xu Yuanchong===

It is widely accepted that Xu Yuanchong is prolific and influential poetry translator in contemporary Chinese academic who has published more than sixty books about translation and practice in his more than sixty years of translation career. With the painstaking research about literary translation, Xu Yuanchong has established a set of translation theories of his own, one of which-theory of three beauties (beauty in sense, in mind and in form)-gives light to our image translation. Beauty in sense is the most important one which means that in translating a poem, the translator should not only translate the surface meaning of the poem, but also the deep sense of it, or even the sense beyond the literal level. “sense” in Xu Yuanchong’s theory not only refers to meaning, but also refers to aesthetic conception, thus his beauty in sense could be interpreted as trying to present the aesthetic conception and poetic beauty of the original poem. Let’s choose Li Bai’s Farewell to A Friend(《送友人》) as an example again to appreciate Xu Yuanchong’s beauty in images in his translation work:

Farewell to A Friend
Blue mountains bar the northern sky;
While river girds the eastern town.
Here is the place to say goodbye;
You’ll drift like lonely thistledown.
With floating cloud you’ll float away;
Like parting day I’ll part from you.
You wave your hand and go your way;
Your steed still neighs, “Adieu, adieu!” (Xu 2006:123)

Compared with Pound’s translation, this title conveys to us equivalent information of who will leave. Dynamic image “bar” in the first line depicts a magnificent scene that mountains stretch endlessly across the sky, which is closer to Li Bai’s bold and unconstrained poetic style. The image “lonely thistledown” in the second line is more suitable than Pound’s “dead grass”. From this place on, the poet’s friend will drift along just like thistledown blown by the wind, which transmits the deep level sense of “孤蓬”. Pound’s translation of the third line surpasses Xu’s in that Xu’s translation is a kind of recreation which loses deep level sense. If we translate it back into Chinese, it could be “你随着浮云而去，如同分别之日我与你分别一样”. “Floating cloud” and “sunset” are two metaphors. The poet’s friend will leave his hometown, family and friends, so his wife will be unstable like floating cloud. The poet’s affection to his friend is hard to part with just like being sentimentally attached to the sunset. In the last line, “wave hand” and “bow over their clasped hands” are two different ways to say goodbye which embody different cultures between Chine and the West. As for the sound image “萧萧”, Xu Yuanchong uses “adieu” to personalize the horse, which aims to build a sense of parting grief. Though the two translations have their own strong points, Xu Yuanchong’s version seems more likely to present the original beauty of images.

To grasp cultural-loaded image well is the key point in image translation. Compared with Pound, Professor Xu seems more dominant to translate Chinese classical poetry because he is accomplished in Chinese language and culture. During the sixty years’ research, Xu Yuancong takes promoting Chinese culture as his responsibility, and id dedicated to the cultural communication between China and Western countries. From some of Xu Yuanchong’s translation we find that Xu is inclined to target-culture-oriented translation, and sometimes in order to keep aesthetic conception of the original poem, he will recreate the poem according to his understanding towards the poet’ s affection.

==Conclusions==

In the thesis of the conclusion, skopos theory is employed to analyze Xu Yuanchong’s and Ezra Pound’s different translation purposes, which lead to their different strategies in their translation practice, and that is the reason of their different versions of the same original texts.

In his preface to The Art of Translation, Xu Yuanchong proposes that it should be translators’ obligation to bring the essence of the world culture into the Chinese culture and introduce the best of the Chinese culture to the whole world. He believes that translation is the catalyst in the integration of Chinese culture with the world civilization and that classical Chinese poetry is, undoubtedly, the greatest and everlasting contribution China has made to the world civilization, which is the reason why Xu Yuanchong chooses poetry as his translation object. In other words, the purpose of Xu Yuanchong’s translation of classical poetry lies in introducing and spreading to the world the gorgeous Chinese culture.

As for Ezra Pound, there are two reasons why he turns to the East and translates classical Chinese poetry. The first is the background Pound was in. At the turn of the twentieth century, English literature was dominated by conservatism. Unable to bear the monotonous and dull Victorian poems, Pound hurled himself into transforming British verse and into saving tottering civilization by injecting into it the cultures of the past and the alien. In the process of his exploration, Pound ran into classical Chinese poetry in which he found great interest and was greatly enlightened. The second reason is that Pound is the advocate of the Imagist Movement. He finds values in classical Chinese poetry because classical Chinese poetry is, by virtue of the ideographic and pictographic nature of the Chinese language, essentially imagist poetry. Therefore, classical Chinese poetry satisfies his poetic intent to some extent. By translating classical Chinese poetry, he hopes to make it clear that the presentation of individual images and the superposition of images can help regain immediate experiences. The Imagist Poetics has greatly influenced him, making him manipulate translations to serve his poetic innovations.

As Xu and Pound have different purposes of translating classical Chinese poetry, they have different criteria for their selection of the source text. Xu aims at introducing the best part of Chinese culture to the world. So long as a poem is beautiful and represents a certain aspect of the essence of Chinese culture, Xu is ready to work on it. But it’s not the case with Pound. In the 150 poems in Ernest Fenollosa’s manuscripts-the resourse where Pound obtains notes about classical Chinese poetry, he carefully selects 19 poems, the images and poetic sentiment of which he feels may best represent and promote his Imagist Movement.

==REFERENCES==

*Albright, D.1997. Quantum Poetics – Yeats, Pound, Eliot and the Science of Modernism. Cambridge: Cambridge University Press.
*Cheadle, M.P. 1997. Ezra Pound’s Confucian Translations. East Lansing: The University of Michigan Press.
*Edwin, Gentzler 1990. Contemporary Translation Theories. Cambridge: Cambridge University Press.
*Kenner, H. 1953. Introduction to the Translation of Ezra Pound. Terre Haute: Indiana University Press.
*Nida, E.A. 1993, Language, Culture, and Translating. Shanghai: Shanghai Foreign Language Education Press.
*Xu, Yuan. Translation Techniques in Image Reproduction. Beijing: Beijing Language and Culture University, 2002.
*Xu Yuanchong. 300 Tang Poems. Beijing: Chinese Translation press
*Xu Yuanchong, 1994. Song of The Immortals—An Anthology of Classical Chinese Poetry. Beijing: New World Press.
*Xu Yuanchong, 1991, Development of Verse Translation, 《外国语》第1 期，35-45页 Foreign Languages, Issue 1, Page 35-45
*Zhao Yiheng 赵毅衡，1985，《远游的诗神》 The poetic god of distant wanderings，重庆：四川人民出版社 Chongqing:Sichuan People's Publishing House.
*Guo Jianzhong 郭建中，1999，《当代美国翻译理论》 Contemporary American Translation Theory，武汉：湖北教育出版社 Wuhan:Hubei Educational Publishing House.
*Jiang Hongxin 蒋洪新，2001，庞德的《华夏集》探源 An Exploration of Pound's Huaxia Collection,《中国翻译》第1期，56-59页 Chinese Translation, Issue 1, Page 56-59.
*Jiang Hongxin 蒋洪新，2001，庞德的翻译理论研究 A Study of Pound's Theory of Translation，《外国语》第4期, 77-80页 Foreign Languages, Issue 4, Page 77-80.
*Guo Jianzhong 郭建中，2000，美国翻译研讨班和庞德翻译思想 American Translation Seminars and Pound's Ideas on Translation, 《外语与外语教学》第2期 Foreign Languages and Foreign Language Teaching, Issue 2.
*Xu Yuanchong 许渊冲，1998，读“翻译文化竞赛论” Reading "Translation Culture Contest Theory"，《外语与翻译》第2期，15-18页 Foreign Languages and Translation Issue 2, Page 15-18.

Written by: --[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:00, 16 December 2021 (UTC)

Comp Stud Trans EN 6

2021-12-16T03:28:49Z

Wang Yifan21: /* References */

A Comparative Study of English and Chinese Translation——Stative vs. Dynamic

牟一心 Mou Yixin, Hunan Normal University, China

==Abstract==
As we all know, thinking and culture are behind language, and different languages inevitably reflect different ways of thinking and cultural backgrounds. Translation refers to the conversion between different languages, so translation theories and strategies must be based on the comparative analysis of different languages and cultures. The reason why translation is difficult, in the final analysis, is because of language differences and cultural differences. Therefore, comparing and analyzing these differences is one of the important tasks of translation studies. The comparison of different languages is not only conducive to teaching and translation, but also helpful to communication. Through comparative analysis, people can further learn and understand the differences and characteristics between their native language and the foreign language they are learning. In this way, when conducting communicative activities, people are able to pay attention to the respective expression methods of different languages, adapting to these differences and avoiding expression errors or unnecessary misunderstandings, so as to achieve the purpose of effective communication. Based on language and culture, this article is dedicated to studying the dynamic and static issues of in English-Chinese translation. It explains the dynamic differences between English and Chinese in terms of performances, origins, and translation strategies.

==Keywords==
translation; comparative study of English and Chinese; dynamic and stative

==摘要==
众所周知，语言的背后是思维和文化，不同的语言必然反映差异的思维方式和文化背景。翻译指的是不同语言之间的转换，所以翻译理论和技巧必须建立在不同语言和文化的对比分析的基础上。翻译之所以困难，归根结底是因为语言差异和文化差异。因此，对比、分析这些差异，便是翻译学的重要任务之一。不同语言的对比不仅有利于教学和翻译，也有助于语言交际。通过对比分析，人们可以进一步的认识和了解自己的母语和所学习的外语之间的差异和特性。这样，在进行交际活动时，人们就能够注意到不同语言各自的表现方法，以顺应这些差异，避免表达错误或是引起不必要的误解，从而达到有效交际的目的。本文基于语言与文化，致力于研究英汉翻译中的语言动态与静态的问题，分别从表现、根源和翻译策略三个方面来阐释英语和汉语在动态性方面的差异。

==关键词==
翻译；英汉对比；静态与动态

==Introduction==
With the rapid development of globalization, translation plays a more and more important role in international communication. However, translation is never a single issue regarding languages but a very comprehensive one. From a macroscopic view, translation indicates the exchange of two cultures. Therefore, cultural elements are of great significance in translation and the comparative study of different languages should always be taken into consideration. Basically, English tends to be stative while Chinese is a very dynamic language. How this difference of the two languages comes into being? How this divergence influences the translation practice of the two languages? And how can we deal with this issue when translating? This paper aims to discuss and analyze these questions under the background of culture and language. ...translation is playing an increasingly important role in international communication. --[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:26, 16 December 2021 (UTC)

===Differences between English and Chinese languages in terms of dynamism===
In this paper, generally, dynamism refers to the frequency of use of verbs in a language. English tends to use more nouns than Chinese does while Chinese prefers verbs to nouns. In this term, the difference between English and Chinese is conspicuous. The manifestations of different levels of dynamism between English and Chinese will be detailed as follows.

====The stative nature of English====
It is well-known that English is characterized by its heavy use of nouns and prepositions, which can be sufficiently exemplified by the following paragraph:

In the doorway opposite the entrance to the Zipfer Bar, on the other side of the building, the senior policeman looked at his watch. “Over half an hour. You’d better go and have a look. Let’s make sure.”The other policeman nodded and crossed the road. He went into the bar. In less than a minute he reappeared, a worried frown on his face. He came quickly back to his senior. He’s skipped. There’s another way out.

The above quotation carries only one finite verb in each sentence except for the paratactic predicate verbs “go and have”, “nodded and crossed”. There is an elliptical sentence (Over half an hour) that omits its verb. It is not hard to understand that the noun preponderance is doomed to lead to the heavy use of preposition since preposition is the word class that is used before noun in English grammar. As a result, the preponderance of nouns and that of prepositions are closely related in English. In addition, the above example also manifests that the ideographic function of English nouns and prepositions is obvious and strong. English usually uses nouns or prepositions to indicate the meanings that verbs convey in Chinese. For instance, “look” in “have a look” in the above paragraph is a noun, but in Chinese the phrase is translated into“看一看”, in which“看”is a verb. The same is in the case of “a worried frown”, which will be translated into“焦急地皱着眉”in Chinese. And “to” in “the entrance to the Zipfer Bar” is translated to a Chinese verb“通往”(Lian Shuneng,1993:158).
In Britain and American literature, many writers also confirmed the linguistic habit of the heavy use of nouns and prepositions in English in their woks. For example, this is a quotation from Jonathan Swift’s famous essay A Modest Proposal:

I think it is agreed by all parties that this prodigious number of children in the arms, or on the backs, or at the heels of their mothers, and
frequently of their fathers, is in the present deplorable state of the kingdom a very great additional grievance; and, therefore, whoever could find
out a fair, cheap and easy method of making these children sound and useful members of the public as to have his statue set up for a preserve of the
nation.

In detail, the stative nature of English can be seen from six aspects.

Firstly, nominalization is a very common practice in English. Nominalization is to use nouns as substitutes of the concepts expressed by verbs or adjectives. For example, in English, abstract nouns are used to manifest some concepts such as move, behavior, feelings, change, etc. This “preponderance of nouns over verbs” usually makes expressions concise and sentences flexible. It also contributes to natural writing and is helpful to express some complicated contents. These advantages can be observed from the following example:

The doctor arrived extremely quickly and examined the patient uncommonly carefully; the result was that he recovered very speedily.
The doctor’s extremely quick arrival and uncommonly careful examination of the patient brought about his very speed recovery.

As a matter of fact, many linguists in Britain and America pointed that there exists a noun habit in English. More nouns result in increasing prepositions in English. At the same time, verbs with vitality decrease accordingly. Although the nominal style makes a narrative more precise and appropriate, it also leads to abstraction and obscurity. And excessive use of nouns will make a sentence wordy, vague and lifeless(Lian Shuneng,1993: 177). Therefore, a lot of English stylists object the abuse of nominal expressions and advocate more use of vigorous verbs to simplify sentence structures and make a sentence more understandable and lively.

Secondly, English speakers tend to use nouns to indicate agentive nouns and thus avoid the use of verbs. As we know, in English, some abstract nouns are used to express notions of behavior and action, such as realization and completion. Besides, there are a great number of nouns derived from verbs which not only stand for agent but also keep their meanings of verbs. And this kind of nouns usually combined with prepositive adjectives to form some stative structures. For example, a mail order=an order received or shipped through the mail, a day laborer=an unskilled worker paid by the day, a hard worker＝someone who works hard.

Thirdly, in English, it is common to replace adjectives with nouns, which leads to headline phrases. In order to save the layout of a printed paper, people usually try to omit function words and other secondary words and then squeeze stimulating words together to form headlines. Under this circumstance, the multiple uses of nouns is a very effective and attractive way. For instance, January Crude Oil Output Beats Target
This kind of phrases with multiple use of nouns bears very simple structures which greatly facilitates expressions of crucial information with few words while a great deal of information. Given its advantages, apart from headlines of newspapers and journals, this expression has been used in a wide range in modern English,“The whole tendency of the modern language is towards doing away with adjectives, or at least, using nouns as epithets.”(Foster,1981:200) such as gold reserve, generation gap, job opportunity discrimination, etc. Particularly, EST (English for science and technology) take full advantage of the multiple use of nouns and compound nouns, which can be seen from following examples: space shuttle fight test program, computer programming teaching device manual and satellite communications ground station equipment repairer.
There is no denying that the multiple uses of nouns strengthens the preponderance of nouns over verbs in English, but noun pileups should be avoided for the reasons have been stated above.

Fourthly, noun preponderance brings about preposition preponderance. As we all know, prepositions are used in front of nouns or noun phrases. Due to the noun preference, it is natural to see more prepositions in English as well. As the morphological changes of nouns and adjectives are greatly abandoned, propositions instead bear some functions of morphological changes. When the noun preponderance is combined with preposition preponderance, the stative tendency of English becomes more conspicuous. As prepositions in English are used very frequently, some scholars even named English as “the language of preposition”. The following sentence can serve as a great exemplification of this feature of English:

Adequate clearance between the rear face of the last stack in the load and inside surface of the rear doors was provided to enable the refrigerated air flowing from the front to the rear of the trailer to enter the longitudinal air channels through the load which opened on the rear of the load at this point.

In addition, English usually replaces verb phrases with preposition phrases, which means it replaces “dynamic” with “stative”. For example:

He is at his books. (He is reading books)
With these words he went away. (After saying these words, he went away.)
They immediately set out in pursuit of the enemy. (They immediately set out to pursue the enemy.)

What’s more, in English, a series of preposition phrases are usually combined with weak verbs (be, seem, look, become, etc.) and “ponderous” nouns. (Liu Miqing,1991:219)The argument can be efficiently testified by the following letter in reply which is roundabout:

In view of the fact that Mr. Jones is not very well, I am taking the opportunity of replying on his behalf.
Our company’s well-defined position is that it stands ready at all times to co-operate with your firm whenever it is called upon to do so. The majority of stockholders are in complete sympathy with your company's goals and objectives in regard to the construction of a new plant. It may be within your recollection that prior to 1963, this company tendered your company a loan consisting of a large amount of money in order to put it in a solvent and strong financial position. The occasion was the time of your company's most ambitious retooling operation, when it was hardly in a position to utilize existing resources. Despite the fact that the company had many obstacles to overcome, it did not wait until such time as the situation would improve. The loan was repaid in short order. It is because of this fact that our company continually displays the utmost confidence in the operations of your company.

In conclusion, it is common to see that a number of weak phrases in English manifest the “noun plus preposition” format. This kind of phrases usually weakens or dilutes the meanings of verbs, adjectives and other words which they originally are to express. As a result, the narration becomes circumlocutory and the dynamicity is weakened and the static state is strengthened. For instance: of great significance (significant), afford an opportunity to (allow), in view of the foregoing circumstances (therefore).

However, some English stylists hold that the abuse of the debilitated style is not a good phenomenon because excessive use of these phrases will make expressions wordy, verbose and lifeless which should not be advocated.“Strings of nouns depending on one another and the use of compound prepositions are the most conspicuous symptoms of the periphrastic malady,and writers should be on the watch for these in their own composition.”(H.W.,1965:446) Therefore, there are increasing scholars argue that plain, lively and direct words should be used more in writing so as to lessen the stative feature of English.

Fifthly, the weakening and grammaticalization of verbs in English is very obvious. As a matter of fact, the most frequently used verb in English is exactly the word bears the least meaning of action--to be and its varieties including there be, must be, may be and should be and so on. In particular, the sentence led by “it” or “there” and “be” manifests more stative tendency than that of others, which can be seen from the following comparisons:

There was a tropical storm off the east coast of Florida.
A tropical storm lashed the east coast of Florida.
It was the finding of the committee that there had been bribes paid by company managers to foreign officials.
The committee found that company managers had bribed foreign officials.

Apart from be, have, become, grow, feel, go, come, get and do are also commonly used verbs of feeble phenomenality in English.Also, in English, it is a common practice to transform or derive a verb into a noun and put it after a delexical verb (have, make, take, do, etc.) as its object. So there are many expressions as follows in English: take a walk, have a look, do some damages, make a proposal and so on. These verb phrases tend to be powerless and colorless, which can be seen from the following comparison: After he had a quarrel with his boss, Bob quit. VS. After he quarreled with his boss, Bob quit. It is not hard to perceive more strength in the second sentence that directly uses verbs(Ernest,1987:55).

In addition, English often takes gerunds as the objects of delexical verb do, which gives birth to some phrases such as do shopping, do cleaning, do some washing and so on. And another example is here: The combine does the harvesting of the grain. Certainly, this sentence can also be made as: The combine harvests the grain.
Sixthly, adjectives and adverbs are used to indicate the connotations of verbs in English. A great number of verbs can be expressed by adjectives that are derived from them, which can be seen from support and supportive, thank and thankful, create and creative, etc. An adjective derived from a verb are often combined with the weakening of verbs to express the connotation of that verb. For example:

I am doubtful whether he is still alive. (doubt, live)
The teacher thanked her pupils because they are very cooperative. (cooperate well)
The doctor felt sympathetic with his patients. (sympathize)

Besides, in English, adjectives that express mental or physical feelings are often associated with delexical verbs to indicate the connotations of verbs(Henry,1920:201). For instance:

A postman is not afraid of dogs
John seems content just to sit in front of the television all night.

What’s more, adverbs are also used to express the meanings of verbs, which can be manifested in following examples:

I am afraid Mr. Brown is out but he will be in soon.
He’ll be home in half an hour.
Down with the old and up with the new.

To sum up, in English, through the derivation, transformation, weakening and grammaticalization of verbs, non-verbs (nouns, prepositions, adjectives, adverbs, etc) are commonly used to express the meanings of verbs, which is the reason why English is characteristic of stative nature.

====The dynamic nature of Chinese====
Chinese is a language that pays attention to dynamic descriptions. Functionally, verb preponderance is conspicuous in Chinese and this is one of the most important ways of expression in Chinese. The tendency of verb preponderance in Chinese can be seen from the typical instance:

“我决定跳下车去，看看轮子陷进地里究竟有多深。下车后，只听见副司机从车后钻出来大声嚷嚷着，叫司机派人去调拖拉机来拉车，司机看来也没好气，冲着副司机骂了一声：‘乱弹琴！’就甩开膀子，跨着大步，径直往村口走去了。我心想，车陷进地里出不来，两位司机又不和气，要解决问题可就费劲了。倒不如在路边找个地方坐坐，等等看能帮个什么忙……”

The above paragraph contains many sentences which use continuous verbs, of which the first sentence contains six different verbs of different grammatical functions. It is not hard to find serial verb constructions and telescopic forms in the paragraph which is a typical manifestation of various and complicated forms of verbs’ multiple use in a Chinese. Even though these verbs in sentences take vastly different roles but their morphs have not been changed at all, which is also an important feature of Chinese.

Specifically, the dynamic nature of Chinese can be illustrated from six aspects as well:

Firstly, Chinese verb (phrase) can serve as many other constituents in sentences such as subject, predicate, object, complement, predicative, attribute and adverbial but still remain its original form(Zhang Jing,1986:80), which can be seen from following instance: 学不嫌晚。(“学”is a subject.) 我想妈妈了。(“想”is a predicate.) 我们爱学习。(“学习”is an object.)工人们干起来了。(“起来”is a complement.)
And some phrases with more than one verb can also act as different constituents in a sentence. For example,

实现理想境界要靠辛勤劳动。(“实现理想境界”is a subject and“辛勤劳动”is an object.)

他不停地来回走动，激动得说不出话来。(“不停”is an adverbial and“说不出话来”is a complement.)

解决问题的最好方法是进行调查研究。(“解决问题”is an attribute and“进行调查研究”is a complement.)

Secondly, Chinese verbs can contribute to form an interrogative sentence through the use of affirmative form and negative form at the same time. For example,昨天他来没来呢？今天你开心不开心？她明天去不去啊？

Thirdly, Chinese verbs can serve as auxiliaries. As a matter of fact, in modern Chinese many prepositional auxiliaries and postpositional auxiliaries (complements) are all verbs. There are some common prepositional auxiliaries: 能、会、要、肯、敢、应该、愿意、可能等等。And postpositional auxiliaries mainly include: 来、去、起来、下去、过去、出来等等。Some examples in daily utterances are as follows：“你出来吧”，“我过去吧”，“你去看看他吧”，“他不肯来”，“我来扶您吧”，“说来话长”，“他谈起来就没个完”，“让她猜去吧”，etc. Particularly,“来”or“去”can be put both before and after verbs. Or we can use them respectively before and after a verb at the same time. For example, 他来（去）借书。他走路来（去）了。他来（去）借书来（去）了。Besides, in a sentence,“来”or“去”can be separated from the main verb of the sentence and also can be used to link two verb (phrases). For instance, 我们一起找他去。我拿了一本词典来。你们要想一个办法来（去）帮助她。只有这样来解决问题了。

Fourthly, Chinese verbs can take the role of prepositions. Strictly speaking, in Chinese, most prepositions are evolved from verbs since they still keep certain characteristics of verbs. As Chinese has no morphological changes, it is often difficult to distinguish verbs from prepositions in some contexts, which also leads to some prepositions and verbs exchanging for each other(Zhang Jing,1986:144). For example, “在”in“他在家”is a verb while in“他在家学习”a preposition.“朝”in“窗户朝南”is a verb while in“窗户朝南开”a preposition.“离”in“离京北上”is a verb while in“离沪两百公里”a preposition. And verb’s serving as preposition contributes to strengthen the dynamic tendency of Chinese, which can be seen from following examples: 替他说、为我好、给他讲、把手一甩、拿他开玩笑、从全局出发、离长沙只有十公里。

Fifthly, Chinese verbs usually repeat and overlap to form reiterative locations in different formats such as吵吵嚷嚷、说说笑笑、热闹热闹、比试比试、看一看、读一读、想了想、谈了谈、任劳任怨、有始有终 and some alliterating verb phrases such as 背井离乡、唉声叹气、千变万化, which make up various and vivid verb structures in Chinese. In addition, parallel sentences and balanced sentences are also popular expressions in Chinese. For example,

要钱有钱，要人有人。

说是说了，没有结果；做是做了，没有成功。

我们谈到自己，谈到前途，谈到旅程，谈到天气，谈到彼此的情况——谈到一切，只是不谈我们的男女主人。

It is worth noticing that in modern Chinese two verbs are often combined into one verb which can be called as “dual verb” such as“指控”is produced from the combination of “指责”and“控诉”as“宣讲”is from“宣传”and“讲解”(Zhang Zhigong,1985:261).

Sixthly, in Chinese grammar, the predicate function of adjectives enables them to verbify themselves and then these adjective are called functional verbs, for instance, the adjective“红”in“花儿又红了”serves as the function of the verb“开”(Generally, “开花”is the fixed collocation in Chinese).The same is in the case of“杨柳绿了”and“露水湿了我的衣服”in which “绿”shares the same function with the verb“发芽”and“湿”with“使变潮”.

In conclusion, the multiple functions of Chinese verbs and their repetition, overlapping, combination and compound and different derived expressions all contribute to the dynamic feature of Chinese.

===Origins of the differences between Chinese and English in terms of dynamism===
Basically, I classify the origins of differences between Chinese and English in terms of dynamism into two categories: linguistic origins and cultural origins.

====Linguistic origins====
On the one hand, when using English verbs, we will confront a lot of limitations because generally English has not get rid of inflections yet and the inflectional morphological changes of verbs have not on the wane yet and are still the most stable part in the morphological changes of English word classes. As English verbs take on stable inflectional morphological changes with different morphs bearing different grammatical functions, there is a distinction of finite verbs and infinite verbs in English sentences and every sentence can only carry one finite verb, which is the reason why in English verbs as a word class is limited a lot when used. As a result, in English, a great number of concepts that originally should be expressed by verbs except used in the form of non-finite verbs have to draw support from the word classes beside verbs (mainly nouns and prepositions) to convey their meanings(Sheridan,1985:136).

On the other hand, during the hundreds of years of development from old English to Middle English, the language has undergone a long process of simplification, especially the simplification of nouns and prepositions. The change of case is an example. In old English, nouns have four cases, namely, nominative, genitive, dative and accusative. But as time goes by, the nominative, dative and accusative were gradually mixed into a common case without inflectional changes. The common case refers to the base of a noun such as girl, book and so on. And the formation of the common case greatly promoted the wide range use of nouns. As the development of the common case of nouns, the grammatical and expressive functions of prepositions are strengthened and as discussed before, nouns can be derived and transformed from verbs and are relatively free of the restrictions of inflections so they are more flexible and convenient to use and prepositions are closely related to nouns so they are also used widely in accordance with that of nouns. The preponderances of nouns and prepositions not only decline the frequency of verbs used in English but also weaken the meanings expressed by verbs which results in the weakening and grammaticalization of verbs. Eventually, “preponderance of nouns over verbs” makes expressions stative in English. Last but not least, substituting nouns for verbs makes sentences and meanings more concise and flexible, which conforms to the overall development tendency of Modern English.

On the contrary, Chinese is a language with its words always close to their roots. And Chinese verbs are very stable because they have no inflectional morphological changes. For example, in the sentence“我想去玩玩这个游戏”，the three verbs“想”、“去”、“玩”are all appears in the form of their roots without any limitations of inflections so Chinese verbs are very convenient and flexible to use. What’s more, there is no distinction of finite and infinite verbs in Chinese and verbs with original forms can serve as various constituents in sentences and can be used continuously and multiply even be repeated, overlapped and compounded(Zhang Zhigong,1985:233). And few prepositions in Chinese are nearly all replaced by verbs. Therefore, apart from some sentences without verbs such as“今天国庆节”and“天气真不错”, a lot of Chinese sentences carry more than one verbs, which contributes to the verb preponderance in Chinese and the dynamic tendency of Chinese expressions.

====Cultural origins====
The nominalization of English is combined with its method of abstract diction. Abstract nouns are used frequently in English which results from following reasons. Firstly, abstract thinking is regarded as a kind of superior mind and a mark of civilized man in western countries. Secondly, with the development of science and technology and the progress of civilization, emotional and simple expressions are not sufficient to express more and more flexible and sophisticated concepts so the abstract method gradually becomes popular. In addition, some writers intend to flaunt their “profound” thoughts and be deliberately mystifying so they are fond of abstract nouns in their works(Lian Shuneng,1993:202).

===Translation strategies===
Given the differences between English and Chinese languages in terms of dynamism, when translating, we must pay attention to transform “stative” to “dynamic” or “dynamic” to “stative”. And if necessary, addition and omission should be used to guarantee accurate translation(Liu Miqing,1991:368). There are some examples which help to demonstrate the translation strategies above. ...which can help--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:22, 16 December 2021 (UTC)

Case 1: Because of educational sensitivity to diversity and pluralism in America, policies today are quite different. 现如今，美国对教育中的多元文化现象非常敏感，教育政策也与以往大不相同。
In this case, the former half of the English sentence is a noun structure, but in its Chinese translation, the former half has become a complete sentence with a subject, a predicate and a complement thus the dynamics of the original sentence become stronger and this translation conforms to the Chinese expression habits as well.

Case 2: When teachers are aware of this issue, they can develop an effective support strategy in the classroom for students who show little initiative or independence. 老师意识到这个问题，就可以在课堂上用有效手段帮助那些几乎不去创新或者依赖性很强的学生。
In this case, the adjective “aware” in the English sentence is translated into the verb “意识到” and the nouns “initiative” and “independence” are translated into the verb “创新” and the adjective “依赖性强的” in the Chinese sentence. ...in the Chinese sentences--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:22, 16 December 2021 (UTC)

Case 3: This chapter is about cultural differences in education. 本章将介绍教育方面的文化差异。
In this case, the adverbial “about” in the English sentence is translated into the verb “介绍” in the Chinese sentence.

==Conclusion==
As discussed above, at first the manifestations of the dynamic nature of English and the stative nature of Chinese are respectively analyzed from six aspects. And then the linguistic and cultural origins of the contrastive characteristics of English and Chinese are explained. Lastly, translation strategies in terms of this feature of English and Chinese are introduced. The English and Chinese are so distinct in terms of dynamism, which is a very noticeable aspect in the practice of English-Chinese translation.

==References==

*B.Foster.(1981).The Changing English Language[M], London: the Macmillan Press Ltd.

*Baker, Sheridan.(1985).The Practical Stylist[M], 6th edition. New York: Harper & Row, Publishers, Inc.

*Fowler, H. W.(1965).A Dictionary of Modern English Usage[M], 2nd edition. London: Oxford University Press.

*Growers, Ernest.(1987).The Complete Plain Words[M], new edition. England: Penguin Books Ltd.

*Liu Miqing 刘宓庆 (1991).汉英对比研究与翻译[M] CE-EC Contrastive Studies and Translation.南昌：江西教育出版社 Nanchang: Jiangxi Education Publishing House.

*Lian Shuneng 连淑能 (1993).英汉对比研究[M] Contrastive Studies of English and Chinese.北京：高等教育出版社 Beijing: Higher Education Press.

*Sweet, Henry.(1920).The History of Language[M] London: Aldine House, J.M. Dent & Sons, Ltd.

*Zhang Jing 张静 (1986).新编现代汉语[M] New Edition of Modern Chinese.上海：上海教育出版社 Shanghai: Shanghai Education Press.

*Zhang Zhigong 张志公 (1985).汉语语法的特点和学习[M] The Characteristics and Study of Chinese Grammar.上海：上海教育出版社 Shanghai: Shanghai Education Press.

Written by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 04:33, 12 December 2021 (UTC)

Corrected by:--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:27, 16 December 2021 (UTC)

Comp Stud Trans EN 6

2021-12-16T03:28:20Z

Wang Yifan21: /* References */

A Comparative Study of English and Chinese Translation——Stative vs. Dynamic

牟一心 Mou Yixin, Hunan Normal University, China

==Abstract==
As we all know, thinking and culture are behind language, and different languages inevitably reflect different ways of thinking and cultural backgrounds. Translation refers to the conversion between different languages, so translation theories and strategies must be based on the comparative analysis of different languages and cultures. The reason why translation is difficult, in the final analysis, is because of language differences and cultural differences. Therefore, comparing and analyzing these differences is one of the important tasks of translation studies. The comparison of different languages is not only conducive to teaching and translation, but also helpful to communication. Through comparative analysis, people can further learn and understand the differences and characteristics between their native language and the foreign language they are learning. In this way, when conducting communicative activities, people are able to pay attention to the respective expression methods of different languages, adapting to these differences and avoiding expression errors or unnecessary misunderstandings, so as to achieve the purpose of effective communication. Based on language and culture, this article is dedicated to studying the dynamic and static issues of in English-Chinese translation. It explains the dynamic differences between English and Chinese in terms of performances, origins, and translation strategies.

==Keywords==
translation; comparative study of English and Chinese; dynamic and stative

==摘要==
众所周知，语言的背后是思维和文化，不同的语言必然反映差异的思维方式和文化背景。翻译指的是不同语言之间的转换，所以翻译理论和技巧必须建立在不同语言和文化的对比分析的基础上。翻译之所以困难，归根结底是因为语言差异和文化差异。因此，对比、分析这些差异，便是翻译学的重要任务之一。不同语言的对比不仅有利于教学和翻译，也有助于语言交际。通过对比分析，人们可以进一步的认识和了解自己的母语和所学习的外语之间的差异和特性。这样，在进行交际活动时，人们就能够注意到不同语言各自的表现方法，以顺应这些差异，避免表达错误或是引起不必要的误解，从而达到有效交际的目的。本文基于语言与文化，致力于研究英汉翻译中的语言动态与静态的问题，分别从表现、根源和翻译策略三个方面来阐释英语和汉语在动态性方面的差异。

==关键词==
翻译；英汉对比；静态与动态

==Introduction==
With the rapid development of globalization, translation plays a more and more important role in international communication. However, translation is never a single issue regarding languages but a very comprehensive one. From a macroscopic view, translation indicates the exchange of two cultures. Therefore, cultural elements are of great significance in translation and the comparative study of different languages should always be taken into consideration. Basically, English tends to be stative while Chinese is a very dynamic language. How this difference of the two languages comes into being? How this divergence influences the translation practice of the two languages? And how can we deal with this issue when translating? This paper aims to discuss and analyze these questions under the background of culture and language. ...translation is playing an increasingly important role in international communication. --[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:26, 16 December 2021 (UTC)

===Differences between English and Chinese languages in terms of dynamism===
In this paper, generally, dynamism refers to the frequency of use of verbs in a language. English tends to use more nouns than Chinese does while Chinese prefers verbs to nouns. In this term, the difference between English and Chinese is conspicuous. The manifestations of different levels of dynamism between English and Chinese will be detailed as follows.

====The stative nature of English====
It is well-known that English is characterized by its heavy use of nouns and prepositions, which can be sufficiently exemplified by the following paragraph:

In the doorway opposite the entrance to the Zipfer Bar, on the other side of the building, the senior policeman looked at his watch. “Over half an hour. You’d better go and have a look. Let’s make sure.”The other policeman nodded and crossed the road. He went into the bar. In less than a minute he reappeared, a worried frown on his face. He came quickly back to his senior. He’s skipped. There’s another way out.

The above quotation carries only one finite verb in each sentence except for the paratactic predicate verbs “go and have”, “nodded and crossed”. There is an elliptical sentence (Over half an hour) that omits its verb. It is not hard to understand that the noun preponderance is doomed to lead to the heavy use of preposition since preposition is the word class that is used before noun in English grammar. As a result, the preponderance of nouns and that of prepositions are closely related in English. In addition, the above example also manifests that the ideographic function of English nouns and prepositions is obvious and strong. English usually uses nouns or prepositions to indicate the meanings that verbs convey in Chinese. For instance, “look” in “have a look” in the above paragraph is a noun, but in Chinese the phrase is translated into“看一看”, in which“看”is a verb. The same is in the case of “a worried frown”, which will be translated into“焦急地皱着眉”in Chinese. And “to” in “the entrance to the Zipfer Bar” is translated to a Chinese verb“通往”(Lian Shuneng,1993:158).
In Britain and American literature, many writers also confirmed the linguistic habit of the heavy use of nouns and prepositions in English in their woks. For example, this is a quotation from Jonathan Swift’s famous essay A Modest Proposal:

I think it is agreed by all parties that this prodigious number of children in the arms, or on the backs, or at the heels of their mothers, and
frequently of their fathers, is in the present deplorable state of the kingdom a very great additional grievance; and, therefore, whoever could find
out a fair, cheap and easy method of making these children sound and useful members of the public as to have his statue set up for a preserve of the
nation.

In detail, the stative nature of English can be seen from six aspects.

Firstly, nominalization is a very common practice in English. Nominalization is to use nouns as substitutes of the concepts expressed by verbs or adjectives. For example, in English, abstract nouns are used to manifest some concepts such as move, behavior, feelings, change, etc. This “preponderance of nouns over verbs” usually makes expressions concise and sentences flexible. It also contributes to natural writing and is helpful to express some complicated contents. These advantages can be observed from the following example:

The doctor arrived extremely quickly and examined the patient uncommonly carefully; the result was that he recovered very speedily.
The doctor’s extremely quick arrival and uncommonly careful examination of the patient brought about his very speed recovery.

As a matter of fact, many linguists in Britain and America pointed that there exists a noun habit in English. More nouns result in increasing prepositions in English. At the same time, verbs with vitality decrease accordingly. Although the nominal style makes a narrative more precise and appropriate, it also leads to abstraction and obscurity. And excessive use of nouns will make a sentence wordy, vague and lifeless(Lian Shuneng,1993: 177). Therefore, a lot of English stylists object the abuse of nominal expressions and advocate more use of vigorous verbs to simplify sentence structures and make a sentence more understandable and lively.

Secondly, English speakers tend to use nouns to indicate agentive nouns and thus avoid the use of verbs. As we know, in English, some abstract nouns are used to express notions of behavior and action, such as realization and completion. Besides, there are a great number of nouns derived from verbs which not only stand for agent but also keep their meanings of verbs. And this kind of nouns usually combined with prepositive adjectives to form some stative structures. For example, a mail order=an order received or shipped through the mail, a day laborer=an unskilled worker paid by the day, a hard worker＝someone who works hard.

Thirdly, in English, it is common to replace adjectives with nouns, which leads to headline phrases. In order to save the layout of a printed paper, people usually try to omit function words and other secondary words and then squeeze stimulating words together to form headlines. Under this circumstance, the multiple uses of nouns is a very effective and attractive way. For instance, January Crude Oil Output Beats Target
This kind of phrases with multiple use of nouns bears very simple structures which greatly facilitates expressions of crucial information with few words while a great deal of information. Given its advantages, apart from headlines of newspapers and journals, this expression has been used in a wide range in modern English,“The whole tendency of the modern language is towards doing away with adjectives, or at least, using nouns as epithets.”(Foster,1981:200) such as gold reserve, generation gap, job opportunity discrimination, etc. Particularly, EST (English for science and technology) take full advantage of the multiple use of nouns and compound nouns, which can be seen from following examples: space shuttle fight test program, computer programming teaching device manual and satellite communications ground station equipment repairer.
There is no denying that the multiple uses of nouns strengthens the preponderance of nouns over verbs in English, but noun pileups should be avoided for the reasons have been stated above.

Fourthly, noun preponderance brings about preposition preponderance. As we all know, prepositions are used in front of nouns or noun phrases. Due to the noun preference, it is natural to see more prepositions in English as well. As the morphological changes of nouns and adjectives are greatly abandoned, propositions instead bear some functions of morphological changes. When the noun preponderance is combined with preposition preponderance, the stative tendency of English becomes more conspicuous. As prepositions in English are used very frequently, some scholars even named English as “the language of preposition”. The following sentence can serve as a great exemplification of this feature of English:

Adequate clearance between the rear face of the last stack in the load and inside surface of the rear doors was provided to enable the refrigerated air flowing from the front to the rear of the trailer to enter the longitudinal air channels through the load which opened on the rear of the load at this point.

In addition, English usually replaces verb phrases with preposition phrases, which means it replaces “dynamic” with “stative”. For example:

He is at his books. (He is reading books)
With these words he went away. (After saying these words, he went away.)
They immediately set out in pursuit of the enemy. (They immediately set out to pursue the enemy.)

What’s more, in English, a series of preposition phrases are usually combined with weak verbs (be, seem, look, become, etc.) and “ponderous” nouns. (Liu Miqing,1991:219)The argument can be efficiently testified by the following letter in reply which is roundabout:

In view of the fact that Mr. Jones is not very well, I am taking the opportunity of replying on his behalf.
Our company’s well-defined position is that it stands ready at all times to co-operate with your firm whenever it is called upon to do so. The majority of stockholders are in complete sympathy with your company's goals and objectives in regard to the construction of a new plant. It may be within your recollection that prior to 1963, this company tendered your company a loan consisting of a large amount of money in order to put it in a solvent and strong financial position. The occasion was the time of your company's most ambitious retooling operation, when it was hardly in a position to utilize existing resources. Despite the fact that the company had many obstacles to overcome, it did not wait until such time as the situation would improve. The loan was repaid in short order. It is because of this fact that our company continually displays the utmost confidence in the operations of your company.

In conclusion, it is common to see that a number of weak phrases in English manifest the “noun plus preposition” format. This kind of phrases usually weakens or dilutes the meanings of verbs, adjectives and other words which they originally are to express. As a result, the narration becomes circumlocutory and the dynamicity is weakened and the static state is strengthened. For instance: of great significance (significant), afford an opportunity to (allow), in view of the foregoing circumstances (therefore).

However, some English stylists hold that the abuse of the debilitated style is not a good phenomenon because excessive use of these phrases will make expressions wordy, verbose and lifeless which should not be advocated.“Strings of nouns depending on one another and the use of compound prepositions are the most conspicuous symptoms of the periphrastic malady,and writers should be on the watch for these in their own composition.”(H.W.,1965:446) Therefore, there are increasing scholars argue that plain, lively and direct words should be used more in writing so as to lessen the stative feature of English.

Fifthly, the weakening and grammaticalization of verbs in English is very obvious. As a matter of fact, the most frequently used verb in English is exactly the word bears the least meaning of action--to be and its varieties including there be, must be, may be and should be and so on. In particular, the sentence led by “it” or “there” and “be” manifests more stative tendency than that of others, which can be seen from the following comparisons:

There was a tropical storm off the east coast of Florida.
A tropical storm lashed the east coast of Florida.
It was the finding of the committee that there had been bribes paid by company managers to foreign officials.
The committee found that company managers had bribed foreign officials.

Apart from be, have, become, grow, feel, go, come, get and do are also commonly used verbs of feeble phenomenality in English.Also, in English, it is a common practice to transform or derive a verb into a noun and put it after a delexical verb (have, make, take, do, etc.) as its object. So there are many expressions as follows in English: take a walk, have a look, do some damages, make a proposal and so on. These verb phrases tend to be powerless and colorless, which can be seen from the following comparison: After he had a quarrel with his boss, Bob quit. VS. After he quarreled with his boss, Bob quit. It is not hard to perceive more strength in the second sentence that directly uses verbs(Ernest,1987:55).

In addition, English often takes gerunds as the objects of delexical verb do, which gives birth to some phrases such as do shopping, do cleaning, do some washing and so on. And another example is here: The combine does the harvesting of the grain. Certainly, this sentence can also be made as: The combine harvests the grain.
Sixthly, adjectives and adverbs are used to indicate the connotations of verbs in English. A great number of verbs can be expressed by adjectives that are derived from them, which can be seen from support and supportive, thank and thankful, create and creative, etc. An adjective derived from a verb are often combined with the weakening of verbs to express the connotation of that verb. For example:

I am doubtful whether he is still alive. (doubt, live)
The teacher thanked her pupils because they are very cooperative. (cooperate well)
The doctor felt sympathetic with his patients. (sympathize)

Besides, in English, adjectives that express mental or physical feelings are often associated with delexical verbs to indicate the connotations of verbs(Henry,1920:201). For instance:

A postman is not afraid of dogs
John seems content just to sit in front of the television all night.

What’s more, adverbs are also used to express the meanings of verbs, which can be manifested in following examples:

I am afraid Mr. Brown is out but he will be in soon.
He’ll be home in half an hour.
Down with the old and up with the new.

To sum up, in English, through the derivation, transformation, weakening and grammaticalization of verbs, non-verbs (nouns, prepositions, adjectives, adverbs, etc) are commonly used to express the meanings of verbs, which is the reason why English is characteristic of stative nature.

====The dynamic nature of Chinese====
Chinese is a language that pays attention to dynamic descriptions. Functionally, verb preponderance is conspicuous in Chinese and this is one of the most important ways of expression in Chinese. The tendency of verb preponderance in Chinese can be seen from the typical instance:

“我决定跳下车去，看看轮子陷进地里究竟有多深。下车后，只听见副司机从车后钻出来大声嚷嚷着，叫司机派人去调拖拉机来拉车，司机看来也没好气，冲着副司机骂了一声：‘乱弹琴！’就甩开膀子，跨着大步，径直往村口走去了。我心想，车陷进地里出不来，两位司机又不和气，要解决问题可就费劲了。倒不如在路边找个地方坐坐，等等看能帮个什么忙……”

The above paragraph contains many sentences which use continuous verbs, of which the first sentence contains six different verbs of different grammatical functions. It is not hard to find serial verb constructions and telescopic forms in the paragraph which is a typical manifestation of various and complicated forms of verbs’ multiple use in a Chinese. Even though these verbs in sentences take vastly different roles but their morphs have not been changed at all, which is also an important feature of Chinese.

Specifically, the dynamic nature of Chinese can be illustrated from six aspects as well:

Firstly, Chinese verb (phrase) can serve as many other constituents in sentences such as subject, predicate, object, complement, predicative, attribute and adverbial but still remain its original form(Zhang Jing,1986:80), which can be seen from following instance: 学不嫌晚。(“学”is a subject.) 我想妈妈了。(“想”is a predicate.) 我们爱学习。(“学习”is an object.)工人们干起来了。(“起来”is a complement.)
And some phrases with more than one verb can also act as different constituents in a sentence. For example,

实现理想境界要靠辛勤劳动。(“实现理想境界”is a subject and“辛勤劳动”is an object.)

他不停地来回走动，激动得说不出话来。(“不停”is an adverbial and“说不出话来”is a complement.)

解决问题的最好方法是进行调查研究。(“解决问题”is an attribute and“进行调查研究”is a complement.)

Secondly, Chinese verbs can contribute to form an interrogative sentence through the use of affirmative form and negative form at the same time. For example,昨天他来没来呢？今天你开心不开心？她明天去不去啊？

Thirdly, Chinese verbs can serve as auxiliaries. As a matter of fact, in modern Chinese many prepositional auxiliaries and postpositional auxiliaries (complements) are all verbs. There are some common prepositional auxiliaries: 能、会、要、肯、敢、应该、愿意、可能等等。And postpositional auxiliaries mainly include: 来、去、起来、下去、过去、出来等等。Some examples in daily utterances are as follows：“你出来吧”，“我过去吧”，“你去看看他吧”，“他不肯来”，“我来扶您吧”，“说来话长”，“他谈起来就没个完”，“让她猜去吧”，etc. Particularly,“来”or“去”can be put both before and after verbs. Or we can use them respectively before and after a verb at the same time. For example, 他来（去）借书。他走路来（去）了。他来（去）借书来（去）了。Besides, in a sentence,“来”or“去”can be separated from the main verb of the sentence and also can be used to link two verb (phrases). For instance, 我们一起找他去。我拿了一本词典来。你们要想一个办法来（去）帮助她。只有这样来解决问题了。

Fourthly, Chinese verbs can take the role of prepositions. Strictly speaking, in Chinese, most prepositions are evolved from verbs since they still keep certain characteristics of verbs. As Chinese has no morphological changes, it is often difficult to distinguish verbs from prepositions in some contexts, which also leads to some prepositions and verbs exchanging for each other(Zhang Jing,1986:144). For example, “在”in“他在家”is a verb while in“他在家学习”a preposition.“朝”in“窗户朝南”is a verb while in“窗户朝南开”a preposition.“离”in“离京北上”is a verb while in“离沪两百公里”a preposition. And verb’s serving as preposition contributes to strengthen the dynamic tendency of Chinese, which can be seen from following examples: 替他说、为我好、给他讲、把手一甩、拿他开玩笑、从全局出发、离长沙只有十公里。

Fifthly, Chinese verbs usually repeat and overlap to form reiterative locations in different formats such as吵吵嚷嚷、说说笑笑、热闹热闹、比试比试、看一看、读一读、想了想、谈了谈、任劳任怨、有始有终 and some alliterating verb phrases such as 背井离乡、唉声叹气、千变万化, which make up various and vivid verb structures in Chinese. In addition, parallel sentences and balanced sentences are also popular expressions in Chinese. For example,

要钱有钱，要人有人。

说是说了，没有结果；做是做了，没有成功。

我们谈到自己，谈到前途，谈到旅程，谈到天气，谈到彼此的情况——谈到一切，只是不谈我们的男女主人。

It is worth noticing that in modern Chinese two verbs are often combined into one verb which can be called as “dual verb” such as“指控”is produced from the combination of “指责”and“控诉”as“宣讲”is from“宣传”and“讲解”(Zhang Zhigong,1985:261).

Sixthly, in Chinese grammar, the predicate function of adjectives enables them to verbify themselves and then these adjective are called functional verbs, for instance, the adjective“红”in“花儿又红了”serves as the function of the verb“开”(Generally, “开花”is the fixed collocation in Chinese).The same is in the case of“杨柳绿了”and“露水湿了我的衣服”in which “绿”shares the same function with the verb“发芽”and“湿”with“使变潮”.

In conclusion, the multiple functions of Chinese verbs and their repetition, overlapping, combination and compound and different derived expressions all contribute to the dynamic feature of Chinese.

===Origins of the differences between Chinese and English in terms of dynamism===
Basically, I classify the origins of differences between Chinese and English in terms of dynamism into two categories: linguistic origins and cultural origins.

====Linguistic origins====
On the one hand, when using English verbs, we will confront a lot of limitations because generally English has not get rid of inflections yet and the inflectional morphological changes of verbs have not on the wane yet and are still the most stable part in the morphological changes of English word classes. As English verbs take on stable inflectional morphological changes with different morphs bearing different grammatical functions, there is a distinction of finite verbs and infinite verbs in English sentences and every sentence can only carry one finite verb, which is the reason why in English verbs as a word class is limited a lot when used. As a result, in English, a great number of concepts that originally should be expressed by verbs except used in the form of non-finite verbs have to draw support from the word classes beside verbs (mainly nouns and prepositions) to convey their meanings(Sheridan,1985:136).

On the other hand, during the hundreds of years of development from old English to Middle English, the language has undergone a long process of simplification, especially the simplification of nouns and prepositions. The change of case is an example. In old English, nouns have four cases, namely, nominative, genitive, dative and accusative. But as time goes by, the nominative, dative and accusative were gradually mixed into a common case without inflectional changes. The common case refers to the base of a noun such as girl, book and so on. And the formation of the common case greatly promoted the wide range use of nouns. As the development of the common case of nouns, the grammatical and expressive functions of prepositions are strengthened and as discussed before, nouns can be derived and transformed from verbs and are relatively free of the restrictions of inflections so they are more flexible and convenient to use and prepositions are closely related to nouns so they are also used widely in accordance with that of nouns. The preponderances of nouns and prepositions not only decline the frequency of verbs used in English but also weaken the meanings expressed by verbs which results in the weakening and grammaticalization of verbs. Eventually, “preponderance of nouns over verbs” makes expressions stative in English. Last but not least, substituting nouns for verbs makes sentences and meanings more concise and flexible, which conforms to the overall development tendency of Modern English.

On the contrary, Chinese is a language with its words always close to their roots. And Chinese verbs are very stable because they have no inflectional morphological changes. For example, in the sentence“我想去玩玩这个游戏”，the three verbs“想”、“去”、“玩”are all appears in the form of their roots without any limitations of inflections so Chinese verbs are very convenient and flexible to use. What’s more, there is no distinction of finite and infinite verbs in Chinese and verbs with original forms can serve as various constituents in sentences and can be used continuously and multiply even be repeated, overlapped and compounded(Zhang Zhigong,1985:233). And few prepositions in Chinese are nearly all replaced by verbs. Therefore, apart from some sentences without verbs such as“今天国庆节”and“天气真不错”, a lot of Chinese sentences carry more than one verbs, which contributes to the verb preponderance in Chinese and the dynamic tendency of Chinese expressions.

====Cultural origins====
The nominalization of English is combined with its method of abstract diction. Abstract nouns are used frequently in English which results from following reasons. Firstly, abstract thinking is regarded as a kind of superior mind and a mark of civilized man in western countries. Secondly, with the development of science and technology and the progress of civilization, emotional and simple expressions are not sufficient to express more and more flexible and sophisticated concepts so the abstract method gradually becomes popular. In addition, some writers intend to flaunt their “profound” thoughts and be deliberately mystifying so they are fond of abstract nouns in their works(Lian Shuneng,1993:202).

===Translation strategies===
Given the differences between English and Chinese languages in terms of dynamism, when translating, we must pay attention to transform “stative” to “dynamic” or “dynamic” to “stative”. And if necessary, addition and omission should be used to guarantee accurate translation(Liu Miqing,1991:368). There are some examples which help to demonstrate the translation strategies above. ...which can help--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:22, 16 December 2021 (UTC)

Case 1: Because of educational sensitivity to diversity and pluralism in America, policies today are quite different. 现如今，美国对教育中的多元文化现象非常敏感，教育政策也与以往大不相同。
In this case, the former half of the English sentence is a noun structure, but in its Chinese translation, the former half has become a complete sentence with a subject, a predicate and a complement thus the dynamics of the original sentence become stronger and this translation conforms to the Chinese expression habits as well.

Case 2: When teachers are aware of this issue, they can develop an effective support strategy in the classroom for students who show little initiative or independence. 老师意识到这个问题，就可以在课堂上用有效手段帮助那些几乎不去创新或者依赖性很强的学生。
In this case, the adjective “aware” in the English sentence is translated into the verb “意识到” and the nouns “initiative” and “independence” are translated into the verb “创新” and the adjective “依赖性强的” in the Chinese sentence. ...in the Chinese sentences--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:22, 16 December 2021 (UTC)

Case 3: This chapter is about cultural differences in education. 本章将介绍教育方面的文化差异。
In this case, the adverbial “about” in the English sentence is translated into the verb “介绍” in the Chinese sentence.

==Conclusion==
As discussed above, at first the manifestations of the dynamic nature of English and the stative nature of Chinese are respectively analyzed from six aspects. And then the linguistic and cultural origins of the contrastive characteristics of English and Chinese are explained. Lastly, translation strategies in terms of this feature of English and Chinese are introduced. The English and Chinese are so distinct in terms of dynamism, which is a very noticeable aspect in the practice of English-Chinese translation.

==References==

*B.Foster.(1981).The Changing English Language[M], London: the Macmillan Press Ltd.

*Baker, Sheridan.(1985).The Practical Stylist[M], 6th edition. New York: Harper & Row, Publishers, Inc.

*Fowler, H. W.(1965).A Dictionary of Modern English Usage[M], 2nd edition. London: Oxford University Press.

*Growers, Ernest.(1987).The Complete Plain Words[M], new edition. England: Penguin Books Ltd.

*Liu Miqing 刘宓庆 (1991).汉英对比研究与翻译[M] CE-EC Contrastive Studies and Translation.南昌：江西教育出版社 Nanchang: Jiangxi Education Publishing House.

*Lian Shuneng 连淑能 (1993).英汉对比研究[M] Contrastive Studies of English and Chinese.北京：高等教育出版社 Beijing: Higher Education Press.

*Sweet, Henry.(1920).The History of Language[M] London: Aldine House, J.M. Dent & Sons, Ltd.

*Zhang Jing 张静 (1986).新编现代汉语[M] New Edition of Modern Chinese.上海：上海教育出版社 Shanghai: Shanghai Education Press.

*Zhang Zhigong 张志公 (1985).汉语语法的特点和学习[M] The Characteristics and Study of Chinese Grammar.上海：上海教育出版社 Shanghai: Shanghai Education Press.

Written by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 04:33, 12 December 2021 (UTC)

Corrected by--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:27, 16 December 2021 (UTC)

Comp Stud Trans EN 6

2021-12-16T03:27:34Z

Wang Yifan21: /* References */

A Comparative Study of English and Chinese Translation——Stative vs. Dynamic

牟一心 Mou Yixin, Hunan Normal University, China

==Abstract==
As we all know, thinking and culture are behind language, and different languages inevitably reflect different ways of thinking and cultural backgrounds. Translation refers to the conversion between different languages, so translation theories and strategies must be based on the comparative analysis of different languages and cultures. The reason why translation is difficult, in the final analysis, is because of language differences and cultural differences. Therefore, comparing and analyzing these differences is one of the important tasks of translation studies. The comparison of different languages is not only conducive to teaching and translation, but also helpful to communication. Through comparative analysis, people can further learn and understand the differences and characteristics between their native language and the foreign language they are learning. In this way, when conducting communicative activities, people are able to pay attention to the respective expression methods of different languages, adapting to these differences and avoiding expression errors or unnecessary misunderstandings, so as to achieve the purpose of effective communication. Based on language and culture, this article is dedicated to studying the dynamic and static issues of in English-Chinese translation. It explains the dynamic differences between English and Chinese in terms of performances, origins, and translation strategies.

==Keywords==
translation; comparative study of English and Chinese; dynamic and stative

==摘要==
众所周知，语言的背后是思维和文化，不同的语言必然反映差异的思维方式和文化背景。翻译指的是不同语言之间的转换，所以翻译理论和技巧必须建立在不同语言和文化的对比分析的基础上。翻译之所以困难，归根结底是因为语言差异和文化差异。因此，对比、分析这些差异，便是翻译学的重要任务之一。不同语言的对比不仅有利于教学和翻译，也有助于语言交际。通过对比分析，人们可以进一步的认识和了解自己的母语和所学习的外语之间的差异和特性。这样，在进行交际活动时，人们就能够注意到不同语言各自的表现方法，以顺应这些差异，避免表达错误或是引起不必要的误解，从而达到有效交际的目的。本文基于语言与文化，致力于研究英汉翻译中的语言动态与静态的问题，分别从表现、根源和翻译策略三个方面来阐释英语和汉语在动态性方面的差异。

==关键词==
翻译；英汉对比；静态与动态

==Introduction==
With the rapid development of globalization, translation plays a more and more important role in international communication. However, translation is never a single issue regarding languages but a very comprehensive one. From a macroscopic view, translation indicates the exchange of two cultures. Therefore, cultural elements are of great significance in translation and the comparative study of different languages should always be taken into consideration. Basically, English tends to be stative while Chinese is a very dynamic language. How this difference of the two languages comes into being? How this divergence influences the translation practice of the two languages? And how can we deal with this issue when translating? This paper aims to discuss and analyze these questions under the background of culture and language. ...translation is playing an increasingly important role in international communication. --[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:26, 16 December 2021 (UTC)

===Differences between English and Chinese languages in terms of dynamism===
In this paper, generally, dynamism refers to the frequency of use of verbs in a language. English tends to use more nouns than Chinese does while Chinese prefers verbs to nouns. In this term, the difference between English and Chinese is conspicuous. The manifestations of different levels of dynamism between English and Chinese will be detailed as follows.

====The stative nature of English====
It is well-known that English is characterized by its heavy use of nouns and prepositions, which can be sufficiently exemplified by the following paragraph:

In the doorway opposite the entrance to the Zipfer Bar, on the other side of the building, the senior policeman looked at his watch. “Over half an hour. You’d better go and have a look. Let’s make sure.”The other policeman nodded and crossed the road. He went into the bar. In less than a minute he reappeared, a worried frown on his face. He came quickly back to his senior. He’s skipped. There’s another way out.

The above quotation carries only one finite verb in each sentence except for the paratactic predicate verbs “go and have”, “nodded and crossed”. There is an elliptical sentence (Over half an hour) that omits its verb. It is not hard to understand that the noun preponderance is doomed to lead to the heavy use of preposition since preposition is the word class that is used before noun in English grammar. As a result, the preponderance of nouns and that of prepositions are closely related in English. In addition, the above example also manifests that the ideographic function of English nouns and prepositions is obvious and strong. English usually uses nouns or prepositions to indicate the meanings that verbs convey in Chinese. For instance, “look” in “have a look” in the above paragraph is a noun, but in Chinese the phrase is translated into“看一看”, in which“看”is a verb. The same is in the case of “a worried frown”, which will be translated into“焦急地皱着眉”in Chinese. And “to” in “the entrance to the Zipfer Bar” is translated to a Chinese verb“通往”(Lian Shuneng,1993:158).
In Britain and American literature, many writers also confirmed the linguistic habit of the heavy use of nouns and prepositions in English in their woks. For example, this is a quotation from Jonathan Swift’s famous essay A Modest Proposal:

I think it is agreed by all parties that this prodigious number of children in the arms, or on the backs, or at the heels of their mothers, and
frequently of their fathers, is in the present deplorable state of the kingdom a very great additional grievance; and, therefore, whoever could find
out a fair, cheap and easy method of making these children sound and useful members of the public as to have his statue set up for a preserve of the
nation.

In detail, the stative nature of English can be seen from six aspects.

Firstly, nominalization is a very common practice in English. Nominalization is to use nouns as substitutes of the concepts expressed by verbs or adjectives. For example, in English, abstract nouns are used to manifest some concepts such as move, behavior, feelings, change, etc. This “preponderance of nouns over verbs” usually makes expressions concise and sentences flexible. It also contributes to natural writing and is helpful to express some complicated contents. These advantages can be observed from the following example:

The doctor arrived extremely quickly and examined the patient uncommonly carefully; the result was that he recovered very speedily.
The doctor’s extremely quick arrival and uncommonly careful examination of the patient brought about his very speed recovery.

As a matter of fact, many linguists in Britain and America pointed that there exists a noun habit in English. More nouns result in increasing prepositions in English. At the same time, verbs with vitality decrease accordingly. Although the nominal style makes a narrative more precise and appropriate, it also leads to abstraction and obscurity. And excessive use of nouns will make a sentence wordy, vague and lifeless(Lian Shuneng,1993: 177). Therefore, a lot of English stylists object the abuse of nominal expressions and advocate more use of vigorous verbs to simplify sentence structures and make a sentence more understandable and lively.

Secondly, English speakers tend to use nouns to indicate agentive nouns and thus avoid the use of verbs. As we know, in English, some abstract nouns are used to express notions of behavior and action, such as realization and completion. Besides, there are a great number of nouns derived from verbs which not only stand for agent but also keep their meanings of verbs. And this kind of nouns usually combined with prepositive adjectives to form some stative structures. For example, a mail order=an order received or shipped through the mail, a day laborer=an unskilled worker paid by the day, a hard worker＝someone who works hard.

Thirdly, in English, it is common to replace adjectives with nouns, which leads to headline phrases. In order to save the layout of a printed paper, people usually try to omit function words and other secondary words and then squeeze stimulating words together to form headlines. Under this circumstance, the multiple uses of nouns is a very effective and attractive way. For instance, January Crude Oil Output Beats Target
This kind of phrases with multiple use of nouns bears very simple structures which greatly facilitates expressions of crucial information with few words while a great deal of information. Given its advantages, apart from headlines of newspapers and journals, this expression has been used in a wide range in modern English,“The whole tendency of the modern language is towards doing away with adjectives, or at least, using nouns as epithets.”(Foster,1981:200) such as gold reserve, generation gap, job opportunity discrimination, etc. Particularly, EST (English for science and technology) take full advantage of the multiple use of nouns and compound nouns, which can be seen from following examples: space shuttle fight test program, computer programming teaching device manual and satellite communications ground station equipment repairer.
There is no denying that the multiple uses of nouns strengthens the preponderance of nouns over verbs in English, but noun pileups should be avoided for the reasons have been stated above.

Fourthly, noun preponderance brings about preposition preponderance. As we all know, prepositions are used in front of nouns or noun phrases. Due to the noun preference, it is natural to see more prepositions in English as well. As the morphological changes of nouns and adjectives are greatly abandoned, propositions instead bear some functions of morphological changes. When the noun preponderance is combined with preposition preponderance, the stative tendency of English becomes more conspicuous. As prepositions in English are used very frequently, some scholars even named English as “the language of preposition”. The following sentence can serve as a great exemplification of this feature of English:

Adequate clearance between the rear face of the last stack in the load and inside surface of the rear doors was provided to enable the refrigerated air flowing from the front to the rear of the trailer to enter the longitudinal air channels through the load which opened on the rear of the load at this point.

In addition, English usually replaces verb phrases with preposition phrases, which means it replaces “dynamic” with “stative”. For example:

He is at his books. (He is reading books)
With these words he went away. (After saying these words, he went away.)
They immediately set out in pursuit of the enemy. (They immediately set out to pursue the enemy.)

What’s more, in English, a series of preposition phrases are usually combined with weak verbs (be, seem, look, become, etc.) and “ponderous” nouns. (Liu Miqing,1991:219)The argument can be efficiently testified by the following letter in reply which is roundabout:

In view of the fact that Mr. Jones is not very well, I am taking the opportunity of replying on his behalf.
Our company’s well-defined position is that it stands ready at all times to co-operate with your firm whenever it is called upon to do so. The majority of stockholders are in complete sympathy with your company's goals and objectives in regard to the construction of a new plant. It may be within your recollection that prior to 1963, this company tendered your company a loan consisting of a large amount of money in order to put it in a solvent and strong financial position. The occasion was the time of your company's most ambitious retooling operation, when it was hardly in a position to utilize existing resources. Despite the fact that the company had many obstacles to overcome, it did not wait until such time as the situation would improve. The loan was repaid in short order. It is because of this fact that our company continually displays the utmost confidence in the operations of your company.

In conclusion, it is common to see that a number of weak phrases in English manifest the “noun plus preposition” format. This kind of phrases usually weakens or dilutes the meanings of verbs, adjectives and other words which they originally are to express. As a result, the narration becomes circumlocutory and the dynamicity is weakened and the static state is strengthened. For instance: of great significance (significant), afford an opportunity to (allow), in view of the foregoing circumstances (therefore).

However, some English stylists hold that the abuse of the debilitated style is not a good phenomenon because excessive use of these phrases will make expressions wordy, verbose and lifeless which should not be advocated.“Strings of nouns depending on one another and the use of compound prepositions are the most conspicuous symptoms of the periphrastic malady,and writers should be on the watch for these in their own composition.”(H.W.,1965:446) Therefore, there are increasing scholars argue that plain, lively and direct words should be used more in writing so as to lessen the stative feature of English.

Fifthly, the weakening and grammaticalization of verbs in English is very obvious. As a matter of fact, the most frequently used verb in English is exactly the word bears the least meaning of action--to be and its varieties including there be, must be, may be and should be and so on. In particular, the sentence led by “it” or “there” and “be” manifests more stative tendency than that of others, which can be seen from the following comparisons:

There was a tropical storm off the east coast of Florida.
A tropical storm lashed the east coast of Florida.
It was the finding of the committee that there had been bribes paid by company managers to foreign officials.
The committee found that company managers had bribed foreign officials.

Apart from be, have, become, grow, feel, go, come, get and do are also commonly used verbs of feeble phenomenality in English.Also, in English, it is a common practice to transform or derive a verb into a noun and put it after a delexical verb (have, make, take, do, etc.) as its object. So there are many expressions as follows in English: take a walk, have a look, do some damages, make a proposal and so on. These verb phrases tend to be powerless and colorless, which can be seen from the following comparison: After he had a quarrel with his boss, Bob quit. VS. After he quarreled with his boss, Bob quit. It is not hard to perceive more strength in the second sentence that directly uses verbs(Ernest,1987:55).

In addition, English often takes gerunds as the objects of delexical verb do, which gives birth to some phrases such as do shopping, do cleaning, do some washing and so on. And another example is here: The combine does the harvesting of the grain. Certainly, this sentence can also be made as: The combine harvests the grain.
Sixthly, adjectives and adverbs are used to indicate the connotations of verbs in English. A great number of verbs can be expressed by adjectives that are derived from them, which can be seen from support and supportive, thank and thankful, create and creative, etc. An adjective derived from a verb are often combined with the weakening of verbs to express the connotation of that verb. For example:

I am doubtful whether he is still alive. (doubt, live)
The teacher thanked her pupils because they are very cooperative. (cooperate well)
The doctor felt sympathetic with his patients. (sympathize)

Besides, in English, adjectives that express mental or physical feelings are often associated with delexical verbs to indicate the connotations of verbs(Henry,1920:201). For instance:

A postman is not afraid of dogs
John seems content just to sit in front of the television all night.

What’s more, adverbs are also used to express the meanings of verbs, which can be manifested in following examples:

I am afraid Mr. Brown is out but he will be in soon.
He’ll be home in half an hour.
Down with the old and up with the new.

To sum up, in English, through the derivation, transformation, weakening and grammaticalization of verbs, non-verbs (nouns, prepositions, adjectives, adverbs, etc) are commonly used to express the meanings of verbs, which is the reason why English is characteristic of stative nature.

====The dynamic nature of Chinese====
Chinese is a language that pays attention to dynamic descriptions. Functionally, verb preponderance is conspicuous in Chinese and this is one of the most important ways of expression in Chinese. The tendency of verb preponderance in Chinese can be seen from the typical instance:

“我决定跳下车去，看看轮子陷进地里究竟有多深。下车后，只听见副司机从车后钻出来大声嚷嚷着，叫司机派人去调拖拉机来拉车，司机看来也没好气，冲着副司机骂了一声：‘乱弹琴！’就甩开膀子，跨着大步，径直往村口走去了。我心想，车陷进地里出不来，两位司机又不和气，要解决问题可就费劲了。倒不如在路边找个地方坐坐，等等看能帮个什么忙……”

The above paragraph contains many sentences which use continuous verbs, of which the first sentence contains six different verbs of different grammatical functions. It is not hard to find serial verb constructions and telescopic forms in the paragraph which is a typical manifestation of various and complicated forms of verbs’ multiple use in a Chinese. Even though these verbs in sentences take vastly different roles but their morphs have not been changed at all, which is also an important feature of Chinese.

Specifically, the dynamic nature of Chinese can be illustrated from six aspects as well:

Firstly, Chinese verb (phrase) can serve as many other constituents in sentences such as subject, predicate, object, complement, predicative, attribute and adverbial but still remain its original form(Zhang Jing,1986:80), which can be seen from following instance: 学不嫌晚。(“学”is a subject.) 我想妈妈了。(“想”is a predicate.) 我们爱学习。(“学习”is an object.)工人们干起来了。(“起来”is a complement.)
And some phrases with more than one verb can also act as different constituents in a sentence. For example,

实现理想境界要靠辛勤劳动。(“实现理想境界”is a subject and“辛勤劳动”is an object.)

他不停地来回走动，激动得说不出话来。(“不停”is an adverbial and“说不出话来”is a complement.)

解决问题的最好方法是进行调查研究。(“解决问题”is an attribute and“进行调查研究”is a complement.)

Secondly, Chinese verbs can contribute to form an interrogative sentence through the use of affirmative form and negative form at the same time. For example,昨天他来没来呢？今天你开心不开心？她明天去不去啊？

Thirdly, Chinese verbs can serve as auxiliaries. As a matter of fact, in modern Chinese many prepositional auxiliaries and postpositional auxiliaries (complements) are all verbs. There are some common prepositional auxiliaries: 能、会、要、肯、敢、应该、愿意、可能等等。And postpositional auxiliaries mainly include: 来、去、起来、下去、过去、出来等等。Some examples in daily utterances are as follows：“你出来吧”，“我过去吧”，“你去看看他吧”，“他不肯来”，“我来扶您吧”，“说来话长”，“他谈起来就没个完”，“让她猜去吧”，etc. Particularly,“来”or“去”can be put both before and after verbs. Or we can use them respectively before and after a verb at the same time. For example, 他来（去）借书。他走路来（去）了。他来（去）借书来（去）了。Besides, in a sentence,“来”or“去”can be separated from the main verb of the sentence and also can be used to link two verb (phrases). For instance, 我们一起找他去。我拿了一本词典来。你们要想一个办法来（去）帮助她。只有这样来解决问题了。

Fourthly, Chinese verbs can take the role of prepositions. Strictly speaking, in Chinese, most prepositions are evolved from verbs since they still keep certain characteristics of verbs. As Chinese has no morphological changes, it is often difficult to distinguish verbs from prepositions in some contexts, which also leads to some prepositions and verbs exchanging for each other(Zhang Jing,1986:144). For example, “在”in“他在家”is a verb while in“他在家学习”a preposition.“朝”in“窗户朝南”is a verb while in“窗户朝南开”a preposition.“离”in“离京北上”is a verb while in“离沪两百公里”a preposition. And verb’s serving as preposition contributes to strengthen the dynamic tendency of Chinese, which can be seen from following examples: 替他说、为我好、给他讲、把手一甩、拿他开玩笑、从全局出发、离长沙只有十公里。

Fifthly, Chinese verbs usually repeat and overlap to form reiterative locations in different formats such as吵吵嚷嚷、说说笑笑、热闹热闹、比试比试、看一看、读一读、想了想、谈了谈、任劳任怨、有始有终 and some alliterating verb phrases such as 背井离乡、唉声叹气、千变万化, which make up various and vivid verb structures in Chinese. In addition, parallel sentences and balanced sentences are also popular expressions in Chinese. For example,

要钱有钱，要人有人。

说是说了，没有结果；做是做了，没有成功。

我们谈到自己，谈到前途，谈到旅程，谈到天气，谈到彼此的情况——谈到一切，只是不谈我们的男女主人。

It is worth noticing that in modern Chinese two verbs are often combined into one verb which can be called as “dual verb” such as“指控”is produced from the combination of “指责”and“控诉”as“宣讲”is from“宣传”and“讲解”(Zhang Zhigong,1985:261).

Sixthly, in Chinese grammar, the predicate function of adjectives enables them to verbify themselves and then these adjective are called functional verbs, for instance, the adjective“红”in“花儿又红了”serves as the function of the verb“开”(Generally, “开花”is the fixed collocation in Chinese).The same is in the case of“杨柳绿了”and“露水湿了我的衣服”in which “绿”shares the same function with the verb“发芽”and“湿”with“使变潮”.

In conclusion, the multiple functions of Chinese verbs and their repetition, overlapping, combination and compound and different derived expressions all contribute to the dynamic feature of Chinese.

===Origins of the differences between Chinese and English in terms of dynamism===
Basically, I classify the origins of differences between Chinese and English in terms of dynamism into two categories: linguistic origins and cultural origins.

====Linguistic origins====
On the one hand, when using English verbs, we will confront a lot of limitations because generally English has not get rid of inflections yet and the inflectional morphological changes of verbs have not on the wane yet and are still the most stable part in the morphological changes of English word classes. As English verbs take on stable inflectional morphological changes with different morphs bearing different grammatical functions, there is a distinction of finite verbs and infinite verbs in English sentences and every sentence can only carry one finite verb, which is the reason why in English verbs as a word class is limited a lot when used. As a result, in English, a great number of concepts that originally should be expressed by verbs except used in the form of non-finite verbs have to draw support from the word classes beside verbs (mainly nouns and prepositions) to convey their meanings(Sheridan,1985:136).

On the other hand, during the hundreds of years of development from old English to Middle English, the language has undergone a long process of simplification, especially the simplification of nouns and prepositions. The change of case is an example. In old English, nouns have four cases, namely, nominative, genitive, dative and accusative. But as time goes by, the nominative, dative and accusative were gradually mixed into a common case without inflectional changes. The common case refers to the base of a noun such as girl, book and so on. And the formation of the common case greatly promoted the wide range use of nouns. As the development of the common case of nouns, the grammatical and expressive functions of prepositions are strengthened and as discussed before, nouns can be derived and transformed from verbs and are relatively free of the restrictions of inflections so they are more flexible and convenient to use and prepositions are closely related to nouns so they are also used widely in accordance with that of nouns. The preponderances of nouns and prepositions not only decline the frequency of verbs used in English but also weaken the meanings expressed by verbs which results in the weakening and grammaticalization of verbs. Eventually, “preponderance of nouns over verbs” makes expressions stative in English. Last but not least, substituting nouns for verbs makes sentences and meanings more concise and flexible, which conforms to the overall development tendency of Modern English.

On the contrary, Chinese is a language with its words always close to their roots. And Chinese verbs are very stable because they have no inflectional morphological changes. For example, in the sentence“我想去玩玩这个游戏”，the three verbs“想”、“去”、“玩”are all appears in the form of their roots without any limitations of inflections so Chinese verbs are very convenient and flexible to use. What’s more, there is no distinction of finite and infinite verbs in Chinese and verbs with original forms can serve as various constituents in sentences and can be used continuously and multiply even be repeated, overlapped and compounded(Zhang Zhigong,1985:233). And few prepositions in Chinese are nearly all replaced by verbs. Therefore, apart from some sentences without verbs such as“今天国庆节”and“天气真不错”, a lot of Chinese sentences carry more than one verbs, which contributes to the verb preponderance in Chinese and the dynamic tendency of Chinese expressions.

====Cultural origins====
The nominalization of English is combined with its method of abstract diction. Abstract nouns are used frequently in English which results from following reasons. Firstly, abstract thinking is regarded as a kind of superior mind and a mark of civilized man in western countries. Secondly, with the development of science and technology and the progress of civilization, emotional and simple expressions are not sufficient to express more and more flexible and sophisticated concepts so the abstract method gradually becomes popular. In addition, some writers intend to flaunt their “profound” thoughts and be deliberately mystifying so they are fond of abstract nouns in their works(Lian Shuneng,1993:202).

===Translation strategies===
Given the differences between English and Chinese languages in terms of dynamism, when translating, we must pay attention to transform “stative” to “dynamic” or “dynamic” to “stative”. And if necessary, addition and omission should be used to guarantee accurate translation(Liu Miqing,1991:368). There are some examples which help to demonstrate the translation strategies above. ...which can help--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:22, 16 December 2021 (UTC)

Case 1: Because of educational sensitivity to diversity and pluralism in America, policies today are quite different. 现如今，美国对教育中的多元文化现象非常敏感，教育政策也与以往大不相同。
In this case, the former half of the English sentence is a noun structure, but in its Chinese translation, the former half has become a complete sentence with a subject, a predicate and a complement thus the dynamics of the original sentence become stronger and this translation conforms to the Chinese expression habits as well.

Case 2: When teachers are aware of this issue, they can develop an effective support strategy in the classroom for students who show little initiative or independence. 老师意识到这个问题，就可以在课堂上用有效手段帮助那些几乎不去创新或者依赖性很强的学生。
In this case, the adjective “aware” in the English sentence is translated into the verb “意识到” and the nouns “initiative” and “independence” are translated into the verb “创新” and the adjective “依赖性强的” in the Chinese sentence. ...in the Chinese sentences--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:22, 16 December 2021 (UTC)

Case 3: This chapter is about cultural differences in education. 本章将介绍教育方面的文化差异。
In this case, the adverbial “about” in the English sentence is translated into the verb “介绍” in the Chinese sentence.

==Conclusion==
As discussed above, at first the manifestations of the dynamic nature of English and the stative nature of Chinese are respectively analyzed from six aspects. And then the linguistic and cultural origins of the contrastive characteristics of English and Chinese are explained. Lastly, translation strategies in terms of this feature of English and Chinese are introduced. The English and Chinese are so distinct in terms of dynamism, which is a very noticeable aspect in the practice of English-Chinese translation.

==References==

*B.Foster.(1981).The Changing English Language[M], London: the Macmillan Press Ltd.

*Baker, Sheridan.(1985).The Practical Stylist[M], 6th edition. New York: Harper & Row, Publishers, Inc.

*Fowler, H. W.(1965).A Dictionary of Modern English Usage[M], 2nd edition. London: Oxford University Press.

*Growers, Ernest.(1987).The Complete Plain Words[M], new edition. England: Penguin Books Ltd.

*Liu Miqing 刘宓庆 (1991).汉英对比研究与翻译[M] CE-EC Contrastive Studies and Translation.南昌：江西教育出版社 Nanchang: Jiangxi Education Publishing House.

*Lian Shuneng 连淑能 (1993).英汉对比研究[M] Contrastive Studies of English and Chinese.北京：高等教育出版社 Beijing: Higher Education Press.

*Sweet, Henry.(1920).The History of Language[M] London: Aldine House, J.M. Dent & Sons, Ltd.

*Zhang Jing 张静 (1986).新编现代汉语[M] New Edition of Modern Chinese.上海：上海教育出版社 Shanghai: Shanghai Education Press.

*Zhang Zhigong 张志公 (1985).汉语语法的特点和学习[M] The Characteristics and Study of Chinese Grammar.上海：上海教育出版社 Shanghai: Shanghai Education Press.

Written by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 04:33, 12 December 2021 (UTC)
Corrected by--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:27, 16 December 2021 (UTC)

Comp Stud Trans EN 6

2021-12-16T03:26:54Z

Wang Yifan21: /* Introduction */

Comp Stud Trans EN 6

2021-12-16T03:22:45Z

Wang Yifan21: /* Translation strategies */

A Comparative Study of English and Chinese Translation——Stative vs. Dynamic

牟一心 Mou Yixin, Hunan Normal University, China

==Abstract==
As we all know, thinking and culture are behind language, and different languages inevitably reflect different ways of thinking and cultural backgrounds. Translation refers to the conversion between different languages, so translation theories and strategies must be based on the comparative analysis of different languages and cultures. The reason why translation is difficult, in the final analysis, is because of language differences and cultural differences. Therefore, comparing and analyzing these differences is one of the important tasks of translation studies. The comparison of different languages is not only conducive to teaching and translation, but also helpful to communication. Through comparative analysis, people can further learn and understand the differences and characteristics between their native language and the foreign language they are learning. In this way, when conducting communicative activities, people are able to pay attention to the respective expression methods of different languages, adapting to these differences and avoiding expression errors or unnecessary misunderstandings, so as to achieve the purpose of effective communication. Based on language and culture, this article is dedicated to studying the dynamic and static issues of in English-Chinese translation. It explains the dynamic differences between English and Chinese in terms of performances, origins, and translation strategies.

==Keywords==
translation; comparative study of English and Chinese; dynamic and stative

==摘要==
众所周知，语言的背后是思维和文化，不同的语言必然反映差异的思维方式和文化背景。翻译指的是不同语言之间的转换，所以翻译理论和技巧必须建立在不同语言和文化的对比分析的基础上。翻译之所以困难，归根结底是因为语言差异和文化差异。因此，对比、分析这些差异，便是翻译学的重要任务之一。不同语言的对比不仅有利于教学和翻译，也有助于语言交际。通过对比分析，人们可以进一步的认识和了解自己的母语和所学习的外语之间的差异和特性。这样，在进行交际活动时，人们就能够注意到不同语言各自的表现方法，以顺应这些差异，避免表达错误或是引起不必要的误解，从而达到有效交际的目的。本文基于语言与文化，致力于研究英汉翻译中的语言动态与静态的问题，分别从表现、根源和翻译策略三个方面来阐释英语和汉语在动态性方面的差异。

==关键词==
翻译；英汉对比；静态与动态

==Introduction==
With the rapid development of globalization, translation plays a more and more important role in international communication. However, translation is never a single issue regarding languages but a very comprehensive one. From a macroscopic view, translation indicates the exchange of two cultures. Therefore, cultural elements are of great significance in translation and the comparative study of different languages should always be taken into consideration. Basically, English tends to be stative while Chinese is a very dynamic language. How this difference of the two languages comes into being? How this divergence influences the translation practice of the two languages? And how can we deal with this issue when translating? This paper aims to discuss and analyze these questions under the background of culture and language.

===Differences between English and Chinese languages in terms of dynamism===
In this paper, generally, dynamism refers to the frequency of use of verbs in a language. English tends to use more nouns than Chinese does while Chinese prefers verbs to nouns. In this term, the difference between English and Chinese is conspicuous. The manifestations of different levels of dynamism between English and Chinese will be detailed as follows.

====The stative nature of English====
It is well-known that English is characterized by its heavy use of nouns and prepositions, which can be sufficiently exemplified by the following paragraph:

In the doorway opposite the entrance to the Zipfer Bar, on the other side of the building, the senior policeman looked at his watch. “Over half an hour. You’d better go and have a look. Let’s make sure.”The other policeman nodded and crossed the road. He went into the bar. In less than a minute he reappeared, a worried frown on his face. He came quickly back to his senior. He’s skipped. There’s another way out.

The above quotation carries only one finite verb in each sentence except for the paratactic predicate verbs “go and have”, “nodded and crossed”. There is an elliptical sentence (Over half an hour) that omits its verb. It is not hard to understand that the noun preponderance is doomed to lead to the heavy use of preposition since preposition is the word class that is used before noun in English grammar. As a result, the preponderance of nouns and that of prepositions are closely related in English. In addition, the above example also manifests that the ideographic function of English nouns and prepositions is obvious and strong. English usually uses nouns or prepositions to indicate the meanings that verbs convey in Chinese. For instance, “look” in “have a look” in the above paragraph is a noun, but in Chinese the phrase is translated into“看一看”, in which“看”is a verb. The same is in the case of “a worried frown”, which will be translated into“焦急地皱着眉”in Chinese. And “to” in “the entrance to the Zipfer Bar” is translated to a Chinese verb“通往”(Lian Shuneng,1993:158).
In Britain and American literature, many writers also confirmed the linguistic habit of the heavy use of nouns and prepositions in English in their woks. For example, this is a quotation from Jonathan Swift’s famous essay A Modest Proposal:

I think it is agreed by all parties that this prodigious number of children in the arms, or on the backs, or at the heels of their mothers, and
frequently of their fathers, is in the present deplorable state of the kingdom a very great additional grievance; and, therefore, whoever could find
out a fair, cheap and easy method of making these children sound and useful members of the public as to have his statue set up for a preserve of the
nation.

In detail, the stative nature of English can be seen from six aspects.

Firstly, nominalization is a very common practice in English. Nominalization is to use nouns as substitutes of the concepts expressed by verbs or adjectives. For example, in English, abstract nouns are used to manifest some concepts such as move, behavior, feelings, change, etc. This “preponderance of nouns over verbs” usually makes expressions concise and sentences flexible. It also contributes to natural writing and is helpful to express some complicated contents. These advantages can be observed from the following example:

The doctor arrived extremely quickly and examined the patient uncommonly carefully; the result was that he recovered very speedily.
The doctor’s extremely quick arrival and uncommonly careful examination of the patient brought about his very speed recovery.

As a matter of fact, many linguists in Britain and America pointed that there exists a noun habit in English. More nouns result in increasing prepositions in English. At the same time, verbs with vitality decrease accordingly. Although the nominal style makes a narrative more precise and appropriate, it also leads to abstraction and obscurity. And excessive use of nouns will make a sentence wordy, vague and lifeless(Lian Shuneng,1993: 177). Therefore, a lot of English stylists object the abuse of nominal expressions and advocate more use of vigorous verbs to simplify sentence structures and make a sentence more understandable and lively.

Secondly, English speakers tend to use nouns to indicate agentive nouns and thus avoid the use of verbs. As we know, in English, some abstract nouns are used to express notions of behavior and action, such as realization and completion. Besides, there are a great number of nouns derived from verbs which not only stand for agent but also keep their meanings of verbs. And this kind of nouns usually combined with prepositive adjectives to form some stative structures. For example, a mail order=an order received or shipped through the mail, a day laborer=an unskilled worker paid by the day, a hard worker＝someone who works hard.

Thirdly, in English, it is common to replace adjectives with nouns, which leads to headline phrases. In order to save the layout of a printed paper, people usually try to omit function words and other secondary words and then squeeze stimulating words together to form headlines. Under this circumstance, the multiple uses of nouns is a very effective and attractive way. For instance, January Crude Oil Output Beats Target
This kind of phrases with multiple use of nouns bears very simple structures which greatly facilitates expressions of crucial information with few words while a great deal of information. Given its advantages, apart from headlines of newspapers and journals, this expression has been used in a wide range in modern English,“The whole tendency of the modern language is towards doing away with adjectives, or at least, using nouns as epithets.”(Foster,1981:200) such as gold reserve, generation gap, job opportunity discrimination, etc. Particularly, EST (English for science and technology) take full advantage of the multiple use of nouns and compound nouns, which can be seen from following examples: space shuttle fight test program, computer programming teaching device manual and satellite communications ground station equipment repairer.
There is no denying that the multiple uses of nouns strengthens the preponderance of nouns over verbs in English, but noun pileups should be avoided for the reasons have been stated above.

Fourthly, noun preponderance brings about preposition preponderance. As we all know, prepositions are used in front of nouns or noun phrases. Due to the noun preference, it is natural to see more prepositions in English as well. As the morphological changes of nouns and adjectives are greatly abandoned, propositions instead bear some functions of morphological changes. When the noun preponderance is combined with preposition preponderance, the stative tendency of English becomes more conspicuous. As prepositions in English are used very frequently, some scholars even named English as “the language of preposition”. The following sentence can serve as a great exemplification of this feature of English:

Adequate clearance between the rear face of the last stack in the load and inside surface of the rear doors was provided to enable the refrigerated air flowing from the front to the rear of the trailer to enter the longitudinal air channels through the load which opened on the rear of the load at this point.

In addition, English usually replaces verb phrases with preposition phrases, which means it replaces “dynamic” with “stative”. For example:

He is at his books. (He is reading books)
With these words he went away. (After saying these words, he went away.)
They immediately set out in pursuit of the enemy. (They immediately set out to pursue the enemy.)

What’s more, in English, a series of preposition phrases are usually combined with weak verbs (be, seem, look, become, etc.) and “ponderous” nouns. (Liu Miqing,1991:219)The argument can be efficiently testified by the following letter in reply which is roundabout:

In view of the fact that Mr. Jones is not very well, I am taking the opportunity of replying on his behalf.
Our company’s well-defined position is that it stands ready at all times to co-operate with your firm whenever it is called upon to do so. The majority of stockholders are in complete sympathy with your company's goals and objectives in regard to the construction of a new plant. It may be within your recollection that prior to 1963, this company tendered your company a loan consisting of a large amount of money in order to put it in a solvent and strong financial position. The occasion was the time of your company's most ambitious retooling operation, when it was hardly in a position to utilize existing resources. Despite the fact that the company had many obstacles to overcome, it did not wait until such time as the situation would improve. The loan was repaid in short order. It is because of this fact that our company continually displays the utmost confidence in the operations of your company.

In conclusion, it is common to see that a number of weak phrases in English manifest the “noun plus preposition” format. This kind of phrases usually weakens or dilutes the meanings of verbs, adjectives and other words which they originally are to express. As a result, the narration becomes circumlocutory and the dynamicity is weakened and the static state is strengthened. For instance: of great significance (significant), afford an opportunity to (allow), in view of the foregoing circumstances (therefore).

However, some English stylists hold that the abuse of the debilitated style is not a good phenomenon because excessive use of these phrases will make expressions wordy, verbose and lifeless which should not be advocated.“Strings of nouns depending on one another and the use of compound prepositions are the most conspicuous symptoms of the periphrastic malady,and writers should be on the watch for these in their own composition.”(H.W.,1965:446) Therefore, there are increasing scholars argue that plain, lively and direct words should be used more in writing so as to lessen the stative feature of English.

Fifthly, the weakening and grammaticalization of verbs in English is very obvious. As a matter of fact, the most frequently used verb in English is exactly the word bears the least meaning of action--to be and its varieties including there be, must be, may be and should be and so on. In particular, the sentence led by “it” or “there” and “be” manifests more stative tendency than that of others, which can be seen from the following comparisons:

There was a tropical storm off the east coast of Florida.
A tropical storm lashed the east coast of Florida.
It was the finding of the committee that there had been bribes paid by company managers to foreign officials.
The committee found that company managers had bribed foreign officials.

Apart from be, have, become, grow, feel, go, come, get and do are also commonly used verbs of feeble phenomenality in English.Also, in English, it is a common practice to transform or derive a verb into a noun and put it after a delexical verb (have, make, take, do, etc.) as its object. So there are many expressions as follows in English: take a walk, have a look, do some damages, make a proposal and so on. These verb phrases tend to be powerless and colorless, which can be seen from the following comparison: After he had a quarrel with his boss, Bob quit. VS. After he quarreled with his boss, Bob quit. It is not hard to perceive more strength in the second sentence that directly uses verbs(Ernest,1987:55).

In addition, English often takes gerunds as the objects of delexical verb do, which gives birth to some phrases such as do shopping, do cleaning, do some washing and so on. And another example is here: The combine does the harvesting of the grain. Certainly, this sentence can also be made as: The combine harvests the grain.
Sixthly, adjectives and adverbs are used to indicate the connotations of verbs in English. A great number of verbs can be expressed by adjectives that are derived from them, which can be seen from support and supportive, thank and thankful, create and creative, etc. An adjective derived from a verb are often combined with the weakening of verbs to express the connotation of that verb. For example:

I am doubtful whether he is still alive. (doubt, live)
The teacher thanked her pupils because they are very cooperative. (cooperate well)
The doctor felt sympathetic with his patients. (sympathize)

Besides, in English, adjectives that express mental or physical feelings are often associated with delexical verbs to indicate the connotations of verbs(Henry,1920:201). For instance:

A postman is not afraid of dogs
John seems content just to sit in front of the television all night.

What’s more, adverbs are also used to express the meanings of verbs, which can be manifested in following examples:

I am afraid Mr. Brown is out but he will be in soon.
He’ll be home in half an hour.
Down with the old and up with the new.

To sum up, in English, through the derivation, transformation, weakening and grammaticalization of verbs, non-verbs (nouns, prepositions, adjectives, adverbs, etc) are commonly used to express the meanings of verbs, which is the reason why English is characteristic of stative nature.

====The dynamic nature of Chinese====
Chinese is a language that pays attention to dynamic descriptions. Functionally, verb preponderance is conspicuous in Chinese and this is one of the most important ways of expression in Chinese. The tendency of verb preponderance in Chinese can be seen from the typical instance:

“我决定跳下车去，看看轮子陷进地里究竟有多深。下车后，只听见副司机从车后钻出来大声嚷嚷着，叫司机派人去调拖拉机来拉车，司机看来也没好气，冲着副司机骂了一声：‘乱弹琴！’就甩开膀子，跨着大步，径直往村口走去了。我心想，车陷进地里出不来，两位司机又不和气，要解决问题可就费劲了。倒不如在路边找个地方坐坐，等等看能帮个什么忙……”

The above paragraph contains many sentences which use continuous verbs, of which the first sentence contains six different verbs of different grammatical functions. It is not hard to find serial verb constructions and telescopic forms in the paragraph which is a typical manifestation of various and complicated forms of verbs’ multiple use in a Chinese. Even though these verbs in sentences take vastly different roles but their morphs have not been changed at all, which is also an important feature of Chinese.

Specifically, the dynamic nature of Chinese can be illustrated from six aspects as well:

Firstly, Chinese verb (phrase) can serve as many other constituents in sentences such as subject, predicate, object, complement, predicative, attribute and adverbial but still remain its original form(Zhang Jing,1986:80), which can be seen from following instance: 学不嫌晚。(“学”is a subject.) 我想妈妈了。(“想”is a predicate.) 我们爱学习。(“学习”is an object.)工人们干起来了。(“起来”is a complement.)
And some phrases with more than one verb can also act as different constituents in a sentence. For example,

实现理想境界要靠辛勤劳动。(“实现理想境界”is a subject and“辛勤劳动”is an object.)

他不停地来回走动，激动得说不出话来。(“不停”is an adverbial and“说不出话来”is a complement.)

解决问题的最好方法是进行调查研究。(“解决问题”is an attribute and“进行调查研究”is a complement.)

Secondly, Chinese verbs can contribute to form an interrogative sentence through the use of affirmative form and negative form at the same time. For example,昨天他来没来呢？今天你开心不开心？她明天去不去啊？

Thirdly, Chinese verbs can serve as auxiliaries. As a matter of fact, in modern Chinese many prepositional auxiliaries and postpositional auxiliaries (complements) are all verbs. There are some common prepositional auxiliaries: 能、会、要、肯、敢、应该、愿意、可能等等。And postpositional auxiliaries mainly include: 来、去、起来、下去、过去、出来等等。Some examples in daily utterances are as follows：“你出来吧”，“我过去吧”，“你去看看他吧”，“他不肯来”，“我来扶您吧”，“说来话长”，“他谈起来就没个完”，“让她猜去吧”，etc. Particularly,“来”or“去”can be put both before and after verbs. Or we can use them respectively before and after a verb at the same time. For example, 他来（去）借书。他走路来（去）了。他来（去）借书来（去）了。Besides, in a sentence,“来”or“去”can be separated from the main verb of the sentence and also can be used to link two verb (phrases). For instance, 我们一起找他去。我拿了一本词典来。你们要想一个办法来（去）帮助她。只有这样来解决问题了。

Fourthly, Chinese verbs can take the role of prepositions. Strictly speaking, in Chinese, most prepositions are evolved from verbs since they still keep certain characteristics of verbs. As Chinese has no morphological changes, it is often difficult to distinguish verbs from prepositions in some contexts, which also leads to some prepositions and verbs exchanging for each other(Zhang Jing,1986:144). For example, “在”in“他在家”is a verb while in“他在家学习”a preposition.“朝”in“窗户朝南”is a verb while in“窗户朝南开”a preposition.“离”in“离京北上”is a verb while in“离沪两百公里”a preposition. And verb’s serving as preposition contributes to strengthen the dynamic tendency of Chinese, which can be seen from following examples: 替他说、为我好、给他讲、把手一甩、拿他开玩笑、从全局出发、离长沙只有十公里。

Fifthly, Chinese verbs usually repeat and overlap to form reiterative locations in different formats such as吵吵嚷嚷、说说笑笑、热闹热闹、比试比试、看一看、读一读、想了想、谈了谈、任劳任怨、有始有终 and some alliterating verb phrases such as 背井离乡、唉声叹气、千变万化, which make up various and vivid verb structures in Chinese. In addition, parallel sentences and balanced sentences are also popular expressions in Chinese. For example,

要钱有钱，要人有人。

说是说了，没有结果；做是做了，没有成功。

我们谈到自己，谈到前途，谈到旅程，谈到天气，谈到彼此的情况——谈到一切，只是不谈我们的男女主人。

It is worth noticing that in modern Chinese two verbs are often combined into one verb which can be called as “dual verb” such as“指控”is produced from the combination of “指责”and“控诉”as“宣讲”is from“宣传”and“讲解”(Zhang Zhigong,1985:261).

Sixthly, in Chinese grammar, the predicate function of adjectives enables them to verbify themselves and then these adjective are called functional verbs, for instance, the adjective“红”in“花儿又红了”serves as the function of the verb“开”(Generally, “开花”is the fixed collocation in Chinese).The same is in the case of“杨柳绿了”and“露水湿了我的衣服”in which “绿”shares the same function with the verb“发芽”and“湿”with“使变潮”.

In conclusion, the multiple functions of Chinese verbs and their repetition, overlapping, combination and compound and different derived expressions all contribute to the dynamic feature of Chinese.

===Origins of the differences between Chinese and English in terms of dynamism===
Basically, I classify the origins of differences between Chinese and English in terms of dynamism into two categories: linguistic origins and cultural origins.

====Linguistic origins====
On the one hand, when using English verbs, we will confront a lot of limitations because generally English has not get rid of inflections yet and the inflectional morphological changes of verbs have not on the wane yet and are still the most stable part in the morphological changes of English word classes. As English verbs take on stable inflectional morphological changes with different morphs bearing different grammatical functions, there is a distinction of finite verbs and infinite verbs in English sentences and every sentence can only carry one finite verb, which is the reason why in English verbs as a word class is limited a lot when used. As a result, in English, a great number of concepts that originally should be expressed by verbs except used in the form of non-finite verbs have to draw support from the word classes beside verbs (mainly nouns and prepositions) to convey their meanings(Sheridan,1985:136).

On the other hand, during the hundreds of years of development from old English to Middle English, the language has undergone a long process of simplification, especially the simplification of nouns and prepositions. The change of case is an example. In old English, nouns have four cases, namely, nominative, genitive, dative and accusative. But as time goes by, the nominative, dative and accusative were gradually mixed into a common case without inflectional changes. The common case refers to the base of a noun such as girl, book and so on. And the formation of the common case greatly promoted the wide range use of nouns. As the development of the common case of nouns, the grammatical and expressive functions of prepositions are strengthened and as discussed before, nouns can be derived and transformed from verbs and are relatively free of the restrictions of inflections so they are more flexible and convenient to use and prepositions are closely related to nouns so they are also used widely in accordance with that of nouns. The preponderances of nouns and prepositions not only decline the frequency of verbs used in English but also weaken the meanings expressed by verbs which results in the weakening and grammaticalization of verbs. Eventually, “preponderance of nouns over verbs” makes expressions stative in English. Last but not least, substituting nouns for verbs makes sentences and meanings more concise and flexible, which conforms to the overall development tendency of Modern English.

On the contrary, Chinese is a language with its words always close to their roots. And Chinese verbs are very stable because they have no inflectional morphological changes. For example, in the sentence“我想去玩玩这个游戏”，the three verbs“想”、“去”、“玩”are all appears in the form of their roots without any limitations of inflections so Chinese verbs are very convenient and flexible to use. What’s more, there is no distinction of finite and infinite verbs in Chinese and verbs with original forms can serve as various constituents in sentences and can be used continuously and multiply even be repeated, overlapped and compounded(Zhang Zhigong,1985:233). And few prepositions in Chinese are nearly all replaced by verbs. Therefore, apart from some sentences without verbs such as“今天国庆节”and“天气真不错”, a lot of Chinese sentences carry more than one verbs, which contributes to the verb preponderance in Chinese and the dynamic tendency of Chinese expressions.

====Cultural origins====
The nominalization of English is combined with its method of abstract diction. Abstract nouns are used frequently in English which results from following reasons. Firstly, abstract thinking is regarded as a kind of superior mind and a mark of civilized man in western countries. Secondly, with the development of science and technology and the progress of civilization, emotional and simple expressions are not sufficient to express more and more flexible and sophisticated concepts so the abstract method gradually becomes popular. In addition, some writers intend to flaunt their “profound” thoughts and be deliberately mystifying so they are fond of abstract nouns in their works(Lian Shuneng,1993:202).

===Translation strategies===
Given the differences between English and Chinese languages in terms of dynamism, when translating, we must pay attention to transform “stative” to “dynamic” or “dynamic” to “stative”. And if necessary, addition and omission should be used to guarantee accurate translation(Liu Miqing,1991:368). There are some examples which help to demonstrate the translation strategies above. ...which can help--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:22, 16 December 2021 (UTC)

Case 1: Because of educational sensitivity to diversity and pluralism in America, policies today are quite different. 现如今，美国对教育中的多元文化现象非常敏感，教育政策也与以往大不相同。
In this case, the former half of the English sentence is a noun structure, but in its Chinese translation, the former half has become a complete sentence with a subject, a predicate and a complement thus the dynamics of the original sentence become stronger and this translation conforms to the Chinese expression habits as well.

Case 2: When teachers are aware of this issue, they can develop an effective support strategy in the classroom for students who show little initiative or independence. 老师意识到这个问题，就可以在课堂上用有效手段帮助那些几乎不去创新或者依赖性很强的学生。
In this case, the adjective “aware” in the English sentence is translated into the verb “意识到” and the nouns “initiative” and “independence” are translated into the verb “创新” and the adjective “依赖性强的” in the Chinese sentence. ...in the Chinese sentences--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:22, 16 December 2021 (UTC)

Case 3: This chapter is about cultural differences in education. 本章将介绍教育方面的文化差异。
In this case, the adverbial “about” in the English sentence is translated into the verb “介绍” in the Chinese sentence.

==Conclusion==
As discussed above, at first the manifestations of the dynamic nature of English and the stative nature of Chinese are respectively analyzed from six aspects. And then the linguistic and cultural origins of the contrastive characteristics of English and Chinese are explained. Lastly, translation strategies in terms of this feature of English and Chinese are introduced. The English and Chinese are so distinct in terms of dynamism, which is a very noticeable aspect in the practice of English-Chinese translation.

==References==

*B.Foster.(1981).The Changing English Language[M], London: the Macmillan Press Ltd.

*Baker, Sheridan.(1985).The Practical Stylist[M], 6th edition. New York: Harper & Row, Publishers, Inc.

*Fowler, H. W.(1965).A Dictionary of Modern English Usage[M], 2nd edition. London: Oxford University Press.

*Growers, Ernest.(1987).The Complete Plain Words[M], new edition. England: Penguin Books Ltd.

*Liu Miqing 刘宓庆 (1991).汉英对比研究与翻译[M] CE-EC Contrastive Studies and Translation.南昌：江西教育出版社 Nanchang: Jiangxi Education Publishing House.

*Lian Shuneng 连淑能 (1993).英汉对比研究[M] Contrastive Studies of English and Chinese.北京：高等教育出版社 Beijing: Higher Education Press.

*Sweet, Henry.(1920).The History of Language[M] London: Aldine House, J.M. Dent & Sons, Ltd.

*Zhang Jing 张静 (1986).新编现代汉语[M] New Edition of Modern Chinese.上海：上海教育出版社 Shanghai: Shanghai Education Press.

*Zhang Zhigong 张志公 (1985).汉语语法的特点和学习[M] The Characteristics and Study of Chinese Grammar.上海：上海教育出版社 Shanghai: Shanghai Education Press.

Written by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 04:33, 12 December 2021 (UTC)

Comp Stud Trans EN 7

2021-12-16T03:15:33Z

Wang Yifan21: /* Xu Yuanchong’s Life and Thoughts */

==A Comparative Study on Xu Yuanchong’s and Ezra Pound’s Theories and Practices on the Translation of Classical Chinese Poetry==
许渊冲与庞德中诗英译思想与实践比较研究

王逸凡, Wang Yifan, Hunan Normal University, China

==Abstract==
The Classical Chinese poetry is an important part of the Chinese culture, and also a valuable contribution of the Chinese literature to the world literature. For the last one and a half centuries or so, scholars both at home and abroad have made significant efforts in the translation of the classical Chinese poetry. Quite a few of them have not only attributed excellent versions but also insightful views on translation theories. In the history of verse translation, Ezra Pound took up a crucial and unique position. His ''Cathy''（《华夏集》） made a stir upon publication in 1915 and was considered his “most enduring contribution” to the English poetry. The success of ''Cathy'' is actually the success of the classical Chinese poetry in the United States. “Ever since then, the classical Chinese poetry began to attract the western eyes.” As for the translation in contemporary China, Xu Yuanchong is definitely the most influential one, whose excellent versions of the classical Chinese poetry are well accepted by readers both in China and overseas, whose criteria of verse translation - “beauty in sense, beauty in sound and beauty in form” have been widely recognized and appreciated. Taking Pound and Xu Yuanchong as the research objects, this paper attempts to clearly demonstrate the similarities and differences between Pound and Xu's thoughts on translation of Chinese poetry into English. On this basis, this paper makes a comparative analysis of Xu Yuanchong's and Pound's focus on the image in classical Chinese poetry considering skopos theory, in an attempt to find out the social and cultural factors that influence their translation activities.(Zhao Yiheng：1985，150）

==Key Words==
the Classical Chinese Poetry, Xu Yuanchong, Ezra Pound, image; translation theory, comparative study

==中文摘要==
古典诗歌是中国文化的重要组成部分，也是中国文学对世界文学宝库的巨大贡献。中外学者在古典诗歌翻译方面做很多有益的尝试，不少学者亲自从事翻译实践，而且还就诗歌翻译理论提出了精辟的见解。在早期译者中，埃兹拉•庞德无疑占据着一个极为重要而又特殊的地位。他的《神州集》在一九一五年四月出版后就引起了极大的轰动，从而被看作是他对英语诗歌的“最持久的贡献”，也是中国古典诗歌在美国的第一次真正的成功。“自此以后，庞德将中国诗变成了大众瞩目的东西”。而在当今中国的诗歌翻译界，许渊冲是最具影响力的翻译家。在其六十年的翻译生涯中，许渊冲翻译了大量的古典诗词，并在国内外深受好评。他关于诗歌翻译的“意美、音美、形美”的标准也得到了广泛的认同。本文以庞德和许渊冲为研究对象，试图分析庞德和许渊冲中诗英译思想的异同。在此基础上，就许渊冲和庞德对于中国古典诗歌中意象的关注并结合翻译目的论对他们的译本进行了对比分析，试图找出影响他们翻译活动的社会和文化因素。（赵毅衡：1985，150）

==关键词==
中国古典诗歌；许渊冲；庞德；意象；翻译理论；比较研究

==Xu Yuanchong’s Life and Thoughts==

===Xu Yuanchong’s life and career as a scholar and a translator===

Xu Yuanchong was born in 1921 in Nanchang, Jiangxi, and in 1936, when he was fifteen years old, he was in his first year of high school at Nanchang No. 2 High School in Jiangxi, where the Japanese had occupied the north-east of China and were advancing into northern China. But after his victory in the war, Mr. Xu recalls that experience as a solid foundation for his future path in life and for his career as a translator.In 1938, at the age of 17, Xu Yuanchong was admitted to the Southwest Associated University, a joint venture between Peking University, Tsinghua University and Nankai University in Kunming, Yunnan Province, during the war years. It was here that Xu Yuanchong became a student of Qian Zhongshu, Wu Mi, Wen Yiduo, Feng Youlan and many other great artists, and became lifelong friends with the future Nobel Prize winner in physics, Yang Zhenning, and Wang Xiji, the father of the two bombs and one star. All this inspired and established Xu Yuanchong's style of seeking common ground and being unconventional in his translations.

Mr. Xu also recalled that it was only after tracing his roots that he discovered that the source of influence on Mr. Xu's path to translation was his father's love of a tidy lifestyle and his ability to work with excellent finances. From an early age, Mr. Xu Yuanchong's father taught him to keep the four literary treasures in the most accessible places, which was later expanded by Mr. Xu from the four literary treasures to the written word, or the best way to express himself, and the most accessible place can also be summarized as the best location. Mr. Xu's father cultivated the habit of putting the best words in the most appropriate places. Mr. Xu's mother's love of drawing was an education in 'beauty' and 'joy'. Mr. Xu's mother was a student at the Jiangxi Provincial Vocational School a hundred years ago. Although his mother died young, among Mr. Xu's mother's belongings were two books of drawings and one essay, in which the flowers, trees, birds and animals greatly aroused Mr. Xu's love of 'beauty'. The story "Xiang Yu and Napoleon" in the essay fostered the idea that Mr. Xu would not judge a hero by his success or failure. All of this had a profound impact on Mr. Xu's later translation style and practice. During his time at SWLU, Mr. Xu received guidance from many famous teachers. Mr. Wu Mi was one teacher who changed his concept of translation. In his secondary school days, Mr. Xu thought that the idea of direct translation proposed by Lu Xun was correct because he liked his satirical essays so much. However, after hearing Mr. Wu critique the translation examination papers of postgraduate students, it was definitely still the case that the Italian translation made more sense. On the question of translation, Mr. Qian Zhongshu mentioned in his English letter to Xu Yuanchong that there were two ways to translate poems, one was the method of translating from a colourless glass plate and the other was the method of translating from a coloured glass plate. The former would offend the poem and the latter would offend the translation. Choosing the lesser of the two, he preferred to offend the poem. But Xu Yuanchong believed that the colourless glass translation method pursued truth, while the tinted glass translation method pursued beauty. If the original poem is beautiful and true, the translation cannot be considered a facsimile if it is true but not beautiful; if the translation is beautiful but not true, then there is a risk of distortion. So how exactly should we deal with this? Xu Yuanchong finds the answer in the ''Analects'': "The greatest of the arts is to follow the heart without exceeding the rules".(Zhao Yiheng：1985，130）

In 1939, when he was a first-year student, he translated Lin Huiyin's poem "Don't Lose It" into English and published it in the Literary Translation Journal, his earliest translation, and in He then enrolled in the Institute of Foreign Literature at Tsinghua University, where he also taught English to the first graduating class of 1943 at Tianxiang High School. After the victory of the war, Mr. Xu Yuanchong applied to study at the University of Paris through the first major examination held by the Ministry of Education to study abroad. At the University of Paris, Mr. Xu read the realist literature of Balzac and Shakespeare, and the romantic poetry of Victor Hugo, which laid a solid foundation for his later translations of Chinese and French poetry.

No reference inserted--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 09:08, 14 December 2021 (UTC)
--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:15, 16 December 2021 (UTC)

===General Introduction to Xu Yuanchong’s Theories on Literary Translation===

Xu Yuanchong once said, "Western translations are about equivalence, one word for another, and 90% of their major words and vocabulary are equivalent. Unlike other scripts, only 50% of Chinese words and vocabulary are equivalent. While reciprocity does not contradict objective laws, it does not take advantage of subjective dynamics. Without distorting the author's meaning, a translation must bring out the flavor, essence and soul of a nation's culture", so Xu Yuanchong's theory of translation, specifically, contains the following main elements.

The Ontology of Literary Translation: Theory of Three Beauties. In the preface to Forty-two poems of Mao Zedong(1978), Xu for the first time put forward his Theory of Three Beauties on poetry translation “A translated lyric should not only be faithful to the original but also as beautiful as it is in sense, in sound and in form.” Being beautiful in sense means that in translating a poem, the translator should not only translate the surface level meaning of the poem, but also the deep level sense of it, or even the sense beyond word level. According to Xu, the translation process would be relatively easy if the content and form of the poem are in harmony. While if the content and form of a poem do not match, then the content would be the first priority in translation. In the situation that the form of the original might contain several different meaning, the most beautiful kind should be chosen in translation. Actually what Xu wants to emphasize here is the unique artistic conception of classical Chinese poetry which features implicitness, subtlety and succinctness. Being beautiful in sound means that the translator should try his/her best to present meter, rhythm, and alliteration in the original poem. To Xu, if the original is rhymed, the translation should also be; if the original uses classical Chinese tonal patterns, the translation could use light and stressed tone; if the original tends to use phrases having two or more characters with the same initial constant, then the translation could use alliteration. Being beautiful in form includes the layout of lines, antithesis formed by lines matched in sound and sense, and repetition of words or lines. Xu also made a hierarchical relation among the three beauties form: beauty in sense is the most important, which is followed by beauty in sound, and then beauty in form. In translating classical Chinese poetry, taking presenting the beauty in sense as the first priority, the translator should also try the best to present the beauty in sound; while by achieving the presentation of the beauty in sense and in sound, the translator then should endeavor to present the beauty in form. To Xu, the pursuit of three beauties should be the guiding principle and ultimate goal in classical Chinese poetry translation.(Jiang Hongxin 2001,77-80)

The Methodology of Literary Translation: Particularization, Equalization and Generalization. In the preface to 150 Tang Poems(1984), Xu raised the methodology of literary translation: particularization, equalization and generalization. Particularization refers to translation techniques like specialization, concretization, adding words splitting words and so on. Generalization includes translation techniques like abstractization, cutting words or merging words. And equalization means the translation techniques like flexible equalization, changing word function, active form and passive form. The great scholar and translator Qian Zhongshu had made a famous definition on translation that the highest standard of literary translation in “sublimation” by which means to transfer the language of a text into another language without any trace of stiltedness resulting from the differences in usage and at the same time retaining all the flavor of the original. Particularization, equalization and generalization are actually three aspects of the standard – “sublimation”. Particularization is to explore the deep level meaning of the original text through its surface level form. If the translation reaches the deeper level of meaning than the original, then particularization is achieved. On the other hand, generalization tends to turn the abstruse original into plain and understandable translation.

The Teleology of Literary Translation: Comprehension, Appreciation and Admiration. Translation is recreation, that is to say translation should make readers cheerful and relaxed - it should be recreational. To Xu，the aim of literary translation, especially poetry translation, is to make readers comprehend, appreciate and even admire the translation. Literary translation, from translator to reader, is an aesthetic process. Comprehension means the reader understands what the translation conveyed. Appreciation means the reader enjoys what the translation tells how it tells-the reader delights in it. In Xu’s theory, the translator should use the methods of generalization to reverse the disadvantage of target language, which would in turn make the reader comprehend the translation; the translator should use the method of equalization to reach balance which would make the reader appropriate the translation; and the translator should use the method of particularization to fully exploit the advantage of the target language, which would in turn make the reader admire the translation.(Xu Yuanchong，2003:146）

Xu concluded his translation theory as “Art of beautifulization and creation of the best as in rivalry”.

==Ezra Pound’s Life and His Theories on Translation==

===Ezra Pound’s Life===

Ezra Pound was born in Hailey Township, Idaho, USA, on 30 October 1885. Before going to Europe, he attended the University of Pennsylvania, where he studied American history, classics and Romance languages and literature. Pound made his first trip to Europe in 1898, then four more in 1902, 1906 and 1908, settling in London in 1908, where he became a major figure in the literary world for a time. Pound was a poet and literary critic, an important representative of the Imagist poetry movement, as well as an accomplished translator who collected and translated a dozen ancient Chinese poems ''Cathy''（《华夏集》） in his 1915 and also translated the ''Great Learning''（《大学》）, ''the Doctrine of the Mean''（《中庸》） and ''The Analects of Confucius''（《论语》）.Pound and Eliot were both leading figures in late Symbolist poetry, and his theory of 'poetic imagery', derived from classical Chinese poetry and Japanese haiku, made a remarkable contribution to the cross-fertilisation of Eastern and Western poetry.

In 1908 Pound's first collection of poems, ''A Lume Spento'' (《灯火熄灭之时》), was self-published in Venice, Italy, and in 1909 his collection ''Personae''（《人物》）was published in London, and in 1910 his anthology ''The Spirit of Romance''（《罗曼斯精神》）was published. The collection consists mainly of his early translations as well as the results and insights of his scholarly research over the years. In 1912 he became the London correspondent of the small Chicago magazine ''Poetry''（《诗歌》）, and in 1914 he married Dorothy Shakespeare.

During his time in Paris and London, in addition to continuing his creative work, he explored and nurtured talent, travelled extensively with European and American literary figures, and made a unique contribution to breaking the sedimentation of British and American literature, especially British and American poetry, and to promoting the 'revival' of American literature. He had extensive contacts with sculptors, painters and musicians, and played a significant role in the formation and development of modernist thought in Europe and America. Between 1914 and 1916 Pound was very close to the Irish poet W.B. Yeats. He admired Yeats and took him as his teacher. Yeats was also influenced by him to some extent. After leaving Paris in 1924 and up to the eve of the Second World War, Pound's attention gradually shifted from literary creation to the political and economic problems of capitalism. At the end of the war, he was arrested by the U.S. military authorities and was held for six months at a Disciplinary Training Center near Pisa. In 1958, the joint effort of such eminent personalities as T.S. Eliot, Robert Frost, and Ernest Hemingway secured his release. He returned to Italy, where he worked until his death in 1972.(Kenner,1953)

===Pound As Translator===

Pound’s translation stimulated and strengthened his poetic innovations, which in turn guided and promoted his translations. In Pound’s literary works, it is often difficult to tell translation or adaptation from original composition. For Pound, there seem to be no foundational distinction between the two. Translation to Pound assumes an importance seldom found in other modern poets. To some extent, Pound’s poetics is essentially the poetics of translation. Pound’s theory of translation focuses upon the precise rendering of details, of individual words, and of single or even fragmented images. Actually, his translation theories reinforced and promoted his imagist poetics.

According to the principles of Imagism, translation of poems should also be terse, precise and compose in the sequence of musical phrase. Pound doesn’t see much difference between a poet and a poem translator. A poem translator should explore deep into the mind of the poet to think what he thought and to feel what he felt, so that the “overlap of mind” could occur and the cultural and linguistic barriers could be surpassed. Thus the translation could achieve “fidelity to the original” in both “meaning” and “atmosphere”. Pound doesn’t put much emphasis on words and sentences. Instead, he puts himself in the position of the poet and summarizes the poet’s thoughts and emotions, then turns it into the target language. Words and sentences are not the source text for him, but merely a media to introduce him to the source text, which is the thoughts and feeling of the poet.

Pound’s emphasis is less on the “meaning” of the translated text or even on the meaning of specific words. He emphasizes the rhythm, diction, and movement of words. By the movement of words, he refers to the contextual meaning and the intertextual. Pound thinks the “meaning” of a work of art can never be fixed; it changes as language changes. The range of associations of the words within an original work of art would differ with its new versions in a different age or culture. Pound explains the energy of languages as “words construction new relations to other words at any particular place and time, this quality lends language its energy”. Pound also takes words as “electrified”, the interaction of which could generate energy. Here Pound is actually talking about contextual meaning. He thinks new relations of words forms new meaning, that’s “the energy of language”. As words are not isolated from context, translator should bear in mind the context of the source text.

Pound’s theory of translation requires the translator to keep the historical atmosphere in which the words occur so that the translation process reveals not just what the words mean, but also their various implications. He believes that meaning is not something abstract and part of a universal language, but something that is always located in historical settings-the “atmosphere” in which that meaning occurs. To unpack the meaning, one has to know the history and reconstruct the atmosphere in which that the meaning occurs. Pound says, “Three or four words in exact just apposition are capable of radiating this energy at a very high potentially....The peculiar energy which fills words is the power of tradition, of centuries of race consciousness, of agreement, of association.”（Guo Jianzhong：2000，57）

==The Comparative Study on Image Translation of the Classical Chinese Poetry between Xu and Pound==

Different cultural backgrounds between China and western countries must lead a lot of diversities in the cultural comprehension of the same object, which are the causes of translation divergence. Chinese classical poetry has the characteristics of implicit in connotation, harmonious in metre, bright in rhythm and well-balanced in pattern, so no single theories or schools have given them a satisfactory understanding framework yet. Chinese classical poetry as a relatively independent language world, its transference specially emphasizes the transmission of cultural connotation and aesthetic effect, which is called the transmission of cultural connotation and aesthetic effect, which is called the transmission of “language-image-meaning”(言象意). In Chinese classical philosophy, aesthetics and poetics, “image”（象） is the load of “meaning”(意), therefore, “reflecting through image”(象思维) and “expressing through image”(象表达) are affirmation and belief of Chinese language philosophy, especially poetics. However, English has an evident character of “expressing through language”(言表达), so there must be some problems existed during image transference. The following discussion will give us a comparison among some influential translators’ works. After the detailed analysis, we will have a clear view about their methods of image translation.

===Case Study of Ezra Pound===

Ezra Pound was one of the most influential and innovative poets in the 20th century. As the representative of Western Imagism, Pound makes significant contributions to American poetry not only as a poet but also as a translator, editor, critic and essayist. In order to break away from tradition and romanticism of British poetry, Pound and other imagist poetic principles: (1) To treat things directly whether subjective or objective; (2) To use absolutely no word that does not contribute to the presentation; (3) To compose in sequence of the musical phase, not in sequence of a metronome as regarding rhythm. In Pound’s opinion, image must be concrete and direct which will unfetter the poetic expression from the habit of convention.(Kang Lianxing，2004：114)

Most of the Chinese poems translated by Pound are poems of scenery in Tang Dynasty, which takes mountains, water and vast landscapes as their subjects. Poets of such poems tend to embody their feelings and sentiments in these natural scenes. Chinese classical poetry combines poems and pictures together which get rids of moralization and comments that features the Victorian poetry. Greatly influenced by the writing techniques of Chinese classical poetry, such as the ellipsis of conjunctions and the juxtaposition of images, Pound used them into his poetic creation. Not only his creation but also his translation work caused a tremendous stir in American poetic circle. In 1915, Pound published his most influential translation work Cathy which is the first collection of translated Chinese poetry published in America.

Pound’s translation of Chinese classical poetry is not a mechanical one, but an innovative reconstruction. Some of the reconstructions are ignorant, but some are designed. Ignorant or designed, Pound’s translation is highly valuable. It gives us some inspiration in image translation. A study on Pound’s image translation of Chinese classical poetry would shed light on the research goal of the following thesis. A designed example can be taken as the best one to explore Pound’s creative translation. It also reflects the language difference between Chinese and English:

送友人（李白）
青山横北郭，白水绕东城。
此地一为别，孤蓬万里征。
浮云游子意，落日故人情。
挥手自兹去，萧萧班马鸣。

The theme of the poem is about saying farewell to a departing friend. Under this theme, vivid images are scattered skillfully in every line of the poem which can be classified into two categories-those don’t have cultural connotations, such as “青山”, “万里”, “东城”, and those culture-loaded, such as “孤蓬”, “万里”, “浮云”, “游子”, “落日”, The third line is juxtaposition of images with deep connotations: the image “浮云” is used as a metaphor to express the wandering life of the poet’s friend, while the image “落日” is used to convey the poet’s reluctance to part with his friend. The affection between the poet and his friend reaches climax in the fourth line. The image “斑马” means a stray and lonely horse. Horses can understand their masters’ affection and neigh to express their grief over parting. It is through a series of rich images that the poet expresses his deep affection to the departing friend vividly. Let’s take a look at Pound’s translation:

Taking Leaves of a Friend(Li Bai)
Blue mountains to the north of the walls,
White river winding about them;
Here we must make separation
And go out through thousand miles of dead grass.
Mind like a floating wide cloud.
Sunset like the parting of old acquaintances
Who bow over their clasped hands at a distance.
Our horses neigh to each other as we are departing.

From the translation of the title “Taking Leave of a Friend”, we can see Pound’s recreation. The phrase “take leave of” in English refers to the subject’s departure, but it is clear that the original title is the friend’s departure. The poet sees his friend off not the poet himself leaving. It is accredited that the first two lines are almost word for word translation because the non-cultural loaded images are ranged neatly from his translation. In the fourth line, “孤蓬” is a culture-loaded image which is usually compared to a person who leads a wandering life and has no one to depend on in the classical Chinese literature. Although it is not mentioned in original poem whether the poet’s friend leaves by boat or horseback, Pound gets information from “萧萧班马鸣”, so he uses “dead grass” to show that two friends are sadly departing on the grassland. This is a faithful but rigid translation which loses aesthetic equivalence. “万里” is also not a simple image. Pound translates it in the form of the target language, which turns out that he ignores it is not the actual figure “一万里”, but implies the remote way the friend has to take. “浮云游子意，落日故人情” is the key in delivering the original poem’s sensation for its concise and profound images. The juxtaposed and vivid images directly constitute two metaphors, and thus endless meanings and sensation are conveyed in such ten characters. Pound here uses two “like” to target readers about the inner meaning of “floating cloud” and “sunset” in Chinese literature.
About translation type, Pound adopts imitation, which means to form and individual style. In image translation, Pound always tries his best to combine his feelings with the poet, and no convey the mood of thinking and emotion in the original poem into the target language. We must admit that some of his translation is not words or lines. He emphasizes each single image and individual detail which he thinks reveal the truth of the original poem. Ezra Pound was not familiar with Chinese culture, even did not know Chinese language when he translated these poems, which is the main reason causing cultural misunderstanding and image translation. Correctly Understanding on the semantic meaning of the original image is the foundation of conveying aesthetic feeling of the original poem equivalently.

===Case Study of Xu Yuanchong===

It is widely accepted that Xu Yuanchong is prolific and influential poetry translator in contemporary Chinese academic who has published more than sixty books about translation and practice in his more than sixty years of translation career. With the painstaking research about literary translation, Xu Yuanchong has established a set of translation theories of his own, one of which-theory of three beauties (beauty in sense, in mind and in form)-gives light to our image translation. Beauty in sense is the most important one which means that in translating a poem, the translator should not only translate the surface meaning of the poem, but also the deep sense of it, or even the sense beyond the literal level. “sense” in Xu Yuanchong’s theory not only refers to meaning, but also refers to aesthetic conception, thus his beauty in sense could be interpreted as trying to present the aesthetic conception and poetic beauty of the original poem. Let’s choose Li Bai’s Farewell to A Friend(《送友人》) as an example again to appreciate Xu Yuanchong’s beauty in images in his translation work:

Farewell to A Friend
Blue mountains bar the northern sky;
While river girds the eastern town.
Here is the place to say goodbye;
You’ll drift like lonely thistledown.
With floating cloud you’ll float away;
Like parting day I’ll part from you.
You wave your hand and go your way;
Your steed still neighs, “Adieu, adieu!” (Xu 2006:123)

Compared with Pound’s translation, this title conveys to us equivalent information of who will leave. Dynamic image “bar” in the first line depicts a magnificent scene that mountains stretch endlessly across the sky, which is closer to Li Bai’s bold and unconstrained poetic style. The image “lonely thistledown” in the second line is more suitable than Pound’s “dead grass”. From this place on, the poet’s friend will drift along just like thistledown blown by the wind, which transmits the deep level sense of “孤蓬”. Pound’s translation of the third line surpasses Xu’s in that Xu’s translation is a kind of recreation which loses deep level sense. If we translate it back into Chinese, it could be “你随着浮云而去，如同分别之日我与你分别一样”. “Floating cloud” and “sunset” are two metaphors. The poet’s friend will leave his hometown, family and friends, so his wife will be unstable like floating cloud. The poet’s affection to his friend is hard to part with just like being sentimentally attached to the sunset. In the last line, “wave hand” and “bow over their clasped hands” are two different ways to say goodbye which embody different cultures between Chine and the West. As for the sound image “萧萧”, Xu Yuanchong uses “adieu” to personalize the horse, which aims to build a sense of parting grief. Though the two translations have their own strong points, Xu Yuanchong’s version seems more likely to present the original beauty of images.

To grasp cultural-loaded image well is the key point in image translation. Compared with Pound, Professor Xu seems more dominant to translate Chinese classical poetry because he is accomplished in Chinese language and culture. During the sixty years’ research, Xu Yuancong takes promoting Chinese culture as his responsibility, and id dedicated to the cultural communication between China and Western countries. From some of Xu Yuanchong’s translation we find that Xu is inclined to target-culture-oriented translation, and sometimes in order to keep aesthetic conception of the original poem, he will recreate the poem according to his understanding towards the poet’ s affection.

==Conclusions==

In the thesis of the conclusion, skopos theory is employed to analyze Xu Yuanchong’s and Ezra Pound’s different translation purposes, which lead to their different strategies in their translation practice, and that is the reason of their different versions of the same original texts.

In his preface to The Art of Translation, Xu Yuanchong proposes that it should be translators’ obligation to bring the essence of the world culture into the Chinese culture and introduce the best of the Chinese culture to the whole world. He believes that translation is the catalyst in the integration of Chinese culture with the world civilization and that classical Chinese poetry is, undoubtedly, the greatest and everlasting contribution China has made to the world civilization, which is the reason why Xu Yuanchong chooses poetry as his translation object. In other words, the purpose of Xu Yuanchong’s translation of classical poetry lies in introducing and spreading to the world the gorgeous Chinese culture.

As for Ezra Pound, there are two reasons why he turns to the East and translates classical Chinese poetry. The first is the background Pound was in. At the turn of the twentieth century, English literature was dominated by conservatism. Unable to bear the monotonous and dull Victorian poems, Pound hurled himself into transforming British verse and into saving tottering civilization by injecting into it the cultures of the past and the alien. In the process of his exploration, Pound ran into classical Chinese poetry in which he found great interest and was greatly enlightened. The second reason is that Pound is the advocate of the Imagist Movement. He finds values in classical Chinese poetry because classical Chinese poetry is, by virtue of the ideographic and pictographic nature of the Chinese language, essentially imagist poetry. Therefore, classical Chinese poetry satisfies his poetic intent to some extent. By translating classical Chinese poetry, he hopes to make it clear that the presentation of individual images and the superposition of images can help regain immediate experiences. The Imagist Poetics has greatly influenced him, making him manipulate translations to serve his poetic innovations.

As Xu and Pound have different purposes of translating classical Chinese poetry, they have different criteria for their selection of the source text. Xu aims at introducing the best part of Chinese culture to the world. So long as a poem is beautiful and represents a certain aspect of the essence of Chinese culture, Xu is ready to work on it. But it’s not the case with Pound. In the 150 poems in Ernest Fenollosa’s manuscripts-the resourse where Pound obtains notes about classical Chinese poetry, he carefully selects 19 poems, the images and poetic sentiment of which he feels may best represent and promote his Imagist Movement.

==REFERENCES==

*Albright, D.1997. Quantum Poetics – Yeats, Pound, Eliot and the Science of Modernism. Cambridge: Cambridge University Press.
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*Kenner, H. 1953. Introduction to the Translation of Ezra Pound. Terre Haute: Indiana University Press.
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*Zhao Yiheng 赵毅衡，1985，《远游的诗神》 The poetic god of distant wanderings，重庆：四川人民出版社 Chongqing:Sichuan People's Publishing House.
*Guo Jianzhong 郭建中，1999，《当代美国翻译理论》 Contemporary American Translation Theory，武汉：湖北教育出版社 Wuhan:Hubei Educational Publishing House.
*Jiang Hongxin 蒋洪新，2001，庞德的《华夏集》探源 An Exploration of Pound's Huaxia Collection,《中国翻译》第1期，56-59页 Chinese Translation, Issue 1, Page 56-59.
*Jiang Hongxin 蒋洪新，2001，庞德的翻译理论研究 A Study of Pound's Theory of Translation，《外国语》第4期, 77-80页 Foreign Languages, Issue 4, Page 77-80.
*Guo Jianzhong 郭建中，2000，美国翻译研讨班和庞德翻译思想 American Translation Seminars and Pound's Ideas on Translation, 《外语与外语教学》第2期 Foreign Languages and Foreign Language Teaching, Issue 2.
*Xu Yuanchong 许渊冲，1998，读“翻译文化竞赛论” Reading "Translation Culture Contest Theory"，《外语与翻译》第2期，15-18页 Foreign Languages and Translation Issue 2, Page 15-18.

Written by --[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:00, 16 December 2021 (UTC)

Comp Stud Trans EN 7

2021-12-16T03:12:04Z

Wang Yifan21: /* Xu Yuanchong’s life and career as a scholar and a translator */

==A Comparative Study on Xu Yuanchong’s and Ezra Pound’s Theories and Practices on the Translation of Classical Chinese Poetry==
许渊冲与庞德中诗英译思想与实践比较研究

王逸凡, Wang Yifan, Hunan Normal University, China

==Abstract==
The Classical Chinese poetry is an important part of the Chinese culture, and also a valuable contribution of the Chinese literature to the world literature. For the last one and a half centuries or so, scholars both at home and abroad have made significant efforts in the translation of the classical Chinese poetry. Quite a few of them have not only attributed excellent versions but also insightful views on translation theories. In the history of verse translation, Ezra Pound took up a crucial and unique position. His ''Cathy''（《华夏集》） made a stir upon publication in 1915 and was considered his “most enduring contribution” to the English poetry. The success of ''Cathy'' is actually the success of the classical Chinese poetry in the United States. “Ever since then, the classical Chinese poetry began to attract the western eyes.” As for the translation in contemporary China, Xu Yuanchong is definitely the most influential one, whose excellent versions of the classical Chinese poetry are well accepted by readers both in China and overseas, whose criteria of verse translation - “beauty in sense, beauty in sound and beauty in form” have been widely recognized and appreciated. Taking Pound and Xu Yuanchong as the research objects, this paper attempts to clearly demonstrate the similarities and differences between Pound and Xu's thoughts on translation of Chinese poetry into English. On this basis, this paper makes a comparative analysis of Xu Yuanchong's and Pound's focus on the image in classical Chinese poetry considering skopos theory, in an attempt to find out the social and cultural factors that influence their translation activities.(Zhao Yiheng：1985，150）

==Key Words==
the Classical Chinese Poetry, Xu Yuanchong, Ezra Pound, image; translation theory, comparative study

==中文摘要==
古典诗歌是中国文化的重要组成部分，也是中国文学对世界文学宝库的巨大贡献。中外学者在古典诗歌翻译方面做很多有益的尝试，不少学者亲自从事翻译实践，而且还就诗歌翻译理论提出了精辟的见解。在早期译者中，埃兹拉•庞德无疑占据着一个极为重要而又特殊的地位。他的《神州集》在一九一五年四月出版后就引起了极大的轰动，从而被看作是他对英语诗歌的“最持久的贡献”，也是中国古典诗歌在美国的第一次真正的成功。“自此以后，庞德将中国诗变成了大众瞩目的东西”。而在当今中国的诗歌翻译界，许渊冲是最具影响力的翻译家。在其六十年的翻译生涯中，许渊冲翻译了大量的古典诗词，并在国内外深受好评。他关于诗歌翻译的“意美、音美、形美”的标准也得到了广泛的认同。本文以庞德和许渊冲为研究对象，试图分析庞德和许渊冲中诗英译思想的异同。在此基础上，就许渊冲和庞德对于中国古典诗歌中意象的关注并结合翻译目的论对他们的译本进行了对比分析，试图找出影响他们翻译活动的社会和文化因素。（赵毅衡：1985，150）

==关键词==
中国古典诗歌；许渊冲；庞德；意象；翻译理论；比较研究

==Xu Yuanchong’s Life and Thoughts==

===Xu Yuanchong’s life and career as a scholar and a translator===

Xu Yuanchong was born in 1921 in Nanchang, Jiangxi, and in 1936, when he was fifteen years old, he was in his first year of high school at Nanchang No. 2 High School in Jiangxi, where the Japanese had occupied the north-east of China and were advancing into northern China. But after his victory in the war, Mr. Xu recalls that experience as a solid foundation for his future path in life and for his career as a translator.In 1938, at the age of 17, Xu Yuanchong was admitted to the Southwest Associated University, a joint venture between Peking University, Tsinghua University and Nankai University in Kunming, Yunnan Province, during the war years. It was here that Xu Yuanchong became a student of Qian Zhongshu, Wu Mi, Wen Yiduo, Feng Youlan and many other great artists, and became lifelong friends with the future Nobel Prize winner in physics, Yang Zhenning, and Wang Xiji, the father of the two bombs and one star. All this inspired and established Xu Yuanchong's style of seeking common ground and being unconventional in his translations.

Mr. Xu also recalled that it was only after tracing his roots that he discovered that the source of influence on Mr. Xu's path to translation was his father's love of a tidy lifestyle and his ability to work with excellent finances. From an early age, Mr. Xu Yuanchong's father taught him to keep the four literary treasures in the most accessible places, which was later expanded by Mr. Xu from the four literary treasures to the written word, or the best way to express himself, and the most accessible place can also be summarized as the best location. Mr. Xu's father cultivated the habit of putting the best words in the most appropriate places. Mr. Xu's mother's love of drawing was an education in 'beauty' and 'joy'. Mr. Xu's mother was a student at the Jiangxi Provincial Vocational School a hundred years ago. Although his mother died young, among Mr. Xu's mother's belongings were two books of drawings and one essay, in which the flowers, trees, birds and animals greatly aroused Mr. Xu's love of 'beauty'. The story "Xiang Yu and Napoleon" in the essay fostered the idea that Mr. Xu would not judge a hero by his success or failure. All of this had a profound impact on Mr. Xu's later translation style and practice. During his time at SWLU, Mr. Xu received guidance from many famous teachers. Mr. Wu Mi was one teacher who changed his concept of translation. In his secondary school days, Mr. Xu thought that the idea of direct translation proposed by Lu Xun was correct because he liked his satirical essays so much. However, after hearing Mr. Wu critique the translation examination papers of postgraduate students, it was definitely still the case that the Italian translation made more sense. On the question of translation, Mr. Qian Zhongshu mentioned in his English letter to Xu Yuanchong that there were two ways to translate poems, one was the method of translating from a colourless glass plate and the other was the method of translating from a coloured glass plate. The former would offend the poem and the latter would offend the translation. Choosing the lesser of the two, he preferred to offend the poem. But Xu Yuanchong believed that the colourless glass translation method pursued truth, while the tinted glass translation method pursued beauty. If the original poem is beautiful and true, the translation cannot be considered a facsimile if it is true but not beautiful; if the translation is beautiful but not true, then there is a risk of distortion. So how exactly should we deal with this? Xu Yuanchong finds the answer in the ''Analects'': "The greatest of the arts is to follow the heart without exceeding the rules".(Zhao Yiheng：1985，130）

In 1939, when he was a first-year student, he translated Lin Huiyin's poem "Don't Lose It" into English and published it in the Literary Translation Journal, his earliest translation, and in He then enrolled in the Institute of Foreign Literature at Tsinghua University, where he also taught English to the first graduating class of 1943 at Tianxiang High School. After the victory of the war, Mr. Xu Yuanchong applied to study at the University of Paris through the first major examination held by the Ministry of Education to study abroad. At the University of Paris, Mr. Xu read the realist literature of Balzac and Shakespeare, and the romantic poetry of Victor Hugo, which laid a solid foundation for his later translations of Chinese and French poetry.

No reference inserted--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 09:08, 14 December 2021 (UTC)

===General Introduction to Xu Yuanchong’s Theories on Literary Translation===

Xu Yuanchong once said, "Western translations are about equivalence, one word for another, and 90% of their major words and vocabulary are equivalent. Unlike other scripts, only 50% of Chinese words and vocabulary are equivalent. While reciprocity does not contradict objective laws, it does not take advantage of subjective dynamics. Without distorting the author's meaning, a translation must bring out the flavor, essence and soul of a nation's culture", so Xu Yuanchong's theory of translation, specifically, contains the following main elements.

The Ontology of Literary Translation: Theory of Three Beauties. In the preface to Forty-two poems of Mao Zedong(1978), Xu for the first time put forward his Theory of Three Beauties on poetry translation “A translated lyric should not only be faithful to the original but also as beautiful as it is in sense, in sound and in form.” Being beautiful in sense means that in translating a poem, the translator should not only translate the surface level meaning of the poem, but also the deep level sense of it, or even the sense beyond word level. According to Xu, the translation process would be relatively easy if the content and form of the poem are in harmony. While if the content and form of a poem do not match, then the content would be the first priority in translation. In the situation that the form of the original might contain several different meaning, the most beautiful kind should be chosen in translation. Actually what Xu wants to emphasize here is the unique artistic conception of classical Chinese poetry which features implicitness, subtlety and succinctness. Being beautiful in sound means that the translator should try his/her best to present meter, rhythm, and alliteration in the original poem. To Xu, if the original is rhymed, the translation should also be; if the original uses classical Chinese tonal patterns, the translation could use light and stressed tone; if the original tends to use phrases having two or more characters with the same initial constant, then the translation could use alliteration. Being beautiful in form includes the layout of lines, antithesis formed by lines matched in sound and sense, and repetition of words or lines. Xu also made a hierarchical relation among the three beauties form: beauty in sense is the most important, which is followed by beauty in sound, and then beauty in form. In translating classical Chinese poetry, taking presenting the beauty in sense as the first priority, the translator should also try the best to present the beauty in sound; while by achieving the presentation of the beauty in sense and in sound, the translator then should endeavor to present the beauty in form. To Xu, the pursuit of three beauties should be the guiding principle and ultimate goal in classical Chinese poetry translation.(Jiang Hongxin 2001,77-80)

The Methodology of Literary Translation: Particularization, Equalization and Generalization. In the preface to 150 Tang Poems(1984), Xu raised the methodology of literary translation: particularization, equalization and generalization. Particularization refers to translation techniques like specialization, concretization, adding words splitting words and so on. Generalization includes translation techniques like abstractization, cutting words or merging words. And equalization means the translation techniques like flexible equalization, changing word function, active form and passive form. The great scholar and translator Qian Zhongshu had made a famous definition on translation that the highest standard of literary translation in “sublimation” by which means to transfer the language of a text into another language without any trace of stiltedness resulting from the differences in usage and at the same time retaining all the flavor of the original. Particularization, equalization and generalization are actually three aspects of the standard – “sublimation”. Particularization is to explore the deep level meaning of the original text through its surface level form. If the translation reaches the deeper level of meaning than the original, then particularization is achieved. On the other hand, generalization tends to turn the abstruse original into plain and understandable translation.

The Teleology of Literary Translation: Comprehension, Appreciation and Admiration. Translation is recreation, that is to say translation should make readers cheerful and relaxed - it should be recreational. To Xu，the aim of literary translation, especially poetry translation, is to make readers comprehend, appreciate and even admire the translation. Literary translation, from translator to reader, is an aesthetic process. Comprehension means the reader understands what the translation conveyed. Appreciation means the reader enjoys what the translation tells how it tells-the reader delights in it. In Xu’s theory, the translator should use the methods of generalization to reverse the disadvantage of target language, which would in turn make the reader comprehend the translation; the translator should use the method of equalization to reach balance which would make the reader appropriate the translation; and the translator should use the method of particularization to fully exploit the advantage of the target language, which would in turn make the reader admire the translation.(Xu Yuanchong，2003:146）

Xu concluded his translation theory as “Art of beautifulization and creation of the best as in rivalry”.

==Ezra Pound’s Life and His Theories on Translation==

===Ezra Pound’s Life===

Ezra Pound was born in Hailey Township, Idaho, USA, on 30 October 1885. Before going to Europe, he attended the University of Pennsylvania, where he studied American history, classics and Romance languages and literature. Pound made his first trip to Europe in 1898, then four more in 1902, 1906 and 1908, settling in London in 1908, where he became a major figure in the literary world for a time. Pound was a poet and literary critic, an important representative of the Imagist poetry movement, as well as an accomplished translator who collected and translated a dozen ancient Chinese poems ''Cathy''（《华夏集》） in his 1915 and also translated the ''Great Learning''（《大学》）, ''the Doctrine of the Mean''（《中庸》） and ''The Analects of Confucius''（《论语》）.Pound and Eliot were both leading figures in late Symbolist poetry, and his theory of 'poetic imagery', derived from classical Chinese poetry and Japanese haiku, made a remarkable contribution to the cross-fertilisation of Eastern and Western poetry.

In 1908 Pound's first collection of poems, ''A Lume Spento'' (《灯火熄灭之时》), was self-published in Venice, Italy, and in 1909 his collection ''Personae''（《人物》）was published in London, and in 1910 his anthology ''The Spirit of Romance''（《罗曼斯精神》）was published. The collection consists mainly of his early translations as well as the results and insights of his scholarly research over the years. In 1912 he became the London correspondent of the small Chicago magazine ''Poetry''（《诗歌》）, and in 1914 he married Dorothy Shakespeare.

During his time in Paris and London, in addition to continuing his creative work, he explored and nurtured talent, travelled extensively with European and American literary figures, and made a unique contribution to breaking the sedimentation of British and American literature, especially British and American poetry, and to promoting the 'revival' of American literature. He had extensive contacts with sculptors, painters and musicians, and played a significant role in the formation and development of modernist thought in Europe and America. Between 1914 and 1916 Pound was very close to the Irish poet W.B. Yeats. He admired Yeats and took him as his teacher. Yeats was also influenced by him to some extent. After leaving Paris in 1924 and up to the eve of the Second World War, Pound's attention gradually shifted from literary creation to the political and economic problems of capitalism. At the end of the war, he was arrested by the U.S. military authorities and was held for six months at a Disciplinary Training Center near Pisa. In 1958, the joint effort of such eminent personalities as T.S. Eliot, Robert Frost, and Ernest Hemingway secured his release. He returned to Italy, where he worked until his death in 1972.(Kenner,1953)

===Pound As Translator===

Pound’s translation stimulated and strengthened his poetic innovations, which in turn guided and promoted his translations. In Pound’s literary works, it is often difficult to tell translation or adaptation from original composition. For Pound, there seem to be no foundational distinction between the two. Translation to Pound assumes an importance seldom found in other modern poets. To some extent, Pound’s poetics is essentially the poetics of translation. Pound’s theory of translation focuses upon the precise rendering of details, of individual words, and of single or even fragmented images. Actually, his translation theories reinforced and promoted his imagist poetics.

According to the principles of Imagism, translation of poems should also be terse, precise and compose in the sequence of musical phrase. Pound doesn’t see much difference between a poet and a poem translator. A poem translator should explore deep into the mind of the poet to think what he thought and to feel what he felt, so that the “overlap of mind” could occur and the cultural and linguistic barriers could be surpassed. Thus the translation could achieve “fidelity to the original” in both “meaning” and “atmosphere”. Pound doesn’t put much emphasis on words and sentences. Instead, he puts himself in the position of the poet and summarizes the poet’s thoughts and emotions, then turns it into the target language. Words and sentences are not the source text for him, but merely a media to introduce him to the source text, which is the thoughts and feeling of the poet.

Pound’s emphasis is less on the “meaning” of the translated text or even on the meaning of specific words. He emphasizes the rhythm, diction, and movement of words. By the movement of words, he refers to the contextual meaning and the intertextual. Pound thinks the “meaning” of a work of art can never be fixed; it changes as language changes. The range of associations of the words within an original work of art would differ with its new versions in a different age or culture. Pound explains the energy of languages as “words construction new relations to other words at any particular place and time, this quality lends language its energy”. Pound also takes words as “electrified”, the interaction of which could generate energy. Here Pound is actually talking about contextual meaning. He thinks new relations of words forms new meaning, that’s “the energy of language”. As words are not isolated from context, translator should bear in mind the context of the source text.

Pound’s theory of translation requires the translator to keep the historical atmosphere in which the words occur so that the translation process reveals not just what the words mean, but also their various implications. He believes that meaning is not something abstract and part of a universal language, but something that is always located in historical settings-the “atmosphere” in which that meaning occurs. To unpack the meaning, one has to know the history and reconstruct the atmosphere in which that the meaning occurs. Pound says, “Three or four words in exact just apposition are capable of radiating this energy at a very high potentially....The peculiar energy which fills words is the power of tradition, of centuries of race consciousness, of agreement, of association.”（Guo Jianzhong：2000，57）

==The Comparative Study on Image Translation of the Classical Chinese Poetry between Xu and Pound==

Different cultural backgrounds between China and western countries must lead a lot of diversities in the cultural comprehension of the same object, which are the causes of translation divergence. Chinese classical poetry has the characteristics of implicit in connotation, harmonious in metre, bright in rhythm and well-balanced in pattern, so no single theories or schools have given them a satisfactory understanding framework yet. Chinese classical poetry as a relatively independent language world, its transference specially emphasizes the transmission of cultural connotation and aesthetic effect, which is called the transmission of cultural connotation and aesthetic effect, which is called the transmission of “language-image-meaning”(言象意). In Chinese classical philosophy, aesthetics and poetics, “image”（象） is the load of “meaning”(意), therefore, “reflecting through image”(象思维) and “expressing through image”(象表达) are affirmation and belief of Chinese language philosophy, especially poetics. However, English has an evident character of “expressing through language”(言表达), so there must be some problems existed during image transference. The following discussion will give us a comparison among some influential translators’ works. After the detailed analysis, we will have a clear view about their methods of image translation.

===Case Study of Ezra Pound===

Ezra Pound was one of the most influential and innovative poets in the 20th century. As the representative of Western Imagism, Pound makes significant contributions to American poetry not only as a poet but also as a translator, editor, critic and essayist. In order to break away from tradition and romanticism of British poetry, Pound and other imagist poetic principles: (1) To treat things directly whether subjective or objective; (2) To use absolutely no word that does not contribute to the presentation; (3) To compose in sequence of the musical phase, not in sequence of a metronome as regarding rhythm. In Pound’s opinion, image must be concrete and direct which will unfetter the poetic expression from the habit of convention.(Kang Lianxing，2004：114)

Most of the Chinese poems translated by Pound are poems of scenery in Tang Dynasty, which takes mountains, water and vast landscapes as their subjects. Poets of such poems tend to embody their feelings and sentiments in these natural scenes. Chinese classical poetry combines poems and pictures together which get rids of moralization and comments that features the Victorian poetry. Greatly influenced by the writing techniques of Chinese classical poetry, such as the ellipsis of conjunctions and the juxtaposition of images, Pound used them into his poetic creation. Not only his creation but also his translation work caused a tremendous stir in American poetic circle. In 1915, Pound published his most influential translation work Cathy which is the first collection of translated Chinese poetry published in America.

Pound’s translation of Chinese classical poetry is not a mechanical one, but an innovative reconstruction. Some of the reconstructions are ignorant, but some are designed. Ignorant or designed, Pound’s translation is highly valuable. It gives us some inspiration in image translation. A study on Pound’s image translation of Chinese classical poetry would shed light on the research goal of the following thesis. A designed example can be taken as the best one to explore Pound’s creative translation. It also reflects the language difference between Chinese and English:

送友人（李白）
青山横北郭，白水绕东城。
此地一为别，孤蓬万里征。
浮云游子意，落日故人情。
挥手自兹去，萧萧班马鸣。

The theme of the poem is about saying farewell to a departing friend. Under this theme, vivid images are scattered skillfully in every line of the poem which can be classified into two categories-those don’t have cultural connotations, such as “青山”, “万里”, “东城”, and those culture-loaded, such as “孤蓬”, “万里”, “浮云”, “游子”, “落日”, The third line is juxtaposition of images with deep connotations: the image “浮云” is used as a metaphor to express the wandering life of the poet’s friend, while the image “落日” is used to convey the poet’s reluctance to part with his friend. The affection between the poet and his friend reaches climax in the fourth line. The image “斑马” means a stray and lonely horse. Horses can understand their masters’ affection and neigh to express their grief over parting. It is through a series of rich images that the poet expresses his deep affection to the departing friend vividly. Let’s take a look at Pound’s translation:

Taking Leaves of a Friend(Li Bai)
Blue mountains to the north of the walls,
White river winding about them;
Here we must make separation
And go out through thousand miles of dead grass.
Mind like a floating wide cloud.
Sunset like the parting of old acquaintances
Who bow over their clasped hands at a distance.
Our horses neigh to each other as we are departing.

From the translation of the title “Taking Leave of a Friend”, we can see Pound’s recreation. The phrase “take leave of” in English refers to the subject’s departure, but it is clear that the original title is the friend’s departure. The poet sees his friend off not the poet himself leaving. It is accredited that the first two lines are almost word for word translation because the non-cultural loaded images are ranged neatly from his translation. In the fourth line, “孤蓬” is a culture-loaded image which is usually compared to a person who leads a wandering life and has no one to depend on in the classical Chinese literature. Although it is not mentioned in original poem whether the poet’s friend leaves by boat or horseback, Pound gets information from “萧萧班马鸣”, so he uses “dead grass” to show that two friends are sadly departing on the grassland. This is a faithful but rigid translation which loses aesthetic equivalence. “万里” is also not a simple image. Pound translates it in the form of the target language, which turns out that he ignores it is not the actual figure “一万里”, but implies the remote way the friend has to take. “浮云游子意，落日故人情” is the key in delivering the original poem’s sensation for its concise and profound images. The juxtaposed and vivid images directly constitute two metaphors, and thus endless meanings and sensation are conveyed in such ten characters. Pound here uses two “like” to target readers about the inner meaning of “floating cloud” and “sunset” in Chinese literature.
About translation type, Pound adopts imitation, which means to form and individual style. In image translation, Pound always tries his best to combine his feelings with the poet, and no convey the mood of thinking and emotion in the original poem into the target language. We must admit that some of his translation is not words or lines. He emphasizes each single image and individual detail which he thinks reveal the truth of the original poem. Ezra Pound was not familiar with Chinese culture, even did not know Chinese language when he translated these poems, which is the main reason causing cultural misunderstanding and image translation. Correctly Understanding on the semantic meaning of the original image is the foundation of conveying aesthetic feeling of the original poem equivalently.

===Case Study of Xu Yuanchong===

It is widely accepted that Xu Yuanchong is prolific and influential poetry translator in contemporary Chinese academic who has published more than sixty books about translation and practice in his more than sixty years of translation career. With the painstaking research about literary translation, Xu Yuanchong has established a set of translation theories of his own, one of which-theory of three beauties (beauty in sense, in mind and in form)-gives light to our image translation. Beauty in sense is the most important one which means that in translating a poem, the translator should not only translate the surface meaning of the poem, but also the deep sense of it, or even the sense beyond the literal level. “sense” in Xu Yuanchong’s theory not only refers to meaning, but also refers to aesthetic conception, thus his beauty in sense could be interpreted as trying to present the aesthetic conception and poetic beauty of the original poem. Let’s choose Li Bai’s Farewell to A Friend(《送友人》) as an example again to appreciate Xu Yuanchong’s beauty in images in his translation work:

Farewell to A Friend
Blue mountains bar the northern sky;
While river girds the eastern town.
Here is the place to say goodbye;
You’ll drift like lonely thistledown.
With floating cloud you’ll float away;
Like parting day I’ll part from you.
You wave your hand and go your way;
Your steed still neighs, “Adieu, adieu!” (Xu 2006:123)

Compared with Pound’s translation, this title conveys to us equivalent information of who will leave. Dynamic image “bar” in the first line depicts a magnificent scene that mountains stretch endlessly across the sky, which is closer to Li Bai’s bold and unconstrained poetic style. The image “lonely thistledown” in the second line is more suitable than Pound’s “dead grass”. From this place on, the poet’s friend will drift along just like thistledown blown by the wind, which transmits the deep level sense of “孤蓬”. Pound’s translation of the third line surpasses Xu’s in that Xu’s translation is a kind of recreation which loses deep level sense. If we translate it back into Chinese, it could be “你随着浮云而去，如同分别之日我与你分别一样”. “Floating cloud” and “sunset” are two metaphors. The poet’s friend will leave his hometown, family and friends, so his wife will be unstable like floating cloud. The poet’s affection to his friend is hard to part with just like being sentimentally attached to the sunset. In the last line, “wave hand” and “bow over their clasped hands” are two different ways to say goodbye which embody different cultures between Chine and the West. As for the sound image “萧萧”, Xu Yuanchong uses “adieu” to personalize the horse, which aims to build a sense of parting grief. Though the two translations have their own strong points, Xu Yuanchong’s version seems more likely to present the original beauty of images.

To grasp cultural-loaded image well is the key point in image translation. Compared with Pound, Professor Xu seems more dominant to translate Chinese classical poetry because he is accomplished in Chinese language and culture. During the sixty years’ research, Xu Yuancong takes promoting Chinese culture as his responsibility, and id dedicated to the cultural communication between China and Western countries. From some of Xu Yuanchong’s translation we find that Xu is inclined to target-culture-oriented translation, and sometimes in order to keep aesthetic conception of the original poem, he will recreate the poem according to his understanding towards the poet’ s affection.

==Conclusions==

In the thesis of the conclusion, skopos theory is employed to analyze Xu Yuanchong’s and Ezra Pound’s different translation purposes, which lead to their different strategies in their translation practice, and that is the reason of their different versions of the same original texts.

In his preface to The Art of Translation, Xu Yuanchong proposes that it should be translators’ obligation to bring the essence of the world culture into the Chinese culture and introduce the best of the Chinese culture to the whole world. He believes that translation is the catalyst in the integration of Chinese culture with the world civilization and that classical Chinese poetry is, undoubtedly, the greatest and everlasting contribution China has made to the world civilization, which is the reason why Xu Yuanchong chooses poetry as his translation object. In other words, the purpose of Xu Yuanchong’s translation of classical poetry lies in introducing and spreading to the world the gorgeous Chinese culture.

As for Ezra Pound, there are two reasons why he turns to the East and translates classical Chinese poetry. The first is the background Pound was in. At the turn of the twentieth century, English literature was dominated by conservatism. Unable to bear the monotonous and dull Victorian poems, Pound hurled himself into transforming British verse and into saving tottering civilization by injecting into it the cultures of the past and the alien. In the process of his exploration, Pound ran into classical Chinese poetry in which he found great interest and was greatly enlightened. The second reason is that Pound is the advocate of the Imagist Movement. He finds values in classical Chinese poetry because classical Chinese poetry is, by virtue of the ideographic and pictographic nature of the Chinese language, essentially imagist poetry. Therefore, classical Chinese poetry satisfies his poetic intent to some extent. By translating classical Chinese poetry, he hopes to make it clear that the presentation of individual images and the superposition of images can help regain immediate experiences. The Imagist Poetics has greatly influenced him, making him manipulate translations to serve his poetic innovations.

As Xu and Pound have different purposes of translating classical Chinese poetry, they have different criteria for their selection of the source text. Xu aims at introducing the best part of Chinese culture to the world. So long as a poem is beautiful and represents a certain aspect of the essence of Chinese culture, Xu is ready to work on it. But it’s not the case with Pound. In the 150 poems in Ernest Fenollosa’s manuscripts-the resourse where Pound obtains notes about classical Chinese poetry, he carefully selects 19 poems, the images and poetic sentiment of which he feels may best represent and promote his Imagist Movement.

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*Xu Yuanchong, 1991, Development of Verse Translation, 《外国语》第1 期，35-45页 Foreign Languages, Issue 1, Page 35-45
*Zhao Yiheng 赵毅衡，1985，《远游的诗神》 The poetic god of distant wanderings，重庆：四川人民出版社 Chongqing:Sichuan People's Publishing House.
*Guo Jianzhong 郭建中，1999，《当代美国翻译理论》 Contemporary American Translation Theory，武汉：湖北教育出版社 Wuhan:Hubei Educational Publishing House.
*Jiang Hongxin 蒋洪新，2001，庞德的《华夏集》探源 An Exploration of Pound's Huaxia Collection,《中国翻译》第1期，56-59页 Chinese Translation, Issue 1, Page 56-59.
*Jiang Hongxin 蒋洪新，2001，庞德的翻译理论研究 A Study of Pound's Theory of Translation，《外国语》第4期, 77-80页 Foreign Languages, Issue 4, Page 77-80.
*Guo Jianzhong 郭建中，2000，美国翻译研讨班和庞德翻译思想 American Translation Seminars and Pound's Ideas on Translation, 《外语与外语教学》第2期 Foreign Languages and Foreign Language Teaching, Issue 2.
*Xu Yuanchong 许渊冲，1998，读“翻译文化竞赛论” Reading "Translation Culture Contest Theory"，《外语与翻译》第2期，15-18页 Foreign Languages and Translation Issue 2, Page 15-18.

Written by --[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:00, 16 December 2021 (UTC)

Comp Stud Trans EN 7

2021-12-16T03:09:30Z

Wang Yifan21: /* Ezra Pound’s Life */

==A Comparative Study on Xu Yuanchong’s and Ezra Pound’s Theories and Practices on the Translation of Classical Chinese Poetry==
许渊冲与庞德中诗英译思想与实践比较研究

王逸凡, Wang Yifan, Hunan Normal University, China

==Abstract==
The Classical Chinese poetry is an important part of the Chinese culture, and also a valuable contribution of the Chinese literature to the world literature. For the last one and a half centuries or so, scholars both at home and abroad have made significant efforts in the translation of the classical Chinese poetry. Quite a few of them have not only attributed excellent versions but also insightful views on translation theories. In the history of verse translation, Ezra Pound took up a crucial and unique position. His ''Cathy''（《华夏集》） made a stir upon publication in 1915 and was considered his “most enduring contribution” to the English poetry. The success of ''Cathy'' is actually the success of the classical Chinese poetry in the United States. “Ever since then, the classical Chinese poetry began to attract the western eyes.” As for the translation in contemporary China, Xu Yuanchong is definitely the most influential one, whose excellent versions of the classical Chinese poetry are well accepted by readers both in China and overseas, whose criteria of verse translation - “beauty in sense, beauty in sound and beauty in form” have been widely recognized and appreciated. Taking Pound and Xu Yuanchong as the research objects, this paper attempts to clearly demonstrate the similarities and differences between Pound and Xu's thoughts on translation of Chinese poetry into English. On this basis, this paper makes a comparative analysis of Xu Yuanchong's and Pound's focus on the image in classical Chinese poetry considering skopos theory, in an attempt to find out the social and cultural factors that influence their translation activities.(Zhao Yiheng：1985，150）

==Key Words==
the Classical Chinese Poetry, Xu Yuanchong, Ezra Pound, image; translation theory, comparative study

==中文摘要==
古典诗歌是中国文化的重要组成部分，也是中国文学对世界文学宝库的巨大贡献。中外学者在古典诗歌翻译方面做很多有益的尝试，不少学者亲自从事翻译实践，而且还就诗歌翻译理论提出了精辟的见解。在早期译者中，埃兹拉•庞德无疑占据着一个极为重要而又特殊的地位。他的《神州集》在一九一五年四月出版后就引起了极大的轰动，从而被看作是他对英语诗歌的“最持久的贡献”，也是中国古典诗歌在美国的第一次真正的成功。“自此以后，庞德将中国诗变成了大众瞩目的东西”。而在当今中国的诗歌翻译界，许渊冲是最具影响力的翻译家。在其六十年的翻译生涯中，许渊冲翻译了大量的古典诗词，并在国内外深受好评。他关于诗歌翻译的“意美、音美、形美”的标准也得到了广泛的认同。本文以庞德和许渊冲为研究对象，试图分析庞德和许渊冲中诗英译思想的异同。在此基础上，就许渊冲和庞德对于中国古典诗歌中意象的关注并结合翻译目的论对他们的译本进行了对比分析，试图找出影响他们翻译活动的社会和文化因素。（赵毅衡：1985，150）

==关键词==
中国古典诗歌；许渊冲；庞德；意象；翻译理论；比较研究

==Xu Yuanchong’s Life and Thoughts==

===Xu Yuanchong’s life and career as a scholar and a translator===

Xu Yuanchong was born in 1921 in Nanchang, Jiangxi, and in 1936, when he was fifteen years old, he was in his first year of high school at Nanchang No. 2 High School in Jiangxi, where the Japanese had occupied the north-east of China and were advancing into northern China. But after his victory in the war, Mr. Xu recalls that experience as a solid foundation for his future path in life and for his career as a translator.In 1938, at the age of 17, Xu Yuanchong was admitted to the Southwest Associated University, a joint venture between Peking University, Tsinghua University and Nankai University in Kunming, Yunnan Province, during the war years. It was here that Xu Yuanchong became a student of Qian Zhongshu, Wu Mi, Wen Yiduo, Feng Youlan and many other great artists, and became lifelong friends with the future Nobel Prize winner in physics, Yang Zhenning, and Wang Xiji, the father of the two bombs and one star. All this inspired and established Xu Yuanchong's style of seeking common ground and being unconventional in his translations.

Mr. Xu also recalled that it was only after tracing his roots that he discovered that the source of influence on Mr. Xu's path to translation was his father's love of a tidy lifestyle and his ability to work with excellent finances. From an early age, Mr. Xu Yuanchong's father taught him to keep the four literary treasures in the most accessible places, which was later expanded by Mr. Xu from the four literary treasures to the written word, or the best way to express himself, and the most accessible place can also be summarized as the best location. Mr. Xu's father cultivated the habit of putting the best words in the most appropriate places. Mr. Xu's mother's love of drawing was an education in 'beauty' and 'joy'. Mr. Xu's mother was a student at the Jiangxi Provincial Vocational School a hundred years ago. Although his mother died young, among Mr. Xu's mother's belongings were two books of drawings and one essay, in which the flowers, trees, birds and animals greatly aroused Mr. Xu's love of 'beauty'. The story "Xiang Yu and Napoleon" in the essay fostered the idea that Mr. Xu would not judge a hero by his success or failure. All of this had a profound impact on Mr. Xu's later translation style and practice. During his time at SWLU, Mr. Xu received guidance from many famous teachers. Mr. Wu Mi was one teacher who changed his concept of translation. In his secondary school days, Mr. Xu thought that the idea of direct translation proposed by Lu Xun was correct because he liked his satirical essays so much. However, after hearing Mr. Wu critique the translation examination papers of postgraduate students, it was definitely still the case that the Italian translation made more sense. On the question of translation, Mr. Qian Zhongshu mentioned in his English letter to Xu Yuanchong that there were two ways to translate poems, one was the method of translating from a colourless glass plate and the other was the method of translating from a coloured glass plate. The former would offend the poem and the latter would offend the translation. Choosing the lesser of the two, he preferred to offend the poem. But Xu Yuanchong believed that the colourless glass translation method pursued truth, while the tinted glass translation method pursued beauty. If the original poem is beautiful and true, the translation cannot be considered a facsimile if it is true but not beautiful; if the translation is beautiful but not true, then there is a risk of distortion. So how exactly should we deal with this? Xu Yuanchong finds the answer in the ''Analects'': "The greatest of the arts is to follow the heart without exceeding the rules".

In 1939, when he was a first-year student, he translated Lin Huiyin's poem "Don't Lose It" into English and published it in the Literary Translation Journal, his earliest translation, and in He then enrolled in the Institute of Foreign Literature at Tsinghua University, where he also taught English to the first graduating class of 1943 at Tianxiang High School. After the victory of the war, Mr. Xu Yuanchong applied to study at the University of Paris through the first major examination held by the Ministry of Education to study abroad. At the University of Paris, Mr. Xu read the realist literature of Balzac and Shakespeare, and the romantic poetry of Victor Hugo, which laid a solid foundation for his later translations of Chinese and French poetry.

No reference inserted--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 09:08, 14 December 2021 (UTC)

===General Introduction to Xu Yuanchong’s Theories on Literary Translation===

Xu Yuanchong once said, "Western translations are about equivalence, one word for another, and 90% of their major words and vocabulary are equivalent. Unlike other scripts, only 50% of Chinese words and vocabulary are equivalent. While reciprocity does not contradict objective laws, it does not take advantage of subjective dynamics. Without distorting the author's meaning, a translation must bring out the flavor, essence and soul of a nation's culture", so Xu Yuanchong's theory of translation, specifically, contains the following main elements.

The Ontology of Literary Translation: Theory of Three Beauties. In the preface to Forty-two poems of Mao Zedong(1978), Xu for the first time put forward his Theory of Three Beauties on poetry translation “A translated lyric should not only be faithful to the original but also as beautiful as it is in sense, in sound and in form.” Being beautiful in sense means that in translating a poem, the translator should not only translate the surface level meaning of the poem, but also the deep level sense of it, or even the sense beyond word level. According to Xu, the translation process would be relatively easy if the content and form of the poem are in harmony. While if the content and form of a poem do not match, then the content would be the first priority in translation. In the situation that the form of the original might contain several different meaning, the most beautiful kind should be chosen in translation. Actually what Xu wants to emphasize here is the unique artistic conception of classical Chinese poetry which features implicitness, subtlety and succinctness. Being beautiful in sound means that the translator should try his/her best to present meter, rhythm, and alliteration in the original poem. To Xu, if the original is rhymed, the translation should also be; if the original uses classical Chinese tonal patterns, the translation could use light and stressed tone; if the original tends to use phrases having two or more characters with the same initial constant, then the translation could use alliteration. Being beautiful in form includes the layout of lines, antithesis formed by lines matched in sound and sense, and repetition of words or lines. Xu also made a hierarchical relation among the three beauties form: beauty in sense is the most important, which is followed by beauty in sound, and then beauty in form. In translating classical Chinese poetry, taking presenting the beauty in sense as the first priority, the translator should also try the best to present the beauty in sound; while by achieving the presentation of the beauty in sense and in sound, the translator then should endeavor to present the beauty in form. To Xu, the pursuit of three beauties should be the guiding principle and ultimate goal in classical Chinese poetry translation.(Jiang Hongxin 2001,77-80)

The Methodology of Literary Translation: Particularization, Equalization and Generalization. In the preface to 150 Tang Poems(1984), Xu raised the methodology of literary translation: particularization, equalization and generalization. Particularization refers to translation techniques like specialization, concretization, adding words splitting words and so on. Generalization includes translation techniques like abstractization, cutting words or merging words. And equalization means the translation techniques like flexible equalization, changing word function, active form and passive form. The great scholar and translator Qian Zhongshu had made a famous definition on translation that the highest standard of literary translation in “sublimation” by which means to transfer the language of a text into another language without any trace of stiltedness resulting from the differences in usage and at the same time retaining all the flavor of the original. Particularization, equalization and generalization are actually three aspects of the standard – “sublimation”. Particularization is to explore the deep level meaning of the original text through its surface level form. If the translation reaches the deeper level of meaning than the original, then particularization is achieved. On the other hand, generalization tends to turn the abstruse original into plain and understandable translation.

The Teleology of Literary Translation: Comprehension, Appreciation and Admiration. Translation is recreation, that is to say translation should make readers cheerful and relaxed - it should be recreational. To Xu，the aim of literary translation, especially poetry translation, is to make readers comprehend, appreciate and even admire the translation. Literary translation, from translator to reader, is an aesthetic process. Comprehension means the reader understands what the translation conveyed. Appreciation means the reader enjoys what the translation tells how it tells-the reader delights in it. In Xu’s theory, the translator should use the methods of generalization to reverse the disadvantage of target language, which would in turn make the reader comprehend the translation; the translator should use the method of equalization to reach balance which would make the reader appropriate the translation; and the translator should use the method of particularization to fully exploit the advantage of the target language, which would in turn make the reader admire the translation.(Xu Yuanchong，2003:146）

Xu concluded his translation theory as “Art of beautifulization and creation of the best as in rivalry”.

==Ezra Pound’s Life and His Theories on Translation==

===Ezra Pound’s Life===

Ezra Pound was born in Hailey Township, Idaho, USA, on 30 October 1885. Before going to Europe, he attended the University of Pennsylvania, where he studied American history, classics and Romance languages and literature. Pound made his first trip to Europe in 1898, then four more in 1902, 1906 and 1908, settling in London in 1908, where he became a major figure in the literary world for a time. Pound was a poet and literary critic, an important representative of the Imagist poetry movement, as well as an accomplished translator who collected and translated a dozen ancient Chinese poems ''Cathy''（《华夏集》） in his 1915 and also translated the ''Great Learning''（《大学》）, ''the Doctrine of the Mean''（《中庸》） and ''The Analects of Confucius''（《论语》）.Pound and Eliot were both leading figures in late Symbolist poetry, and his theory of 'poetic imagery', derived from classical Chinese poetry and Japanese haiku, made a remarkable contribution to the cross-fertilisation of Eastern and Western poetry.

In 1908 Pound's first collection of poems, ''A Lume Spento'' (《灯火熄灭之时》), was self-published in Venice, Italy, and in 1909 his collection ''Personae''（《人物》）was published in London, and in 1910 his anthology ''The Spirit of Romance''（《罗曼斯精神》）was published. The collection consists mainly of his early translations as well as the results and insights of his scholarly research over the years. In 1912 he became the London correspondent of the small Chicago magazine ''Poetry''（《诗歌》）, and in 1914 he married Dorothy Shakespeare.

During his time in Paris and London, in addition to continuing his creative work, he explored and nurtured talent, travelled extensively with European and American literary figures, and made a unique contribution to breaking the sedimentation of British and American literature, especially British and American poetry, and to promoting the 'revival' of American literature. He had extensive contacts with sculptors, painters and musicians, and played a significant role in the formation and development of modernist thought in Europe and America. Between 1914 and 1916 Pound was very close to the Irish poet W.B. Yeats. He admired Yeats and took him as his teacher. Yeats was also influenced by him to some extent. After leaving Paris in 1924 and up to the eve of the Second World War, Pound's attention gradually shifted from literary creation to the political and economic problems of capitalism. At the end of the war, he was arrested by the U.S. military authorities and was held for six months at a Disciplinary Training Center near Pisa. In 1958, the joint effort of such eminent personalities as T.S. Eliot, Robert Frost, and Ernest Hemingway secured his release. He returned to Italy, where he worked until his death in 1972.(Kenner,1953)

===Pound As Translator===

Pound’s translation stimulated and strengthened his poetic innovations, which in turn guided and promoted his translations. In Pound’s literary works, it is often difficult to tell translation or adaptation from original composition. For Pound, there seem to be no foundational distinction between the two. Translation to Pound assumes an importance seldom found in other modern poets. To some extent, Pound’s poetics is essentially the poetics of translation. Pound’s theory of translation focuses upon the precise rendering of details, of individual words, and of single or even fragmented images. Actually, his translation theories reinforced and promoted his imagist poetics.

According to the principles of Imagism, translation of poems should also be terse, precise and compose in the sequence of musical phrase. Pound doesn’t see much difference between a poet and a poem translator. A poem translator should explore deep into the mind of the poet to think what he thought and to feel what he felt, so that the “overlap of mind” could occur and the cultural and linguistic barriers could be surpassed. Thus the translation could achieve “fidelity to the original” in both “meaning” and “atmosphere”. Pound doesn’t put much emphasis on words and sentences. Instead, he puts himself in the position of the poet and summarizes the poet’s thoughts and emotions, then turns it into the target language. Words and sentences are not the source text for him, but merely a media to introduce him to the source text, which is the thoughts and feeling of the poet.

Pound’s emphasis is less on the “meaning” of the translated text or even on the meaning of specific words. He emphasizes the rhythm, diction, and movement of words. By the movement of words, he refers to the contextual meaning and the intertextual. Pound thinks the “meaning” of a work of art can never be fixed; it changes as language changes. The range of associations of the words within an original work of art would differ with its new versions in a different age or culture. Pound explains the energy of languages as “words construction new relations to other words at any particular place and time, this quality lends language its energy”. Pound also takes words as “electrified”, the interaction of which could generate energy. Here Pound is actually talking about contextual meaning. He thinks new relations of words forms new meaning, that’s “the energy of language”. As words are not isolated from context, translator should bear in mind the context of the source text.

Pound’s theory of translation requires the translator to keep the historical atmosphere in which the words occur so that the translation process reveals not just what the words mean, but also their various implications. He believes that meaning is not something abstract and part of a universal language, but something that is always located in historical settings-the “atmosphere” in which that meaning occurs. To unpack the meaning, one has to know the history and reconstruct the atmosphere in which that the meaning occurs. Pound says, “Three or four words in exact just apposition are capable of radiating this energy at a very high potentially....The peculiar energy which fills words is the power of tradition, of centuries of race consciousness, of agreement, of association.”（Guo Jianzhong：2000，57）

==The Comparative Study on Image Translation of the Classical Chinese Poetry between Xu and Pound==

Different cultural backgrounds between China and western countries must lead a lot of diversities in the cultural comprehension of the same object, which are the causes of translation divergence. Chinese classical poetry has the characteristics of implicit in connotation, harmonious in metre, bright in rhythm and well-balanced in pattern, so no single theories or schools have given them a satisfactory understanding framework yet. Chinese classical poetry as a relatively independent language world, its transference specially emphasizes the transmission of cultural connotation and aesthetic effect, which is called the transmission of cultural connotation and aesthetic effect, which is called the transmission of “language-image-meaning”(言象意). In Chinese classical philosophy, aesthetics and poetics, “image”（象） is the load of “meaning”(意), therefore, “reflecting through image”(象思维) and “expressing through image”(象表达) are affirmation and belief of Chinese language philosophy, especially poetics. However, English has an evident character of “expressing through language”(言表达), so there must be some problems existed during image transference. The following discussion will give us a comparison among some influential translators’ works. After the detailed analysis, we will have a clear view about their methods of image translation.

===Case Study of Ezra Pound===

Ezra Pound was one of the most influential and innovative poets in the 20th century. As the representative of Western Imagism, Pound makes significant contributions to American poetry not only as a poet but also as a translator, editor, critic and essayist. In order to break away from tradition and romanticism of British poetry, Pound and other imagist poetic principles: (1) To treat things directly whether subjective or objective; (2) To use absolutely no word that does not contribute to the presentation; (3) To compose in sequence of the musical phase, not in sequence of a metronome as regarding rhythm. In Pound’s opinion, image must be concrete and direct which will unfetter the poetic expression from the habit of convention.(Kang Lianxing，2004：114)

Most of the Chinese poems translated by Pound are poems of scenery in Tang Dynasty, which takes mountains, water and vast landscapes as their subjects. Poets of such poems tend to embody their feelings and sentiments in these natural scenes. Chinese classical poetry combines poems and pictures together which get rids of moralization and comments that features the Victorian poetry. Greatly influenced by the writing techniques of Chinese classical poetry, such as the ellipsis of conjunctions and the juxtaposition of images, Pound used them into his poetic creation. Not only his creation but also his translation work caused a tremendous stir in American poetic circle. In 1915, Pound published his most influential translation work Cathy which is the first collection of translated Chinese poetry published in America.

Pound’s translation of Chinese classical poetry is not a mechanical one, but an innovative reconstruction. Some of the reconstructions are ignorant, but some are designed. Ignorant or designed, Pound’s translation is highly valuable. It gives us some inspiration in image translation. A study on Pound’s image translation of Chinese classical poetry would shed light on the research goal of the following thesis. A designed example can be taken as the best one to explore Pound’s creative translation. It also reflects the language difference between Chinese and English:

送友人（李白）
青山横北郭，白水绕东城。
此地一为别，孤蓬万里征。
浮云游子意，落日故人情。
挥手自兹去，萧萧班马鸣。

The theme of the poem is about saying farewell to a departing friend. Under this theme, vivid images are scattered skillfully in every line of the poem which can be classified into two categories-those don’t have cultural connotations, such as “青山”, “万里”, “东城”, and those culture-loaded, such as “孤蓬”, “万里”, “浮云”, “游子”, “落日”, The third line is juxtaposition of images with deep connotations: the image “浮云” is used as a metaphor to express the wandering life of the poet’s friend, while the image “落日” is used to convey the poet’s reluctance to part with his friend. The affection between the poet and his friend reaches climax in the fourth line. The image “斑马” means a stray and lonely horse. Horses can understand their masters’ affection and neigh to express their grief over parting. It is through a series of rich images that the poet expresses his deep affection to the departing friend vividly. Let’s take a look at Pound’s translation:

Taking Leaves of a Friend(Li Bai)
Blue mountains to the north of the walls,
White river winding about them;
Here we must make separation
And go out through thousand miles of dead grass.
Mind like a floating wide cloud.
Sunset like the parting of old acquaintances
Who bow over their clasped hands at a distance.
Our horses neigh to each other as we are departing.

From the translation of the title “Taking Leave of a Friend”, we can see Pound’s recreation. The phrase “take leave of” in English refers to the subject’s departure, but it is clear that the original title is the friend’s departure. The poet sees his friend off not the poet himself leaving. It is accredited that the first two lines are almost word for word translation because the non-cultural loaded images are ranged neatly from his translation. In the fourth line, “孤蓬” is a culture-loaded image which is usually compared to a person who leads a wandering life and has no one to depend on in the classical Chinese literature. Although it is not mentioned in original poem whether the poet’s friend leaves by boat or horseback, Pound gets information from “萧萧班马鸣”, so he uses “dead grass” to show that two friends are sadly departing on the grassland. This is a faithful but rigid translation which loses aesthetic equivalence. “万里” is also not a simple image. Pound translates it in the form of the target language, which turns out that he ignores it is not the actual figure “一万里”, but implies the remote way the friend has to take. “浮云游子意，落日故人情” is the key in delivering the original poem’s sensation for its concise and profound images. The juxtaposed and vivid images directly constitute two metaphors, and thus endless meanings and sensation are conveyed in such ten characters. Pound here uses two “like” to target readers about the inner meaning of “floating cloud” and “sunset” in Chinese literature.
About translation type, Pound adopts imitation, which means to form and individual style. In image translation, Pound always tries his best to combine his feelings with the poet, and no convey the mood of thinking and emotion in the original poem into the target language. We must admit that some of his translation is not words or lines. He emphasizes each single image and individual detail which he thinks reveal the truth of the original poem. Ezra Pound was not familiar with Chinese culture, even did not know Chinese language when he translated these poems, which is the main reason causing cultural misunderstanding and image translation. Correctly Understanding on the semantic meaning of the original image is the foundation of conveying aesthetic feeling of the original poem equivalently.

===Case Study of Xu Yuanchong===

It is widely accepted that Xu Yuanchong is prolific and influential poetry translator in contemporary Chinese academic who has published more than sixty books about translation and practice in his more than sixty years of translation career. With the painstaking research about literary translation, Xu Yuanchong has established a set of translation theories of his own, one of which-theory of three beauties (beauty in sense, in mind and in form)-gives light to our image translation. Beauty in sense is the most important one which means that in translating a poem, the translator should not only translate the surface meaning of the poem, but also the deep sense of it, or even the sense beyond the literal level. “sense” in Xu Yuanchong’s theory not only refers to meaning, but also refers to aesthetic conception, thus his beauty in sense could be interpreted as trying to present the aesthetic conception and poetic beauty of the original poem. Let’s choose Li Bai’s Farewell to A Friend(《送友人》) as an example again to appreciate Xu Yuanchong’s beauty in images in his translation work:

Farewell to A Friend
Blue mountains bar the northern sky;
While river girds the eastern town.
Here is the place to say goodbye;
You’ll drift like lonely thistledown.
With floating cloud you’ll float away;
Like parting day I’ll part from you.
You wave your hand and go your way;
Your steed still neighs, “Adieu, adieu!” (Xu 2006:123)

Compared with Pound’s translation, this title conveys to us equivalent information of who will leave. Dynamic image “bar” in the first line depicts a magnificent scene that mountains stretch endlessly across the sky, which is closer to Li Bai’s bold and unconstrained poetic style. The image “lonely thistledown” in the second line is more suitable than Pound’s “dead grass”. From this place on, the poet’s friend will drift along just like thistledown blown by the wind, which transmits the deep level sense of “孤蓬”. Pound’s translation of the third line surpasses Xu’s in that Xu’s translation is a kind of recreation which loses deep level sense. If we translate it back into Chinese, it could be “你随着浮云而去，如同分别之日我与你分别一样”. “Floating cloud” and “sunset” are two metaphors. The poet’s friend will leave his hometown, family and friends, so his wife will be unstable like floating cloud. The poet’s affection to his friend is hard to part with just like being sentimentally attached to the sunset. In the last line, “wave hand” and “bow over their clasped hands” are two different ways to say goodbye which embody different cultures between Chine and the West. As for the sound image “萧萧”, Xu Yuanchong uses “adieu” to personalize the horse, which aims to build a sense of parting grief. Though the two translations have their own strong points, Xu Yuanchong’s version seems more likely to present the original beauty of images.

To grasp cultural-loaded image well is the key point in image translation. Compared with Pound, Professor Xu seems more dominant to translate Chinese classical poetry because he is accomplished in Chinese language and culture. During the sixty years’ research, Xu Yuancong takes promoting Chinese culture as his responsibility, and id dedicated to the cultural communication between China and Western countries. From some of Xu Yuanchong’s translation we find that Xu is inclined to target-culture-oriented translation, and sometimes in order to keep aesthetic conception of the original poem, he will recreate the poem according to his understanding towards the poet’ s affection.

==Conclusions==

In the thesis of the conclusion, skopos theory is employed to analyze Xu Yuanchong’s and Ezra Pound’s different translation purposes, which lead to their different strategies in their translation practice, and that is the reason of their different versions of the same original texts.

In his preface to The Art of Translation, Xu Yuanchong proposes that it should be translators’ obligation to bring the essence of the world culture into the Chinese culture and introduce the best of the Chinese culture to the whole world. He believes that translation is the catalyst in the integration of Chinese culture with the world civilization and that classical Chinese poetry is, undoubtedly, the greatest and everlasting contribution China has made to the world civilization, which is the reason why Xu Yuanchong chooses poetry as his translation object. In other words, the purpose of Xu Yuanchong’s translation of classical poetry lies in introducing and spreading to the world the gorgeous Chinese culture.

As for Ezra Pound, there are two reasons why he turns to the East and translates classical Chinese poetry. The first is the background Pound was in. At the turn of the twentieth century, English literature was dominated by conservatism. Unable to bear the monotonous and dull Victorian poems, Pound hurled himself into transforming British verse and into saving tottering civilization by injecting into it the cultures of the past and the alien. In the process of his exploration, Pound ran into classical Chinese poetry in which he found great interest and was greatly enlightened. The second reason is that Pound is the advocate of the Imagist Movement. He finds values in classical Chinese poetry because classical Chinese poetry is, by virtue of the ideographic and pictographic nature of the Chinese language, essentially imagist poetry. Therefore, classical Chinese poetry satisfies his poetic intent to some extent. By translating classical Chinese poetry, he hopes to make it clear that the presentation of individual images and the superposition of images can help regain immediate experiences. The Imagist Poetics has greatly influenced him, making him manipulate translations to serve his poetic innovations.

As Xu and Pound have different purposes of translating classical Chinese poetry, they have different criteria for their selection of the source text. Xu aims at introducing the best part of Chinese culture to the world. So long as a poem is beautiful and represents a certain aspect of the essence of Chinese culture, Xu is ready to work on it. But it’s not the case with Pound. In the 150 poems in Ernest Fenollosa’s manuscripts-the resourse where Pound obtains notes about classical Chinese poetry, he carefully selects 19 poems, the images and poetic sentiment of which he feels may best represent and promote his Imagist Movement.

==REFERENCES==

*Albright, D.1997. Quantum Poetics – Yeats, Pound, Eliot and the Science of Modernism. Cambridge: Cambridge University Press.
*Cheadle, M.P. 1997. Ezra Pound’s Confucian Translations. East Lansing: The University of Michigan Press.
*Edwin, Gentzler 1990. Contemporary Translation Theories. Cambridge: Cambridge University Press.
*Kenner, H. 1953. Introduction to the Translation of Ezra Pound. Terre Haute: Indiana University Press.
*Nida, E.A. 1993, Language, Culture, and Translating. Shanghai: Shanghai Foreign Language Education Press.
*Xu, Yuan. Translation Techniques in Image Reproduction. Beijing: Beijing Language and Culture University, 2002.
*Xu Yuanchong. 300 Tang Poems. Beijing: Chinese Translation press
*Xu Yuanchong, 1994. Song of The Immortals—An Anthology of Classical Chinese Poetry. Beijing: New World Press.
*Xu Yuanchong, 1991, Development of Verse Translation, 《外国语》第1 期，35-45页 Foreign Languages, Issue 1, Page 35-45
*Zhao Yiheng 赵毅衡，1985，《远游的诗神》 The poetic god of distant wanderings，重庆：四川人民出版社 Chongqing:Sichuan People's Publishing House.
*Guo Jianzhong 郭建中，1999，《当代美国翻译理论》 Contemporary American Translation Theory，武汉：湖北教育出版社 Wuhan:Hubei Educational Publishing House.
*Jiang Hongxin 蒋洪新，2001，庞德的《华夏集》探源 An Exploration of Pound's Huaxia Collection,《中国翻译》第1期，56-59页 Chinese Translation, Issue 1, Page 56-59.
*Jiang Hongxin 蒋洪新，2001，庞德的翻译理论研究 A Study of Pound's Theory of Translation，《外国语》第4期, 77-80页 Foreign Languages, Issue 4, Page 77-80.
*Guo Jianzhong 郭建中，2000，美国翻译研讨班和庞德翻译思想 American Translation Seminars and Pound's Ideas on Translation, 《外语与外语教学》第2期 Foreign Languages and Foreign Language Teaching, Issue 2.
*Xu Yuanchong 许渊冲，1998，读“翻译文化竞赛论” Reading "Translation Culture Contest Theory"，《外语与翻译》第2期，15-18页 Foreign Languages and Translation Issue 2, Page 15-18.

Written by --[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:00, 16 December 2021 (UTC)

Comp Stud Trans EN 7

2021-12-16T03:08:06Z

Wang Yifan21: /* General Introduction to Xu Yuanchong’s Theories on Literary Translation */

==A Comparative Study on Xu Yuanchong’s and Ezra Pound’s Theories and Practices on the Translation of Classical Chinese Poetry==
许渊冲与庞德中诗英译思想与实践比较研究

王逸凡, Wang Yifan, Hunan Normal University, China

==Abstract==
The Classical Chinese poetry is an important part of the Chinese culture, and also a valuable contribution of the Chinese literature to the world literature. For the last one and a half centuries or so, scholars both at home and abroad have made significant efforts in the translation of the classical Chinese poetry. Quite a few of them have not only attributed excellent versions but also insightful views on translation theories. In the history of verse translation, Ezra Pound took up a crucial and unique position. His ''Cathy''（《华夏集》） made a stir upon publication in 1915 and was considered his “most enduring contribution” to the English poetry. The success of ''Cathy'' is actually the success of the classical Chinese poetry in the United States. “Ever since then, the classical Chinese poetry began to attract the western eyes.” As for the translation in contemporary China, Xu Yuanchong is definitely the most influential one, whose excellent versions of the classical Chinese poetry are well accepted by readers both in China and overseas, whose criteria of verse translation - “beauty in sense, beauty in sound and beauty in form” have been widely recognized and appreciated. Taking Pound and Xu Yuanchong as the research objects, this paper attempts to clearly demonstrate the similarities and differences between Pound and Xu's thoughts on translation of Chinese poetry into English. On this basis, this paper makes a comparative analysis of Xu Yuanchong's and Pound's focus on the image in classical Chinese poetry considering skopos theory, in an attempt to find out the social and cultural factors that influence their translation activities.(Zhao Yiheng：1985，150）

==Key Words==
the Classical Chinese Poetry, Xu Yuanchong, Ezra Pound, image; translation theory, comparative study

==中文摘要==
古典诗歌是中国文化的重要组成部分，也是中国文学对世界文学宝库的巨大贡献。中外学者在古典诗歌翻译方面做很多有益的尝试，不少学者亲自从事翻译实践，而且还就诗歌翻译理论提出了精辟的见解。在早期译者中，埃兹拉•庞德无疑占据着一个极为重要而又特殊的地位。他的《神州集》在一九一五年四月出版后就引起了极大的轰动，从而被看作是他对英语诗歌的“最持久的贡献”，也是中国古典诗歌在美国的第一次真正的成功。“自此以后，庞德将中国诗变成了大众瞩目的东西”。而在当今中国的诗歌翻译界，许渊冲是最具影响力的翻译家。在其六十年的翻译生涯中，许渊冲翻译了大量的古典诗词，并在国内外深受好评。他关于诗歌翻译的“意美、音美、形美”的标准也得到了广泛的认同。本文以庞德和许渊冲为研究对象，试图分析庞德和许渊冲中诗英译思想的异同。在此基础上，就许渊冲和庞德对于中国古典诗歌中意象的关注并结合翻译目的论对他们的译本进行了对比分析，试图找出影响他们翻译活动的社会和文化因素。（赵毅衡：1985，150）

==关键词==
中国古典诗歌；许渊冲；庞德；意象；翻译理论；比较研究

==Xu Yuanchong’s Life and Thoughts==

===Xu Yuanchong’s life and career as a scholar and a translator===

Xu Yuanchong was born in 1921 in Nanchang, Jiangxi, and in 1936, when he was fifteen years old, he was in his first year of high school at Nanchang No. 2 High School in Jiangxi, where the Japanese had occupied the north-east of China and were advancing into northern China. But after his victory in the war, Mr. Xu recalls that experience as a solid foundation for his future path in life and for his career as a translator.In 1938, at the age of 17, Xu Yuanchong was admitted to the Southwest Associated University, a joint venture between Peking University, Tsinghua University and Nankai University in Kunming, Yunnan Province, during the war years. It was here that Xu Yuanchong became a student of Qian Zhongshu, Wu Mi, Wen Yiduo, Feng Youlan and many other great artists, and became lifelong friends with the future Nobel Prize winner in physics, Yang Zhenning, and Wang Xiji, the father of the two bombs and one star. All this inspired and established Xu Yuanchong's style of seeking common ground and being unconventional in his translations.

Mr. Xu also recalled that it was only after tracing his roots that he discovered that the source of influence on Mr. Xu's path to translation was his father's love of a tidy lifestyle and his ability to work with excellent finances. From an early age, Mr. Xu Yuanchong's father taught him to keep the four literary treasures in the most accessible places, which was later expanded by Mr. Xu from the four literary treasures to the written word, or the best way to express himself, and the most accessible place can also be summarized as the best location. Mr. Xu's father cultivated the habit of putting the best words in the most appropriate places. Mr. Xu's mother's love of drawing was an education in 'beauty' and 'joy'. Mr. Xu's mother was a student at the Jiangxi Provincial Vocational School a hundred years ago. Although his mother died young, among Mr. Xu's mother's belongings were two books of drawings and one essay, in which the flowers, trees, birds and animals greatly aroused Mr. Xu's love of 'beauty'. The story "Xiang Yu and Napoleon" in the essay fostered the idea that Mr. Xu would not judge a hero by his success or failure. All of this had a profound impact on Mr. Xu's later translation style and practice. During his time at SWLU, Mr. Xu received guidance from many famous teachers. Mr. Wu Mi was one teacher who changed his concept of translation. In his secondary school days, Mr. Xu thought that the idea of direct translation proposed by Lu Xun was correct because he liked his satirical essays so much. However, after hearing Mr. Wu critique the translation examination papers of postgraduate students, it was definitely still the case that the Italian translation made more sense. On the question of translation, Mr. Qian Zhongshu mentioned in his English letter to Xu Yuanchong that there were two ways to translate poems, one was the method of translating from a colourless glass plate and the other was the method of translating from a coloured glass plate. The former would offend the poem and the latter would offend the translation. Choosing the lesser of the two, he preferred to offend the poem. But Xu Yuanchong believed that the colourless glass translation method pursued truth, while the tinted glass translation method pursued beauty. If the original poem is beautiful and true, the translation cannot be considered a facsimile if it is true but not beautiful; if the translation is beautiful but not true, then there is a risk of distortion. So how exactly should we deal with this? Xu Yuanchong finds the answer in the ''Analects'': "The greatest of the arts is to follow the heart without exceeding the rules".

In 1939, when he was a first-year student, he translated Lin Huiyin's poem "Don't Lose It" into English and published it in the Literary Translation Journal, his earliest translation, and in He then enrolled in the Institute of Foreign Literature at Tsinghua University, where he also taught English to the first graduating class of 1943 at Tianxiang High School. After the victory of the war, Mr. Xu Yuanchong applied to study at the University of Paris through the first major examination held by the Ministry of Education to study abroad. At the University of Paris, Mr. Xu read the realist literature of Balzac and Shakespeare, and the romantic poetry of Victor Hugo, which laid a solid foundation for his later translations of Chinese and French poetry.

No reference inserted--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 09:08, 14 December 2021 (UTC)

===General Introduction to Xu Yuanchong’s Theories on Literary Translation===

Xu Yuanchong once said, "Western translations are about equivalence, one word for another, and 90% of their major words and vocabulary are equivalent. Unlike other scripts, only 50% of Chinese words and vocabulary are equivalent. While reciprocity does not contradict objective laws, it does not take advantage of subjective dynamics. Without distorting the author's meaning, a translation must bring out the flavor, essence and soul of a nation's culture", so Xu Yuanchong's theory of translation, specifically, contains the following main elements.

The Ontology of Literary Translation: Theory of Three Beauties. In the preface to Forty-two poems of Mao Zedong(1978), Xu for the first time put forward his Theory of Three Beauties on poetry translation “A translated lyric should not only be faithful to the original but also as beautiful as it is in sense, in sound and in form.” Being beautiful in sense means that in translating a poem, the translator should not only translate the surface level meaning of the poem, but also the deep level sense of it, or even the sense beyond word level. According to Xu, the translation process would be relatively easy if the content and form of the poem are in harmony. While if the content and form of a poem do not match, then the content would be the first priority in translation. In the situation that the form of the original might contain several different meaning, the most beautiful kind should be chosen in translation. Actually what Xu wants to emphasize here is the unique artistic conception of classical Chinese poetry which features implicitness, subtlety and succinctness. Being beautiful in sound means that the translator should try his/her best to present meter, rhythm, and alliteration in the original poem. To Xu, if the original is rhymed, the translation should also be; if the original uses classical Chinese tonal patterns, the translation could use light and stressed tone; if the original tends to use phrases having two or more characters with the same initial constant, then the translation could use alliteration. Being beautiful in form includes the layout of lines, antithesis formed by lines matched in sound and sense, and repetition of words or lines. Xu also made a hierarchical relation among the three beauties form: beauty in sense is the most important, which is followed by beauty in sound, and then beauty in form. In translating classical Chinese poetry, taking presenting the beauty in sense as the first priority, the translator should also try the best to present the beauty in sound; while by achieving the presentation of the beauty in sense and in sound, the translator then should endeavor to present the beauty in form. To Xu, the pursuit of three beauties should be the guiding principle and ultimate goal in classical Chinese poetry translation.(Jiang Hongxin 2001,77-80)

The Methodology of Literary Translation: Particularization, Equalization and Generalization. In the preface to 150 Tang Poems(1984), Xu raised the methodology of literary translation: particularization, equalization and generalization. Particularization refers to translation techniques like specialization, concretization, adding words splitting words and so on. Generalization includes translation techniques like abstractization, cutting words or merging words. And equalization means the translation techniques like flexible equalization, changing word function, active form and passive form. The great scholar and translator Qian Zhongshu had made a famous definition on translation that the highest standard of literary translation in “sublimation” by which means to transfer the language of a text into another language without any trace of stiltedness resulting from the differences in usage and at the same time retaining all the flavor of the original. Particularization, equalization and generalization are actually three aspects of the standard – “sublimation”. Particularization is to explore the deep level meaning of the original text through its surface level form. If the translation reaches the deeper level of meaning than the original, then particularization is achieved. On the other hand, generalization tends to turn the abstruse original into plain and understandable translation.

The Teleology of Literary Translation: Comprehension, Appreciation and Admiration. Translation is recreation, that is to say translation should make readers cheerful and relaxed - it should be recreational. To Xu，the aim of literary translation, especially poetry translation, is to make readers comprehend, appreciate and even admire the translation. Literary translation, from translator to reader, is an aesthetic process. Comprehension means the reader understands what the translation conveyed. Appreciation means the reader enjoys what the translation tells how it tells-the reader delights in it. In Xu’s theory, the translator should use the methods of generalization to reverse the disadvantage of target language, which would in turn make the reader comprehend the translation; the translator should use the method of equalization to reach balance which would make the reader appropriate the translation; and the translator should use the method of particularization to fully exploit the advantage of the target language, which would in turn make the reader admire the translation.(Xu Yuanchong，2003:146）

Xu concluded his translation theory as “Art of beautifulization and creation of the best as in rivalry”.

==Ezra Pound’s Life and His Theories on Translation==

===Ezra Pound’s Life===

Ezra Pound was born in Hailey Township, Idaho, USA, on 30 October 1885. Before going to Europe, he attended the University of Pennsylvania, where he studied American history, classics and Romance languages and literature. Pound made his first trip to Europe in 1898, then four more in 1902, 1906 and 1908, settling in London in 1908, where he became a major figure in the literary world for a time. Pound was a poet and literary critic, an important representative of the Imagist poetry movement, as well as an accomplished translator who collected and translated a dozen ancient Chinese poems ''Cathy''（《华夏集》） in his 1915 and also translated the ''Great Learning''（《大学》）, ''the Doctrine of the Mean''（《中庸》） and ''The Analects of Confucius''（《论语》）.Pound and Eliot were both leading figures in late Symbolist poetry, and his theory of 'poetic imagery', derived from classical Chinese poetry and Japanese haiku, made a remarkable contribution to the cross-fertilisation of Eastern and Western poetry.

In 1908 Pound's first collection of poems, ''A Lume Spento'' (《灯火熄灭之时》), was self-published in Venice, Italy, and in 1909 his collection ''Personae''（《人物》）was published in London, and in 1910 his anthology ''The Spirit of Romance''（《罗曼斯精神》）was published. The collection consists mainly of his early translations as well as the results and insights of his scholarly research over the years. In 1912 he became the London correspondent of the small Chicago magazine ''Poetry''（《诗歌》）, and in 1914 he married Dorothy Shakespeare.

During his time in Paris and London, in addition to continuing his creative work, he explored and nurtured talent, travelled extensively with European and American literary figures, and made a unique contribution to breaking the sedimentation of British and American literature, especially British and American poetry, and to promoting the 'revival' of American literature. He had extensive contacts with sculptors, painters and musicians, and played a significant role in the formation and development of modernist thought in Europe and America. Between 1914 and 1916 Pound was very close to the Irish poet W.B. Yeats. He admired Yeats and took him as his teacher. Yeats was also influenced by him to some extent. After leaving Paris in 1924 and up to the eve of the Second World War, Pound's attention gradually shifted from literary creation to the political and economic problems of capitalism. At the end of the war, he was arrested by the U.S. military authorities and was held for six months at a Disciplinary Training Center near Pisa. In 1958, the joint effort of such eminent personalities as T.S. Eliot, Robert Frost, and Ernest Hemingway secured his release. He returned to Italy, where he worked until his death in 1972.

===Pound As Translator===

Pound’s translation stimulated and strengthened his poetic innovations, which in turn guided and promoted his translations. In Pound’s literary works, it is often difficult to tell translation or adaptation from original composition. For Pound, there seem to be no foundational distinction between the two. Translation to Pound assumes an importance seldom found in other modern poets. To some extent, Pound’s poetics is essentially the poetics of translation. Pound’s theory of translation focuses upon the precise rendering of details, of individual words, and of single or even fragmented images. Actually, his translation theories reinforced and promoted his imagist poetics.

According to the principles of Imagism, translation of poems should also be terse, precise and compose in the sequence of musical phrase. Pound doesn’t see much difference between a poet and a poem translator. A poem translator should explore deep into the mind of the poet to think what he thought and to feel what he felt, so that the “overlap of mind” could occur and the cultural and linguistic barriers could be surpassed. Thus the translation could achieve “fidelity to the original” in both “meaning” and “atmosphere”. Pound doesn’t put much emphasis on words and sentences. Instead, he puts himself in the position of the poet and summarizes the poet’s thoughts and emotions, then turns it into the target language. Words and sentences are not the source text for him, but merely a media to introduce him to the source text, which is the thoughts and feeling of the poet.

Pound’s emphasis is less on the “meaning” of the translated text or even on the meaning of specific words. He emphasizes the rhythm, diction, and movement of words. By the movement of words, he refers to the contextual meaning and the intertextual. Pound thinks the “meaning” of a work of art can never be fixed; it changes as language changes. The range of associations of the words within an original work of art would differ with its new versions in a different age or culture. Pound explains the energy of languages as “words construction new relations to other words at any particular place and time, this quality lends language its energy”. Pound also takes words as “electrified”, the interaction of which could generate energy. Here Pound is actually talking about contextual meaning. He thinks new relations of words forms new meaning, that’s “the energy of language”. As words are not isolated from context, translator should bear in mind the context of the source text.

Pound’s theory of translation requires the translator to keep the historical atmosphere in which the words occur so that the translation process reveals not just what the words mean, but also their various implications. He believes that meaning is not something abstract and part of a universal language, but something that is always located in historical settings-the “atmosphere” in which that meaning occurs. To unpack the meaning, one has to know the history and reconstruct the atmosphere in which that the meaning occurs. Pound says, “Three or four words in exact just apposition are capable of radiating this energy at a very high potentially....The peculiar energy which fills words is the power of tradition, of centuries of race consciousness, of agreement, of association.”（Guo Jianzhong：2000，57）

==The Comparative Study on Image Translation of the Classical Chinese Poetry between Xu and Pound==

Different cultural backgrounds between China and western countries must lead a lot of diversities in the cultural comprehension of the same object, which are the causes of translation divergence. Chinese classical poetry has the characteristics of implicit in connotation, harmonious in metre, bright in rhythm and well-balanced in pattern, so no single theories or schools have given them a satisfactory understanding framework yet. Chinese classical poetry as a relatively independent language world, its transference specially emphasizes the transmission of cultural connotation and aesthetic effect, which is called the transmission of cultural connotation and aesthetic effect, which is called the transmission of “language-image-meaning”(言象意). In Chinese classical philosophy, aesthetics and poetics, “image”（象） is the load of “meaning”(意), therefore, “reflecting through image”(象思维) and “expressing through image”(象表达) are affirmation and belief of Chinese language philosophy, especially poetics. However, English has an evident character of “expressing through language”(言表达), so there must be some problems existed during image transference. The following discussion will give us a comparison among some influential translators’ works. After the detailed analysis, we will have a clear view about their methods of image translation.

===Case Study of Ezra Pound===

Ezra Pound was one of the most influential and innovative poets in the 20th century. As the representative of Western Imagism, Pound makes significant contributions to American poetry not only as a poet but also as a translator, editor, critic and essayist. In order to break away from tradition and romanticism of British poetry, Pound and other imagist poetic principles: (1) To treat things directly whether subjective or objective; (2) To use absolutely no word that does not contribute to the presentation; (3) To compose in sequence of the musical phase, not in sequence of a metronome as regarding rhythm. In Pound’s opinion, image must be concrete and direct which will unfetter the poetic expression from the habit of convention.(Kang Lianxing，2004：114)

Most of the Chinese poems translated by Pound are poems of scenery in Tang Dynasty, which takes mountains, water and vast landscapes as their subjects. Poets of such poems tend to embody their feelings and sentiments in these natural scenes. Chinese classical poetry combines poems and pictures together which get rids of moralization and comments that features the Victorian poetry. Greatly influenced by the writing techniques of Chinese classical poetry, such as the ellipsis of conjunctions and the juxtaposition of images, Pound used them into his poetic creation. Not only his creation but also his translation work caused a tremendous stir in American poetic circle. In 1915, Pound published his most influential translation work Cathy which is the first collection of translated Chinese poetry published in America.

Pound’s translation of Chinese classical poetry is not a mechanical one, but an innovative reconstruction. Some of the reconstructions are ignorant, but some are designed. Ignorant or designed, Pound’s translation is highly valuable. It gives us some inspiration in image translation. A study on Pound’s image translation of Chinese classical poetry would shed light on the research goal of the following thesis. A designed example can be taken as the best one to explore Pound’s creative translation. It also reflects the language difference between Chinese and English:

送友人（李白）
青山横北郭，白水绕东城。
此地一为别，孤蓬万里征。
浮云游子意，落日故人情。
挥手自兹去，萧萧班马鸣。

The theme of the poem is about saying farewell to a departing friend. Under this theme, vivid images are scattered skillfully in every line of the poem which can be classified into two categories-those don’t have cultural connotations, such as “青山”, “万里”, “东城”, and those culture-loaded, such as “孤蓬”, “万里”, “浮云”, “游子”, “落日”, The third line is juxtaposition of images with deep connotations: the image “浮云” is used as a metaphor to express the wandering life of the poet’s friend, while the image “落日” is used to convey the poet’s reluctance to part with his friend. The affection between the poet and his friend reaches climax in the fourth line. The image “斑马” means a stray and lonely horse. Horses can understand their masters’ affection and neigh to express their grief over parting. It is through a series of rich images that the poet expresses his deep affection to the departing friend vividly. Let’s take a look at Pound’s translation:

Taking Leaves of a Friend(Li Bai)
Blue mountains to the north of the walls,
White river winding about them;
Here we must make separation
And go out through thousand miles of dead grass.
Mind like a floating wide cloud.
Sunset like the parting of old acquaintances
Who bow over their clasped hands at a distance.
Our horses neigh to each other as we are departing.

From the translation of the title “Taking Leave of a Friend”, we can see Pound’s recreation. The phrase “take leave of” in English refers to the subject’s departure, but it is clear that the original title is the friend’s departure. The poet sees his friend off not the poet himself leaving. It is accredited that the first two lines are almost word for word translation because the non-cultural loaded images are ranged neatly from his translation. In the fourth line, “孤蓬” is a culture-loaded image which is usually compared to a person who leads a wandering life and has no one to depend on in the classical Chinese literature. Although it is not mentioned in original poem whether the poet’s friend leaves by boat or horseback, Pound gets information from “萧萧班马鸣”, so he uses “dead grass” to show that two friends are sadly departing on the grassland. This is a faithful but rigid translation which loses aesthetic equivalence. “万里” is also not a simple image. Pound translates it in the form of the target language, which turns out that he ignores it is not the actual figure “一万里”, but implies the remote way the friend has to take. “浮云游子意，落日故人情” is the key in delivering the original poem’s sensation for its concise and profound images. The juxtaposed and vivid images directly constitute two metaphors, and thus endless meanings and sensation are conveyed in such ten characters. Pound here uses two “like” to target readers about the inner meaning of “floating cloud” and “sunset” in Chinese literature.
About translation type, Pound adopts imitation, which means to form and individual style. In image translation, Pound always tries his best to combine his feelings with the poet, and no convey the mood of thinking and emotion in the original poem into the target language. We must admit that some of his translation is not words or lines. He emphasizes each single image and individual detail which he thinks reveal the truth of the original poem. Ezra Pound was not familiar with Chinese culture, even did not know Chinese language when he translated these poems, which is the main reason causing cultural misunderstanding and image translation. Correctly Understanding on the semantic meaning of the original image is the foundation of conveying aesthetic feeling of the original poem equivalently.

===Case Study of Xu Yuanchong===

It is widely accepted that Xu Yuanchong is prolific and influential poetry translator in contemporary Chinese academic who has published more than sixty books about translation and practice in his more than sixty years of translation career. With the painstaking research about literary translation, Xu Yuanchong has established a set of translation theories of his own, one of which-theory of three beauties (beauty in sense, in mind and in form)-gives light to our image translation. Beauty in sense is the most important one which means that in translating a poem, the translator should not only translate the surface meaning of the poem, but also the deep sense of it, or even the sense beyond the literal level. “sense” in Xu Yuanchong’s theory not only refers to meaning, but also refers to aesthetic conception, thus his beauty in sense could be interpreted as trying to present the aesthetic conception and poetic beauty of the original poem. Let’s choose Li Bai’s Farewell to A Friend(《送友人》) as an example again to appreciate Xu Yuanchong’s beauty in images in his translation work:

Farewell to A Friend
Blue mountains bar the northern sky;
While river girds the eastern town.
Here is the place to say goodbye;
You’ll drift like lonely thistledown.
With floating cloud you’ll float away;
Like parting day I’ll part from you.
You wave your hand and go your way;
Your steed still neighs, “Adieu, adieu!” (Xu 2006:123)

Compared with Pound’s translation, this title conveys to us equivalent information of who will leave. Dynamic image “bar” in the first line depicts a magnificent scene that mountains stretch endlessly across the sky, which is closer to Li Bai’s bold and unconstrained poetic style. The image “lonely thistledown” in the second line is more suitable than Pound’s “dead grass”. From this place on, the poet’s friend will drift along just like thistledown blown by the wind, which transmits the deep level sense of “孤蓬”. Pound’s translation of the third line surpasses Xu’s in that Xu’s translation is a kind of recreation which loses deep level sense. If we translate it back into Chinese, it could be “你随着浮云而去，如同分别之日我与你分别一样”. “Floating cloud” and “sunset” are two metaphors. The poet’s friend will leave his hometown, family and friends, so his wife will be unstable like floating cloud. The poet’s affection to his friend is hard to part with just like being sentimentally attached to the sunset. In the last line, “wave hand” and “bow over their clasped hands” are two different ways to say goodbye which embody different cultures between Chine and the West. As for the sound image “萧萧”, Xu Yuanchong uses “adieu” to personalize the horse, which aims to build a sense of parting grief. Though the two translations have their own strong points, Xu Yuanchong’s version seems more likely to present the original beauty of images.

To grasp cultural-loaded image well is the key point in image translation. Compared with Pound, Professor Xu seems more dominant to translate Chinese classical poetry because he is accomplished in Chinese language and culture. During the sixty years’ research, Xu Yuancong takes promoting Chinese culture as his responsibility, and id dedicated to the cultural communication between China and Western countries. From some of Xu Yuanchong’s translation we find that Xu is inclined to target-culture-oriented translation, and sometimes in order to keep aesthetic conception of the original poem, he will recreate the poem according to his understanding towards the poet’ s affection.

==Conclusions==

In the thesis of the conclusion, skopos theory is employed to analyze Xu Yuanchong’s and Ezra Pound’s different translation purposes, which lead to their different strategies in their translation practice, and that is the reason of their different versions of the same original texts.

In his preface to The Art of Translation, Xu Yuanchong proposes that it should be translators’ obligation to bring the essence of the world culture into the Chinese culture and introduce the best of the Chinese culture to the whole world. He believes that translation is the catalyst in the integration of Chinese culture with the world civilization and that classical Chinese poetry is, undoubtedly, the greatest and everlasting contribution China has made to the world civilization, which is the reason why Xu Yuanchong chooses poetry as his translation object. In other words, the purpose of Xu Yuanchong’s translation of classical poetry lies in introducing and spreading to the world the gorgeous Chinese culture.

As for Ezra Pound, there are two reasons why he turns to the East and translates classical Chinese poetry. The first is the background Pound was in. At the turn of the twentieth century, English literature was dominated by conservatism. Unable to bear the monotonous and dull Victorian poems, Pound hurled himself into transforming British verse and into saving tottering civilization by injecting into it the cultures of the past and the alien. In the process of his exploration, Pound ran into classical Chinese poetry in which he found great interest and was greatly enlightened. The second reason is that Pound is the advocate of the Imagist Movement. He finds values in classical Chinese poetry because classical Chinese poetry is, by virtue of the ideographic and pictographic nature of the Chinese language, essentially imagist poetry. Therefore, classical Chinese poetry satisfies his poetic intent to some extent. By translating classical Chinese poetry, he hopes to make it clear that the presentation of individual images and the superposition of images can help regain immediate experiences. The Imagist Poetics has greatly influenced him, making him manipulate translations to serve his poetic innovations.

As Xu and Pound have different purposes of translating classical Chinese poetry, they have different criteria for their selection of the source text. Xu aims at introducing the best part of Chinese culture to the world. So long as a poem is beautiful and represents a certain aspect of the essence of Chinese culture, Xu is ready to work on it. But it’s not the case with Pound. In the 150 poems in Ernest Fenollosa’s manuscripts-the resourse where Pound obtains notes about classical Chinese poetry, he carefully selects 19 poems, the images and poetic sentiment of which he feels may best represent and promote his Imagist Movement.

==REFERENCES==

*Albright, D.1997. Quantum Poetics – Yeats, Pound, Eliot and the Science of Modernism. Cambridge: Cambridge University Press.
*Cheadle, M.P. 1997. Ezra Pound’s Confucian Translations. East Lansing: The University of Michigan Press.
*Edwin, Gentzler 1990. Contemporary Translation Theories. Cambridge: Cambridge University Press.
*Kenner, H. 1953. Introduction to the Translation of Ezra Pound. Terre Haute: Indiana University Press.
*Nida, E.A. 1993, Language, Culture, and Translating. Shanghai: Shanghai Foreign Language Education Press.
*Xu, Yuan. Translation Techniques in Image Reproduction. Beijing: Beijing Language and Culture University, 2002.
*Xu Yuanchong. 300 Tang Poems. Beijing: Chinese Translation press
*Xu Yuanchong, 1994. Song of The Immortals—An Anthology of Classical Chinese Poetry. Beijing: New World Press.
*Xu Yuanchong, 1991, Development of Verse Translation, 《外国语》第1 期，35-45页 Foreign Languages, Issue 1, Page 35-45
*Zhao Yiheng 赵毅衡，1985，《远游的诗神》 The poetic god of distant wanderings，重庆：四川人民出版社 Chongqing:Sichuan People's Publishing House.
*Guo Jianzhong 郭建中，1999，《当代美国翻译理论》 Contemporary American Translation Theory，武汉：湖北教育出版社 Wuhan:Hubei Educational Publishing House.
*Jiang Hongxin 蒋洪新，2001，庞德的《华夏集》探源 An Exploration of Pound's Huaxia Collection,《中国翻译》第1期，56-59页 Chinese Translation, Issue 1, Page 56-59.
*Jiang Hongxin 蒋洪新，2001，庞德的翻译理论研究 A Study of Pound's Theory of Translation，《外国语》第4期, 77-80页 Foreign Languages, Issue 4, Page 77-80.
*Guo Jianzhong 郭建中，2000，美国翻译研讨班和庞德翻译思想 American Translation Seminars and Pound's Ideas on Translation, 《外语与外语教学》第2期 Foreign Languages and Foreign Language Teaching, Issue 2.
*Xu Yuanchong 许渊冲，1998，读“翻译文化竞赛论” Reading "Translation Culture Contest Theory"，《外语与翻译》第2期，15-18页 Foreign Languages and Translation Issue 2, Page 15-18.

Written by --[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:00, 16 December 2021 (UTC)

Comp Stud Trans EN 7

2021-12-16T03:06:02Z

Wang Yifan21: /* Ezra Pound’s Life */

==A Comparative Study on Xu Yuanchong’s and Ezra Pound’s Theories and Practices on the Translation of Classical Chinese Poetry==
许渊冲与庞德中诗英译思想与实践比较研究

王逸凡, Wang Yifan, Hunan Normal University, China

==Abstract==
The Classical Chinese poetry is an important part of the Chinese culture, and also a valuable contribution of the Chinese literature to the world literature. For the last one and a half centuries or so, scholars both at home and abroad have made significant efforts in the translation of the classical Chinese poetry. Quite a few of them have not only attributed excellent versions but also insightful views on translation theories. In the history of verse translation, Ezra Pound took up a crucial and unique position. His ''Cathy''（《华夏集》） made a stir upon publication in 1915 and was considered his “most enduring contribution” to the English poetry. The success of ''Cathy'' is actually the success of the classical Chinese poetry in the United States. “Ever since then, the classical Chinese poetry began to attract the western eyes.” As for the translation in contemporary China, Xu Yuanchong is definitely the most influential one, whose excellent versions of the classical Chinese poetry are well accepted by readers both in China and overseas, whose criteria of verse translation - “beauty in sense, beauty in sound and beauty in form” have been widely recognized and appreciated. Taking Pound and Xu Yuanchong as the research objects, this paper attempts to clearly demonstrate the similarities and differences between Pound and Xu's thoughts on translation of Chinese poetry into English. On this basis, this paper makes a comparative analysis of Xu Yuanchong's and Pound's focus on the image in classical Chinese poetry considering skopos theory, in an attempt to find out the social and cultural factors that influence their translation activities.(Zhao Yiheng：1985，150）

==Key Words==
the Classical Chinese Poetry, Xu Yuanchong, Ezra Pound, image; translation theory, comparative study

==中文摘要==
古典诗歌是中国文化的重要组成部分，也是中国文学对世界文学宝库的巨大贡献。中外学者在古典诗歌翻译方面做很多有益的尝试，不少学者亲自从事翻译实践，而且还就诗歌翻译理论提出了精辟的见解。在早期译者中，埃兹拉•庞德无疑占据着一个极为重要而又特殊的地位。他的《神州集》在一九一五年四月出版后就引起了极大的轰动，从而被看作是他对英语诗歌的“最持久的贡献”，也是中国古典诗歌在美国的第一次真正的成功。“自此以后，庞德将中国诗变成了大众瞩目的东西”。而在当今中国的诗歌翻译界，许渊冲是最具影响力的翻译家。在其六十年的翻译生涯中，许渊冲翻译了大量的古典诗词，并在国内外深受好评。他关于诗歌翻译的“意美、音美、形美”的标准也得到了广泛的认同。本文以庞德和许渊冲为研究对象，试图分析庞德和许渊冲中诗英译思想的异同。在此基础上，就许渊冲和庞德对于中国古典诗歌中意象的关注并结合翻译目的论对他们的译本进行了对比分析，试图找出影响他们翻译活动的社会和文化因素。（赵毅衡：1985，150）

==关键词==
中国古典诗歌；许渊冲；庞德；意象；翻译理论；比较研究

==Xu Yuanchong’s Life and Thoughts==

===Xu Yuanchong’s life and career as a scholar and a translator===

Xu Yuanchong was born in 1921 in Nanchang, Jiangxi, and in 1936, when he was fifteen years old, he was in his first year of high school at Nanchang No. 2 High School in Jiangxi, where the Japanese had occupied the north-east of China and were advancing into northern China. But after his victory in the war, Mr. Xu recalls that experience as a solid foundation for his future path in life and for his career as a translator.In 1938, at the age of 17, Xu Yuanchong was admitted to the Southwest Associated University, a joint venture between Peking University, Tsinghua University and Nankai University in Kunming, Yunnan Province, during the war years. It was here that Xu Yuanchong became a student of Qian Zhongshu, Wu Mi, Wen Yiduo, Feng Youlan and many other great artists, and became lifelong friends with the future Nobel Prize winner in physics, Yang Zhenning, and Wang Xiji, the father of the two bombs and one star. All this inspired and established Xu Yuanchong's style of seeking common ground and being unconventional in his translations.

Mr. Xu also recalled that it was only after tracing his roots that he discovered that the source of influence on Mr. Xu's path to translation was his father's love of a tidy lifestyle and his ability to work with excellent finances. From an early age, Mr. Xu Yuanchong's father taught him to keep the four literary treasures in the most accessible places, which was later expanded by Mr. Xu from the four literary treasures to the written word, or the best way to express himself, and the most accessible place can also be summarized as the best location. Mr. Xu's father cultivated the habit of putting the best words in the most appropriate places. Mr. Xu's mother's love of drawing was an education in 'beauty' and 'joy'. Mr. Xu's mother was a student at the Jiangxi Provincial Vocational School a hundred years ago. Although his mother died young, among Mr. Xu's mother's belongings were two books of drawings and one essay, in which the flowers, trees, birds and animals greatly aroused Mr. Xu's love of 'beauty'. The story "Xiang Yu and Napoleon" in the essay fostered the idea that Mr. Xu would not judge a hero by his success or failure. All of this had a profound impact on Mr. Xu's later translation style and practice. During his time at SWLU, Mr. Xu received guidance from many famous teachers. Mr. Wu Mi was one teacher who changed his concept of translation. In his secondary school days, Mr. Xu thought that the idea of direct translation proposed by Lu Xun was correct because he liked his satirical essays so much. However, after hearing Mr. Wu critique the translation examination papers of postgraduate students, it was definitely still the case that the Italian translation made more sense. On the question of translation, Mr. Qian Zhongshu mentioned in his English letter to Xu Yuanchong that there were two ways to translate poems, one was the method of translating from a colourless glass plate and the other was the method of translating from a coloured glass plate. The former would offend the poem and the latter would offend the translation. Choosing the lesser of the two, he preferred to offend the poem. But Xu Yuanchong believed that the colourless glass translation method pursued truth, while the tinted glass translation method pursued beauty. If the original poem is beautiful and true, the translation cannot be considered a facsimile if it is true but not beautiful; if the translation is beautiful but not true, then there is a risk of distortion. So how exactly should we deal with this? Xu Yuanchong finds the answer in the ''Analects'': "The greatest of the arts is to follow the heart without exceeding the rules".

In 1939, when he was a first-year student, he translated Lin Huiyin's poem "Don't Lose It" into English and published it in the Literary Translation Journal, his earliest translation, and in He then enrolled in the Institute of Foreign Literature at Tsinghua University, where he also taught English to the first graduating class of 1943 at Tianxiang High School. After the victory of the war, Mr. Xu Yuanchong applied to study at the University of Paris through the first major examination held by the Ministry of Education to study abroad. At the University of Paris, Mr. Xu read the realist literature of Balzac and Shakespeare, and the romantic poetry of Victor Hugo, which laid a solid foundation for his later translations of Chinese and French poetry.

No reference inserted--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 09:08, 14 December 2021 (UTC)

===General Introduction to Xu Yuanchong’s Theories on Literary Translation===

Xu Yuanchong once said, "Western translations are about equivalence, one word for another, and 90% of their major words and vocabulary are equivalent. Unlike other scripts, only 50% of Chinese words and vocabulary are equivalent. While reciprocity does not contradict objective laws, it does not take advantage of subjective dynamics. Without distorting the author's meaning, a translation must bring out the flavor, essence and soul of a nation's culture", so Xu Yuanchong's theory of translation, specifically, contains the following main elements.

The Ontology of Literary Translation: Theory of Three Beauties. In the preface to Forty-two poems of Mao Zedong(1978), Xu for the first time put forward his Theory of Three Beauties on poetry translation “A translated lyric should not only be faithful to the original but also as beautiful as it is in sense, in sound and in form.” Being beautiful in sense means that in translating a poem, the translator should not only translate the surface level meaning of the poem, but also the deep level sense of it, or even the sense beyond word level. According to Xu, the translation process would be relatively easy if the content and form of the poem are in harmony. While if the content and form of a poem do not match, then the content would be the first priority in translation. In the situation that the form of the original might contain several different meaning, the most beautiful kind should be chosen in translation. Actually what Xu wants to emphasize here is the unique artistic conception of classical Chinese poetry which features implicitness, subtlety and succinctness. Being beautiful in sound means that the translator should try his/her best to present meter, rhythm, and alliteration in the original poem. To Xu, if the original is rhymed, the translation should also be; if the original uses classical Chinese tonal patterns, the translation could use light and stressed tone; if the original tends to use phrases having two or more characters with the same initial constant, then the translation could use alliteration. Being beautiful in form includes the layout of lines, antithesis formed by lines matched in sound and sense, and repetition of words or lines. Xu also made a hierarchical relation among the three beauties form: beauty in sense is the most important, which is followed by beauty in sound, and then beauty in form. In translating classical Chinese poetry, taking presenting the beauty in sense as the first priority, the translator should also try the best to present the beauty in sound; while by achieving the presentation of the beauty in sense and in sound, the translator then should endeavor to present the beauty in form. To Xu, the pursuit of three beauties should be the guiding principle and ultimate goal in classical Chinese poetry translation.

The Methodology of Literary Translation: Particularization, Equalization and Generalization. In the preface to 150 Tang Poems(1984), Xu raised the methodology of literary translation: particularization, equalization and generalization. Particularization refers to translation techniques like specialization, concretization, adding words splitting words and so on. Generalization includes translation techniques like abstractization, cutting words or merging words. And equalization means the translation techniques like flexible equalization, changing word function, active form and passive form. The great scholar and translator Qian Zhongshu had made a famous definition on translation that the highest standard of literary translation in “sublimation” by which means to transfer the language of a text into another language without any trace of stiltedness resulting from the differences in usage and at the same time retaining all the flavor of the original. Particularization, equalization and generalization are actually three aspects of the standard – “sublimation”. Particularization is to explore the deep level meaning of the original text through its surface level form. If the translation reaches the deeper level of meaning than the original, then particularization is achieved. On the other hand, generalization tends to turn the abstruse original into plain and understandable translation.

The Teleology of Literary Translation: Comprehension, Appreciation and Admiration. Translation is recreation, that is to say translation should make readers cheerful and relaxed - it should be recreational. To Xu，the aim of literary translation, especially poetry translation, is to make readers comprehend, appreciate and even admire the translation. Literary translation, from translator to reader, is an aesthetic process. Comprehension means the reader understands what the translation conveyed. Appreciation means the reader enjoys what the translation tells how it tells-the reader delights in it. In Xu’s theory, the translator should use the methods of generalization to reverse the disadvantage of target language, which would in turn make the reader comprehend the translation; the translator should use the method of equalization to reach balance which would make the reader appropriate the translation; and the translator should use the method of particularization to fully exploit the advantage of the target language, which would in turn make the reader admire the translation.(Xu Yuanchong，2003:146）

Xu concluded his translation theory as “Art of beautifulization and creation of the best as in rivalry”.

==Ezra Pound’s Life and His Theories on Translation==

===Ezra Pound’s Life===

Ezra Pound was born in Hailey Township, Idaho, USA, on 30 October 1885. Before going to Europe, he attended the University of Pennsylvania, where he studied American history, classics and Romance languages and literature. Pound made his first trip to Europe in 1898, then four more in 1902, 1906 and 1908, settling in London in 1908, where he became a major figure in the literary world for a time. Pound was a poet and literary critic, an important representative of the Imagist poetry movement, as well as an accomplished translator who collected and translated a dozen ancient Chinese poems ''Cathy''（《华夏集》） in his 1915 and also translated the ''Great Learning''（《大学》）, ''the Doctrine of the Mean''（《中庸》） and ''The Analects of Confucius''（《论语》）.Pound and Eliot were both leading figures in late Symbolist poetry, and his theory of 'poetic imagery', derived from classical Chinese poetry and Japanese haiku, made a remarkable contribution to the cross-fertilisation of Eastern and Western poetry.

In 1908 Pound's first collection of poems, ''A Lume Spento'' (《灯火熄灭之时》), was self-published in Venice, Italy, and in 1909 his collection ''Personae''（《人物》）was published in London, and in 1910 his anthology ''The Spirit of Romance''（《罗曼斯精神》）was published. The collection consists mainly of his early translations as well as the results and insights of his scholarly research over the years. In 1912 he became the London correspondent of the small Chicago magazine ''Poetry''（《诗歌》）, and in 1914 he married Dorothy Shakespeare.

During his time in Paris and London, in addition to continuing his creative work, he explored and nurtured talent, travelled extensively with European and American literary figures, and made a unique contribution to breaking the sedimentation of British and American literature, especially British and American poetry, and to promoting the 'revival' of American literature. He had extensive contacts with sculptors, painters and musicians, and played a significant role in the formation and development of modernist thought in Europe and America. Between 1914 and 1916 Pound was very close to the Irish poet W.B. Yeats. He admired Yeats and took him as his teacher. Yeats was also influenced by him to some extent. After leaving Paris in 1924 and up to the eve of the Second World War, Pound's attention gradually shifted from literary creation to the political and economic problems of capitalism. At the end of the war, he was arrested by the U.S. military authorities and was held for six months at a Disciplinary Training Center near Pisa. In 1958, the joint effort of such eminent personalities as T.S. Eliot, Robert Frost, and Ernest Hemingway secured his release. He returned to Italy, where he worked until his death in 1972.

===Pound As Translator===

Pound’s translation stimulated and strengthened his poetic innovations, which in turn guided and promoted his translations. In Pound’s literary works, it is often difficult to tell translation or adaptation from original composition. For Pound, there seem to be no foundational distinction between the two. Translation to Pound assumes an importance seldom found in other modern poets. To some extent, Pound’s poetics is essentially the poetics of translation. Pound’s theory of translation focuses upon the precise rendering of details, of individual words, and of single or even fragmented images. Actually, his translation theories reinforced and promoted his imagist poetics.

According to the principles of Imagism, translation of poems should also be terse, precise and compose in the sequence of musical phrase. Pound doesn’t see much difference between a poet and a poem translator. A poem translator should explore deep into the mind of the poet to think what he thought and to feel what he felt, so that the “overlap of mind” could occur and the cultural and linguistic barriers could be surpassed. Thus the translation could achieve “fidelity to the original” in both “meaning” and “atmosphere”. Pound doesn’t put much emphasis on words and sentences. Instead, he puts himself in the position of the poet and summarizes the poet’s thoughts and emotions, then turns it into the target language. Words and sentences are not the source text for him, but merely a media to introduce him to the source text, which is the thoughts and feeling of the poet.

Pound’s emphasis is less on the “meaning” of the translated text or even on the meaning of specific words. He emphasizes the rhythm, diction, and movement of words. By the movement of words, he refers to the contextual meaning and the intertextual. Pound thinks the “meaning” of a work of art can never be fixed; it changes as language changes. The range of associations of the words within an original work of art would differ with its new versions in a different age or culture. Pound explains the energy of languages as “words construction new relations to other words at any particular place and time, this quality lends language its energy”. Pound also takes words as “electrified”, the interaction of which could generate energy. Here Pound is actually talking about contextual meaning. He thinks new relations of words forms new meaning, that’s “the energy of language”. As words are not isolated from context, translator should bear in mind the context of the source text.

Pound’s theory of translation requires the translator to keep the historical atmosphere in which the words occur so that the translation process reveals not just what the words mean, but also their various implications. He believes that meaning is not something abstract and part of a universal language, but something that is always located in historical settings-the “atmosphere” in which that meaning occurs. To unpack the meaning, one has to know the history and reconstruct the atmosphere in which that the meaning occurs. Pound says, “Three or four words in exact just apposition are capable of radiating this energy at a very high potentially....The peculiar energy which fills words is the power of tradition, of centuries of race consciousness, of agreement, of association.”（Guo Jianzhong：2000，57）

==The Comparative Study on Image Translation of the Classical Chinese Poetry between Xu and Pound==

Different cultural backgrounds between China and western countries must lead a lot of diversities in the cultural comprehension of the same object, which are the causes of translation divergence. Chinese classical poetry has the characteristics of implicit in connotation, harmonious in metre, bright in rhythm and well-balanced in pattern, so no single theories or schools have given them a satisfactory understanding framework yet. Chinese classical poetry as a relatively independent language world, its transference specially emphasizes the transmission of cultural connotation and aesthetic effect, which is called the transmission of cultural connotation and aesthetic effect, which is called the transmission of “language-image-meaning”(言象意). In Chinese classical philosophy, aesthetics and poetics, “image”（象） is the load of “meaning”(意), therefore, “reflecting through image”(象思维) and “expressing through image”(象表达) are affirmation and belief of Chinese language philosophy, especially poetics. However, English has an evident character of “expressing through language”(言表达), so there must be some problems existed during image transference. The following discussion will give us a comparison among some influential translators’ works. After the detailed analysis, we will have a clear view about their methods of image translation.

===Case Study of Ezra Pound===

Ezra Pound was one of the most influential and innovative poets in the 20th century. As the representative of Western Imagism, Pound makes significant contributions to American poetry not only as a poet but also as a translator, editor, critic and essayist. In order to break away from tradition and romanticism of British poetry, Pound and other imagist poetic principles: (1) To treat things directly whether subjective or objective; (2) To use absolutely no word that does not contribute to the presentation; (3) To compose in sequence of the musical phase, not in sequence of a metronome as regarding rhythm. In Pound’s opinion, image must be concrete and direct which will unfetter the poetic expression from the habit of convention.(Kang Lianxing，2004：114)

Most of the Chinese poems translated by Pound are poems of scenery in Tang Dynasty, which takes mountains, water and vast landscapes as their subjects. Poets of such poems tend to embody their feelings and sentiments in these natural scenes. Chinese classical poetry combines poems and pictures together which get rids of moralization and comments that features the Victorian poetry. Greatly influenced by the writing techniques of Chinese classical poetry, such as the ellipsis of conjunctions and the juxtaposition of images, Pound used them into his poetic creation. Not only his creation but also his translation work caused a tremendous stir in American poetic circle. In 1915, Pound published his most influential translation work Cathy which is the first collection of translated Chinese poetry published in America.

Pound’s translation of Chinese classical poetry is not a mechanical one, but an innovative reconstruction. Some of the reconstructions are ignorant, but some are designed. Ignorant or designed, Pound’s translation is highly valuable. It gives us some inspiration in image translation. A study on Pound’s image translation of Chinese classical poetry would shed light on the research goal of the following thesis. A designed example can be taken as the best one to explore Pound’s creative translation. It also reflects the language difference between Chinese and English:

送友人（李白）
青山横北郭，白水绕东城。
此地一为别，孤蓬万里征。
浮云游子意，落日故人情。
挥手自兹去，萧萧班马鸣。

The theme of the poem is about saying farewell to a departing friend. Under this theme, vivid images are scattered skillfully in every line of the poem which can be classified into two categories-those don’t have cultural connotations, such as “青山”, “万里”, “东城”, and those culture-loaded, such as “孤蓬”, “万里”, “浮云”, “游子”, “落日”, The third line is juxtaposition of images with deep connotations: the image “浮云” is used as a metaphor to express the wandering life of the poet’s friend, while the image “落日” is used to convey the poet’s reluctance to part with his friend. The affection between the poet and his friend reaches climax in the fourth line. The image “斑马” means a stray and lonely horse. Horses can understand their masters’ affection and neigh to express their grief over parting. It is through a series of rich images that the poet expresses his deep affection to the departing friend vividly. Let’s take a look at Pound’s translation:

Taking Leaves of a Friend(Li Bai)
Blue mountains to the north of the walls,
White river winding about them;
Here we must make separation
And go out through thousand miles of dead grass.
Mind like a floating wide cloud.
Sunset like the parting of old acquaintances
Who bow over their clasped hands at a distance.
Our horses neigh to each other as we are departing.

From the translation of the title “Taking Leave of a Friend”, we can see Pound’s recreation. The phrase “take leave of” in English refers to the subject’s departure, but it is clear that the original title is the friend’s departure. The poet sees his friend off not the poet himself leaving. It is accredited that the first two lines are almost word for word translation because the non-cultural loaded images are ranged neatly from his translation. In the fourth line, “孤蓬” is a culture-loaded image which is usually compared to a person who leads a wandering life and has no one to depend on in the classical Chinese literature. Although it is not mentioned in original poem whether the poet’s friend leaves by boat or horseback, Pound gets information from “萧萧班马鸣”, so he uses “dead grass” to show that two friends are sadly departing on the grassland. This is a faithful but rigid translation which loses aesthetic equivalence. “万里” is also not a simple image. Pound translates it in the form of the target language, which turns out that he ignores it is not the actual figure “一万里”, but implies the remote way the friend has to take. “浮云游子意，落日故人情” is the key in delivering the original poem’s sensation for its concise and profound images. The juxtaposed and vivid images directly constitute two metaphors, and thus endless meanings and sensation are conveyed in such ten characters. Pound here uses two “like” to target readers about the inner meaning of “floating cloud” and “sunset” in Chinese literature.
About translation type, Pound adopts imitation, which means to form and individual style. In image translation, Pound always tries his best to combine his feelings with the poet, and no convey the mood of thinking and emotion in the original poem into the target language. We must admit that some of his translation is not words or lines. He emphasizes each single image and individual detail which he thinks reveal the truth of the original poem. Ezra Pound was not familiar with Chinese culture, even did not know Chinese language when he translated these poems, which is the main reason causing cultural misunderstanding and image translation. Correctly Understanding on the semantic meaning of the original image is the foundation of conveying aesthetic feeling of the original poem equivalently.

===Case Study of Xu Yuanchong===

It is widely accepted that Xu Yuanchong is prolific and influential poetry translator in contemporary Chinese academic who has published more than sixty books about translation and practice in his more than sixty years of translation career. With the painstaking research about literary translation, Xu Yuanchong has established a set of translation theories of his own, one of which-theory of three beauties (beauty in sense, in mind and in form)-gives light to our image translation. Beauty in sense is the most important one which means that in translating a poem, the translator should not only translate the surface meaning of the poem, but also the deep sense of it, or even the sense beyond the literal level. “sense” in Xu Yuanchong’s theory not only refers to meaning, but also refers to aesthetic conception, thus his beauty in sense could be interpreted as trying to present the aesthetic conception and poetic beauty of the original poem. Let’s choose Li Bai’s Farewell to A Friend(《送友人》) as an example again to appreciate Xu Yuanchong’s beauty in images in his translation work:

Farewell to A Friend
Blue mountains bar the northern sky;
While river girds the eastern town.
Here is the place to say goodbye;
You’ll drift like lonely thistledown.
With floating cloud you’ll float away;
Like parting day I’ll part from you.
You wave your hand and go your way;
Your steed still neighs, “Adieu, adieu!” (Xu 2006:123)

Compared with Pound’s translation, this title conveys to us equivalent information of who will leave. Dynamic image “bar” in the first line depicts a magnificent scene that mountains stretch endlessly across the sky, which is closer to Li Bai’s bold and unconstrained poetic style. The image “lonely thistledown” in the second line is more suitable than Pound’s “dead grass”. From this place on, the poet’s friend will drift along just like thistledown blown by the wind, which transmits the deep level sense of “孤蓬”. Pound’s translation of the third line surpasses Xu’s in that Xu’s translation is a kind of recreation which loses deep level sense. If we translate it back into Chinese, it could be “你随着浮云而去，如同分别之日我与你分别一样”. “Floating cloud” and “sunset” are two metaphors. The poet’s friend will leave his hometown, family and friends, so his wife will be unstable like floating cloud. The poet’s affection to his friend is hard to part with just like being sentimentally attached to the sunset. In the last line, “wave hand” and “bow over their clasped hands” are two different ways to say goodbye which embody different cultures between Chine and the West. As for the sound image “萧萧”, Xu Yuanchong uses “adieu” to personalize the horse, which aims to build a sense of parting grief. Though the two translations have their own strong points, Xu Yuanchong’s version seems more likely to present the original beauty of images.

To grasp cultural-loaded image well is the key point in image translation. Compared with Pound, Professor Xu seems more dominant to translate Chinese classical poetry because he is accomplished in Chinese language and culture. During the sixty years’ research, Xu Yuancong takes promoting Chinese culture as his responsibility, and id dedicated to the cultural communication between China and Western countries. From some of Xu Yuanchong’s translation we find that Xu is inclined to target-culture-oriented translation, and sometimes in order to keep aesthetic conception of the original poem, he will recreate the poem according to his understanding towards the poet’ s affection.

==Conclusions==

In the thesis of the conclusion, skopos theory is employed to analyze Xu Yuanchong’s and Ezra Pound’s different translation purposes, which lead to their different strategies in their translation practice, and that is the reason of their different versions of the same original texts.

In his preface to The Art of Translation, Xu Yuanchong proposes that it should be translators’ obligation to bring the essence of the world culture into the Chinese culture and introduce the best of the Chinese culture to the whole world. He believes that translation is the catalyst in the integration of Chinese culture with the world civilization and that classical Chinese poetry is, undoubtedly, the greatest and everlasting contribution China has made to the world civilization, which is the reason why Xu Yuanchong chooses poetry as his translation object. In other words, the purpose of Xu Yuanchong’s translation of classical poetry lies in introducing and spreading to the world the gorgeous Chinese culture.

As for Ezra Pound, there are two reasons why he turns to the East and translates classical Chinese poetry. The first is the background Pound was in. At the turn of the twentieth century, English literature was dominated by conservatism. Unable to bear the monotonous and dull Victorian poems, Pound hurled himself into transforming British verse and into saving tottering civilization by injecting into it the cultures of the past and the alien. In the process of his exploration, Pound ran into classical Chinese poetry in which he found great interest and was greatly enlightened. The second reason is that Pound is the advocate of the Imagist Movement. He finds values in classical Chinese poetry because classical Chinese poetry is, by virtue of the ideographic and pictographic nature of the Chinese language, essentially imagist poetry. Therefore, classical Chinese poetry satisfies his poetic intent to some extent. By translating classical Chinese poetry, he hopes to make it clear that the presentation of individual images and the superposition of images can help regain immediate experiences. The Imagist Poetics has greatly influenced him, making him manipulate translations to serve his poetic innovations.

As Xu and Pound have different purposes of translating classical Chinese poetry, they have different criteria for their selection of the source text. Xu aims at introducing the best part of Chinese culture to the world. So long as a poem is beautiful and represents a certain aspect of the essence of Chinese culture, Xu is ready to work on it. But it’s not the case with Pound. In the 150 poems in Ernest Fenollosa’s manuscripts-the resourse where Pound obtains notes about classical Chinese poetry, he carefully selects 19 poems, the images and poetic sentiment of which he feels may best represent and promote his Imagist Movement.

==REFERENCES==

*Albright, D.1997. Quantum Poetics – Yeats, Pound, Eliot and the Science of Modernism. Cambridge: Cambridge University Press.
*Cheadle, M.P. 1997. Ezra Pound’s Confucian Translations. East Lansing: The University of Michigan Press.
*Edwin, Gentzler 1990. Contemporary Translation Theories. Cambridge: Cambridge University Press.
*Kenner, H. 1953. Introduction to the Translation of Ezra Pound. Terre Haute: Indiana University Press.
*Nida, E.A. 1993, Language, Culture, and Translating. Shanghai: Shanghai Foreign Language Education Press.
*Xu, Yuan. Translation Techniques in Image Reproduction. Beijing: Beijing Language and Culture University, 2002.
*Xu Yuanchong. 300 Tang Poems. Beijing: Chinese Translation press
*Xu Yuanchong, 1994. Song of The Immortals—An Anthology of Classical Chinese Poetry. Beijing: New World Press.
*Xu Yuanchong, 1991, Development of Verse Translation, 《外国语》第1 期，35-45页 Foreign Languages, Issue 1, Page 35-45
*Zhao Yiheng 赵毅衡，1985，《远游的诗神》 The poetic god of distant wanderings，重庆：四川人民出版社 Chongqing:Sichuan People's Publishing House.
*Guo Jianzhong 郭建中，1999，《当代美国翻译理论》 Contemporary American Translation Theory，武汉：湖北教育出版社 Wuhan:Hubei Educational Publishing House.
*Jiang Hongxin 蒋洪新，2001，庞德的《华夏集》探源 An Exploration of Pound's Huaxia Collection,《中国翻译》第1期，56-59页 Chinese Translation, Issue 1, Page 56-59.
*Jiang Hongxin 蒋洪新，2001，庞德的翻译理论研究 A Study of Pound's Theory of Translation，《外国语》第4期, 77-80页 Foreign Languages, Issue 4, Page 77-80.
*Guo Jianzhong 郭建中，2000，美国翻译研讨班和庞德翻译思想 American Translation Seminars and Pound's Ideas on Translation, 《外语与外语教学》第2期 Foreign Languages and Foreign Language Teaching, Issue 2.
*Xu Yuanchong 许渊冲，1998，读“翻译文化竞赛论” Reading "Translation Culture Contest Theory"，《外语与翻译》第2期，15-18页 Foreign Languages and Translation Issue 2, Page 15-18.

Written by --[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:00, 16 December 2021 (UTC)

Comp Stud Trans EN 7

2021-12-16T03:05:12Z

Wang Yifan21: /* Pound As Translator */

==A Comparative Study on Xu Yuanchong’s and Ezra Pound’s Theories and Practices on the Translation of Classical Chinese Poetry==
许渊冲与庞德中诗英译思想与实践比较研究

王逸凡, Wang Yifan, Hunan Normal University, China

==Abstract==
The Classical Chinese poetry is an important part of the Chinese culture, and also a valuable contribution of the Chinese literature to the world literature. For the last one and a half centuries or so, scholars both at home and abroad have made significant efforts in the translation of the classical Chinese poetry. Quite a few of them have not only attributed excellent versions but also insightful views on translation theories. In the history of verse translation, Ezra Pound took up a crucial and unique position. His ''Cathy''（《华夏集》） made a stir upon publication in 1915 and was considered his “most enduring contribution” to the English poetry. The success of ''Cathy'' is actually the success of the classical Chinese poetry in the United States. “Ever since then, the classical Chinese poetry began to attract the western eyes.” As for the translation in contemporary China, Xu Yuanchong is definitely the most influential one, whose excellent versions of the classical Chinese poetry are well accepted by readers both in China and overseas, whose criteria of verse translation - “beauty in sense, beauty in sound and beauty in form” have been widely recognized and appreciated. Taking Pound and Xu Yuanchong as the research objects, this paper attempts to clearly demonstrate the similarities and differences between Pound and Xu's thoughts on translation of Chinese poetry into English. On this basis, this paper makes a comparative analysis of Xu Yuanchong's and Pound's focus on the image in classical Chinese poetry considering skopos theory, in an attempt to find out the social and cultural factors that influence their translation activities.(Zhao Yiheng：1985，150）

==Key Words==
the Classical Chinese Poetry, Xu Yuanchong, Ezra Pound, image; translation theory, comparative study

==中文摘要==
古典诗歌是中国文化的重要组成部分，也是中国文学对世界文学宝库的巨大贡献。中外学者在古典诗歌翻译方面做很多有益的尝试，不少学者亲自从事翻译实践，而且还就诗歌翻译理论提出了精辟的见解。在早期译者中，埃兹拉•庞德无疑占据着一个极为重要而又特殊的地位。他的《神州集》在一九一五年四月出版后就引起了极大的轰动，从而被看作是他对英语诗歌的“最持久的贡献”，也是中国古典诗歌在美国的第一次真正的成功。“自此以后，庞德将中国诗变成了大众瞩目的东西”。而在当今中国的诗歌翻译界，许渊冲是最具影响力的翻译家。在其六十年的翻译生涯中，许渊冲翻译了大量的古典诗词，并在国内外深受好评。他关于诗歌翻译的“意美、音美、形美”的标准也得到了广泛的认同。本文以庞德和许渊冲为研究对象，试图分析庞德和许渊冲中诗英译思想的异同。在此基础上，就许渊冲和庞德对于中国古典诗歌中意象的关注并结合翻译目的论对他们的译本进行了对比分析，试图找出影响他们翻译活动的社会和文化因素。（赵毅衡：1985，150）

==关键词==
中国古典诗歌；许渊冲；庞德；意象；翻译理论；比较研究

==Xu Yuanchong’s Life and Thoughts==

===Xu Yuanchong’s life and career as a scholar and a translator===

Xu Yuanchong was born in 1921 in Nanchang, Jiangxi, and in 1936, when he was fifteen years old, he was in his first year of high school at Nanchang No. 2 High School in Jiangxi, where the Japanese had occupied the north-east of China and were advancing into northern China. But after his victory in the war, Mr. Xu recalls that experience as a solid foundation for his future path in life and for his career as a translator.In 1938, at the age of 17, Xu Yuanchong was admitted to the Southwest Associated University, a joint venture between Peking University, Tsinghua University and Nankai University in Kunming, Yunnan Province, during the war years. It was here that Xu Yuanchong became a student of Qian Zhongshu, Wu Mi, Wen Yiduo, Feng Youlan and many other great artists, and became lifelong friends with the future Nobel Prize winner in physics, Yang Zhenning, and Wang Xiji, the father of the two bombs and one star. All this inspired and established Xu Yuanchong's style of seeking common ground and being unconventional in his translations.

Mr. Xu also recalled that it was only after tracing his roots that he discovered that the source of influence on Mr. Xu's path to translation was his father's love of a tidy lifestyle and his ability to work with excellent finances. From an early age, Mr. Xu Yuanchong's father taught him to keep the four literary treasures in the most accessible places, which was later expanded by Mr. Xu from the four literary treasures to the written word, or the best way to express himself, and the most accessible place can also be summarized as the best location. Mr. Xu's father cultivated the habit of putting the best words in the most appropriate places. Mr. Xu's mother's love of drawing was an education in 'beauty' and 'joy'. Mr. Xu's mother was a student at the Jiangxi Provincial Vocational School a hundred years ago. Although his mother died young, among Mr. Xu's mother's belongings were two books of drawings and one essay, in which the flowers, trees, birds and animals greatly aroused Mr. Xu's love of 'beauty'. The story "Xiang Yu and Napoleon" in the essay fostered the idea that Mr. Xu would not judge a hero by his success or failure. All of this had a profound impact on Mr. Xu's later translation style and practice. During his time at SWLU, Mr. Xu received guidance from many famous teachers. Mr. Wu Mi was one teacher who changed his concept of translation. In his secondary school days, Mr. Xu thought that the idea of direct translation proposed by Lu Xun was correct because he liked his satirical essays so much. However, after hearing Mr. Wu critique the translation examination papers of postgraduate students, it was definitely still the case that the Italian translation made more sense. On the question of translation, Mr. Qian Zhongshu mentioned in his English letter to Xu Yuanchong that there were two ways to translate poems, one was the method of translating from a colourless glass plate and the other was the method of translating from a coloured glass plate. The former would offend the poem and the latter would offend the translation. Choosing the lesser of the two, he preferred to offend the poem. But Xu Yuanchong believed that the colourless glass translation method pursued truth, while the tinted glass translation method pursued beauty. If the original poem is beautiful and true, the translation cannot be considered a facsimile if it is true but not beautiful; if the translation is beautiful but not true, then there is a risk of distortion. So how exactly should we deal with this? Xu Yuanchong finds the answer in the ''Analects'': "The greatest of the arts is to follow the heart without exceeding the rules".

In 1939, when he was a first-year student, he translated Lin Huiyin's poem "Don't Lose It" into English and published it in the Literary Translation Journal, his earliest translation, and in He then enrolled in the Institute of Foreign Literature at Tsinghua University, where he also taught English to the first graduating class of 1943 at Tianxiang High School. After the victory of the war, Mr. Xu Yuanchong applied to study at the University of Paris through the first major examination held by the Ministry of Education to study abroad. At the University of Paris, Mr. Xu read the realist literature of Balzac and Shakespeare, and the romantic poetry of Victor Hugo, which laid a solid foundation for his later translations of Chinese and French poetry.

No reference inserted--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 09:08, 14 December 2021 (UTC)

===General Introduction to Xu Yuanchong’s Theories on Literary Translation===

Xu Yuanchong once said, "Western translations are about equivalence, one word for another, and 90% of their major words and vocabulary are equivalent. Unlike other scripts, only 50% of Chinese words and vocabulary are equivalent. While reciprocity does not contradict objective laws, it does not take advantage of subjective dynamics. Without distorting the author's meaning, a translation must bring out the flavor, essence and soul of a nation's culture", so Xu Yuanchong's theory of translation, specifically, contains the following main elements.

The Ontology of Literary Translation: Theory of Three Beauties. In the preface to Forty-two poems of Mao Zedong(1978), Xu for the first time put forward his Theory of Three Beauties on poetry translation “A translated lyric should not only be faithful to the original but also as beautiful as it is in sense, in sound and in form.” Being beautiful in sense means that in translating a poem, the translator should not only translate the surface level meaning of the poem, but also the deep level sense of it, or even the sense beyond word level. According to Xu, the translation process would be relatively easy if the content and form of the poem are in harmony. While if the content and form of a poem do not match, then the content would be the first priority in translation. In the situation that the form of the original might contain several different meaning, the most beautiful kind should be chosen in translation. Actually what Xu wants to emphasize here is the unique artistic conception of classical Chinese poetry which features implicitness, subtlety and succinctness. Being beautiful in sound means that the translator should try his/her best to present meter, rhythm, and alliteration in the original poem. To Xu, if the original is rhymed, the translation should also be; if the original uses classical Chinese tonal patterns, the translation could use light and stressed tone; if the original tends to use phrases having two or more characters with the same initial constant, then the translation could use alliteration. Being beautiful in form includes the layout of lines, antithesis formed by lines matched in sound and sense, and repetition of words or lines. Xu also made a hierarchical relation among the three beauties form: beauty in sense is the most important, which is followed by beauty in sound, and then beauty in form. In translating classical Chinese poetry, taking presenting the beauty in sense as the first priority, the translator should also try the best to present the beauty in sound; while by achieving the presentation of the beauty in sense and in sound, the translator then should endeavor to present the beauty in form. To Xu, the pursuit of three beauties should be the guiding principle and ultimate goal in classical Chinese poetry translation.

The Methodology of Literary Translation: Particularization, Equalization and Generalization. In the preface to 150 Tang Poems(1984), Xu raised the methodology of literary translation: particularization, equalization and generalization. Particularization refers to translation techniques like specialization, concretization, adding words splitting words and so on. Generalization includes translation techniques like abstractization, cutting words or merging words. And equalization means the translation techniques like flexible equalization, changing word function, active form and passive form. The great scholar and translator Qian Zhongshu had made a famous definition on translation that the highest standard of literary translation in “sublimation” by which means to transfer the language of a text into another language without any trace of stiltedness resulting from the differences in usage and at the same time retaining all the flavor of the original. Particularization, equalization and generalization are actually three aspects of the standard – “sublimation”. Particularization is to explore the deep level meaning of the original text through its surface level form. If the translation reaches the deeper level of meaning than the original, then particularization is achieved. On the other hand, generalization tends to turn the abstruse original into plain and understandable translation.

The Teleology of Literary Translation: Comprehension, Appreciation and Admiration. Translation is recreation, that is to say translation should make readers cheerful and relaxed - it should be recreational. To Xu，the aim of literary translation, especially poetry translation, is to make readers comprehend, appreciate and even admire the translation. Literary translation, from translator to reader, is an aesthetic process. Comprehension means the reader understands what the translation conveyed. Appreciation means the reader enjoys what the translation tells how it tells-the reader delights in it. In Xu’s theory, the translator should use the methods of generalization to reverse the disadvantage of target language, which would in turn make the reader comprehend the translation; the translator should use the method of equalization to reach balance which would make the reader appropriate the translation; and the translator should use the method of particularization to fully exploit the advantage of the target language, which would in turn make the reader admire the translation.(Xu Yuanchong，2003:146）

Xu concluded his translation theory as “Art of beautifulization and creation of the best as in rivalry”.

==Ezra Pound’s Life and His Theories on Translation==

===Ezra Pound’s Life===

Ezra Pound was born in Hailey Township, Idaho, USA, on 30 October 1885. Before going to Europe, he attended the University of Pennsylvania, where he studied American history, classics and Romance languages and literature. Pound made his first trip to Europe in 1898, then four more in 1902, 1906 and 1908, settling in London in 1908, where he became a major figure in the literary world for a time. Pound was a poet and literary critic, an important representative of the Imagist poetry movement, as well as an accomplished translator who collected and translated a dozen ancient Chinese poems ''Cathy''（《华夏集》） in his 1915 and also translated the [[Great Learning]]（《大学》）, ''the Doctrine of the Mean''（《中庸》） and ''The Analects of Confucius''（《论语》）.Pound and Eliot were both leading figures in late Symbolist poetry, and his theory of 'poetic imagery', derived from classical Chinese poetry and Japanese haiku, made a remarkable contribution to the cross-fertilisation of Eastern and Western poetry.

In 1908 Pound's first collection of poems, ''A Lume Spento'' (《灯火熄灭之时》), was self-published in Venice, Italy, and in 1909 his collection ''Personae''（《人物》）was published in London, and in 1910 his anthology ''The Spirit of Romance''（《罗曼斯精神》）was published. The collection consists mainly of his early translations as well as the results and insights of his scholarly research over the years. In 1912 he became the London correspondent of the small Chicago magazine ''Poetry''（《诗歌》）, and in 1914 he married Dorothy Shakespeare.

During his time in Paris and London, in addition to continuing his creative work, he explored and nurtured talent, travelled extensively with European and American literary figures, and made a unique contribution to breaking the sedimentation of British and American literature, especially British and American poetry, and to promoting the 'revival' of American literature. He had extensive contacts with sculptors, painters and musicians, and played a significant role in the formation and development of modernist thought in Europe and America. Between 1914 and 1916 Pound was very close to the Irish poet W.B. Yeats. He admired Yeats and took him as his teacher. Yeats was also influenced by him to some extent. After leaving Paris in 1924 and up to the eve of the Second World War, Pound's attention gradually shifted from literary creation to the political and economic problems of capitalism. At the end of the war, he was arrested by the U.S. military authorities and was held for six months at a Disciplinary Training Center near Pisa. In 1958, the joint effort of such eminent personalities as T.S. Eliot, Robert Frost, and Ernest Hemingway secured his release. He returned to Italy, where he worked until his death in 1972.

===Pound As Translator===

Pound’s translation stimulated and strengthened his poetic innovations, which in turn guided and promoted his translations. In Pound’s literary works, it is often difficult to tell translation or adaptation from original composition. For Pound, there seem to be no foundational distinction between the two. Translation to Pound assumes an importance seldom found in other modern poets. To some extent, Pound’s poetics is essentially the poetics of translation. Pound’s theory of translation focuses upon the precise rendering of details, of individual words, and of single or even fragmented images. Actually, his translation theories reinforced and promoted his imagist poetics.

According to the principles of Imagism, translation of poems should also be terse, precise and compose in the sequence of musical phrase. Pound doesn’t see much difference between a poet and a poem translator. A poem translator should explore deep into the mind of the poet to think what he thought and to feel what he felt, so that the “overlap of mind” could occur and the cultural and linguistic barriers could be surpassed. Thus the translation could achieve “fidelity to the original” in both “meaning” and “atmosphere”. Pound doesn’t put much emphasis on words and sentences. Instead, he puts himself in the position of the poet and summarizes the poet’s thoughts and emotions, then turns it into the target language. Words and sentences are not the source text for him, but merely a media to introduce him to the source text, which is the thoughts and feeling of the poet.

Pound’s emphasis is less on the “meaning” of the translated text or even on the meaning of specific words. He emphasizes the rhythm, diction, and movement of words. By the movement of words, he refers to the contextual meaning and the intertextual. Pound thinks the “meaning” of a work of art can never be fixed; it changes as language changes. The range of associations of the words within an original work of art would differ with its new versions in a different age or culture. Pound explains the energy of languages as “words construction new relations to other words at any particular place and time, this quality lends language its energy”. Pound also takes words as “electrified”, the interaction of which could generate energy. Here Pound is actually talking about contextual meaning. He thinks new relations of words forms new meaning, that’s “the energy of language”. As words are not isolated from context, translator should bear in mind the context of the source text.

Pound’s theory of translation requires the translator to keep the historical atmosphere in which the words occur so that the translation process reveals not just what the words mean, but also their various implications. He believes that meaning is not something abstract and part of a universal language, but something that is always located in historical settings-the “atmosphere” in which that meaning occurs. To unpack the meaning, one has to know the history and reconstruct the atmosphere in which that the meaning occurs. Pound says, “Three or four words in exact just apposition are capable of radiating this energy at a very high potentially....The peculiar energy which fills words is the power of tradition, of centuries of race consciousness, of agreement, of association.”（Guo Jianzhong：2000，57）

==The Comparative Study on Image Translation of the Classical Chinese Poetry between Xu and Pound==

Different cultural backgrounds between China and western countries must lead a lot of diversities in the cultural comprehension of the same object, which are the causes of translation divergence. Chinese classical poetry has the characteristics of implicit in connotation, harmonious in metre, bright in rhythm and well-balanced in pattern, so no single theories or schools have given them a satisfactory understanding framework yet. Chinese classical poetry as a relatively independent language world, its transference specially emphasizes the transmission of cultural connotation and aesthetic effect, which is called the transmission of cultural connotation and aesthetic effect, which is called the transmission of “language-image-meaning”(言象意). In Chinese classical philosophy, aesthetics and poetics, “image”（象） is the load of “meaning”(意), therefore, “reflecting through image”(象思维) and “expressing through image”(象表达) are affirmation and belief of Chinese language philosophy, especially poetics. However, English has an evident character of “expressing through language”(言表达), so there must be some problems existed during image transference. The following discussion will give us a comparison among some influential translators’ works. After the detailed analysis, we will have a clear view about their methods of image translation.

===Case Study of Ezra Pound===

Ezra Pound was one of the most influential and innovative poets in the 20th century. As the representative of Western Imagism, Pound makes significant contributions to American poetry not only as a poet but also as a translator, editor, critic and essayist. In order to break away from tradition and romanticism of British poetry, Pound and other imagist poetic principles: (1) To treat things directly whether subjective or objective; (2) To use absolutely no word that does not contribute to the presentation; (3) To compose in sequence of the musical phase, not in sequence of a metronome as regarding rhythm. In Pound’s opinion, image must be concrete and direct which will unfetter the poetic expression from the habit of convention.(Kang Lianxing，2004：114)

Most of the Chinese poems translated by Pound are poems of scenery in Tang Dynasty, which takes mountains, water and vast landscapes as their subjects. Poets of such poems tend to embody their feelings and sentiments in these natural scenes. Chinese classical poetry combines poems and pictures together which get rids of moralization and comments that features the Victorian poetry. Greatly influenced by the writing techniques of Chinese classical poetry, such as the ellipsis of conjunctions and the juxtaposition of images, Pound used them into his poetic creation. Not only his creation but also his translation work caused a tremendous stir in American poetic circle. In 1915, Pound published his most influential translation work Cathy which is the first collection of translated Chinese poetry published in America.

Pound’s translation of Chinese classical poetry is not a mechanical one, but an innovative reconstruction. Some of the reconstructions are ignorant, but some are designed. Ignorant or designed, Pound’s translation is highly valuable. It gives us some inspiration in image translation. A study on Pound’s image translation of Chinese classical poetry would shed light on the research goal of the following thesis. A designed example can be taken as the best one to explore Pound’s creative translation. It also reflects the language difference between Chinese and English:

送友人（李白）
青山横北郭，白水绕东城。
此地一为别，孤蓬万里征。
浮云游子意，落日故人情。
挥手自兹去，萧萧班马鸣。

The theme of the poem is about saying farewell to a departing friend. Under this theme, vivid images are scattered skillfully in every line of the poem which can be classified into two categories-those don’t have cultural connotations, such as “青山”, “万里”, “东城”, and those culture-loaded, such as “孤蓬”, “万里”, “浮云”, “游子”, “落日”, The third line is juxtaposition of images with deep connotations: the image “浮云” is used as a metaphor to express the wandering life of the poet’s friend, while the image “落日” is used to convey the poet’s reluctance to part with his friend. The affection between the poet and his friend reaches climax in the fourth line. The image “斑马” means a stray and lonely horse. Horses can understand their masters’ affection and neigh to express their grief over parting. It is through a series of rich images that the poet expresses his deep affection to the departing friend vividly. Let’s take a look at Pound’s translation:

Taking Leaves of a Friend(Li Bai)
Blue mountains to the north of the walls,
White river winding about them;
Here we must make separation
And go out through thousand miles of dead grass.
Mind like a floating wide cloud.
Sunset like the parting of old acquaintances
Who bow over their clasped hands at a distance.
Our horses neigh to each other as we are departing.

From the translation of the title “Taking Leave of a Friend”, we can see Pound’s recreation. The phrase “take leave of” in English refers to the subject’s departure, but it is clear that the original title is the friend’s departure. The poet sees his friend off not the poet himself leaving. It is accredited that the first two lines are almost word for word translation because the non-cultural loaded images are ranged neatly from his translation. In the fourth line, “孤蓬” is a culture-loaded image which is usually compared to a person who leads a wandering life and has no one to depend on in the classical Chinese literature. Although it is not mentioned in original poem whether the poet’s friend leaves by boat or horseback, Pound gets information from “萧萧班马鸣”, so he uses “dead grass” to show that two friends are sadly departing on the grassland. This is a faithful but rigid translation which loses aesthetic equivalence. “万里” is also not a simple image. Pound translates it in the form of the target language, which turns out that he ignores it is not the actual figure “一万里”, but implies the remote way the friend has to take. “浮云游子意，落日故人情” is the key in delivering the original poem’s sensation for its concise and profound images. The juxtaposed and vivid images directly constitute two metaphors, and thus endless meanings and sensation are conveyed in such ten characters. Pound here uses two “like” to target readers about the inner meaning of “floating cloud” and “sunset” in Chinese literature.
About translation type, Pound adopts imitation, which means to form and individual style. In image translation, Pound always tries his best to combine his feelings with the poet, and no convey the mood of thinking and emotion in the original poem into the target language. We must admit that some of his translation is not words or lines. He emphasizes each single image and individual detail which he thinks reveal the truth of the original poem. Ezra Pound was not familiar with Chinese culture, even did not know Chinese language when he translated these poems, which is the main reason causing cultural misunderstanding and image translation. Correctly Understanding on the semantic meaning of the original image is the foundation of conveying aesthetic feeling of the original poem equivalently.

===Case Study of Xu Yuanchong===

It is widely accepted that Xu Yuanchong is prolific and influential poetry translator in contemporary Chinese academic who has published more than sixty books about translation and practice in his more than sixty years of translation career. With the painstaking research about literary translation, Xu Yuanchong has established a set of translation theories of his own, one of which-theory of three beauties (beauty in sense, in mind and in form)-gives light to our image translation. Beauty in sense is the most important one which means that in translating a poem, the translator should not only translate the surface meaning of the poem, but also the deep sense of it, or even the sense beyond the literal level. “sense” in Xu Yuanchong’s theory not only refers to meaning, but also refers to aesthetic conception, thus his beauty in sense could be interpreted as trying to present the aesthetic conception and poetic beauty of the original poem. Let’s choose Li Bai’s Farewell to A Friend(《送友人》) as an example again to appreciate Xu Yuanchong’s beauty in images in his translation work:

Farewell to A Friend
Blue mountains bar the northern sky;
While river girds the eastern town.
Here is the place to say goodbye;
You’ll drift like lonely thistledown.
With floating cloud you’ll float away;
Like parting day I’ll part from you.
You wave your hand and go your way;
Your steed still neighs, “Adieu, adieu!” (Xu 2006:123)

Compared with Pound’s translation, this title conveys to us equivalent information of who will leave. Dynamic image “bar” in the first line depicts a magnificent scene that mountains stretch endlessly across the sky, which is closer to Li Bai’s bold and unconstrained poetic style. The image “lonely thistledown” in the second line is more suitable than Pound’s “dead grass”. From this place on, the poet’s friend will drift along just like thistledown blown by the wind, which transmits the deep level sense of “孤蓬”. Pound’s translation of the third line surpasses Xu’s in that Xu’s translation is a kind of recreation which loses deep level sense. If we translate it back into Chinese, it could be “你随着浮云而去，如同分别之日我与你分别一样”. “Floating cloud” and “sunset” are two metaphors. The poet’s friend will leave his hometown, family and friends, so his wife will be unstable like floating cloud. The poet’s affection to his friend is hard to part with just like being sentimentally attached to the sunset. In the last line, “wave hand” and “bow over their clasped hands” are two different ways to say goodbye which embody different cultures between Chine and the West. As for the sound image “萧萧”, Xu Yuanchong uses “adieu” to personalize the horse, which aims to build a sense of parting grief. Though the two translations have their own strong points, Xu Yuanchong’s version seems more likely to present the original beauty of images.

To grasp cultural-loaded image well is the key point in image translation. Compared with Pound, Professor Xu seems more dominant to translate Chinese classical poetry because he is accomplished in Chinese language and culture. During the sixty years’ research, Xu Yuancong takes promoting Chinese culture as his responsibility, and id dedicated to the cultural communication between China and Western countries. From some of Xu Yuanchong’s translation we find that Xu is inclined to target-culture-oriented translation, and sometimes in order to keep aesthetic conception of the original poem, he will recreate the poem according to his understanding towards the poet’ s affection.

==Conclusions==

In the thesis of the conclusion, skopos theory is employed to analyze Xu Yuanchong’s and Ezra Pound’s different translation purposes, which lead to their different strategies in their translation practice, and that is the reason of their different versions of the same original texts.

In his preface to The Art of Translation, Xu Yuanchong proposes that it should be translators’ obligation to bring the essence of the world culture into the Chinese culture and introduce the best of the Chinese culture to the whole world. He believes that translation is the catalyst in the integration of Chinese culture with the world civilization and that classical Chinese poetry is, undoubtedly, the greatest and everlasting contribution China has made to the world civilization, which is the reason why Xu Yuanchong chooses poetry as his translation object. In other words, the purpose of Xu Yuanchong’s translation of classical poetry lies in introducing and spreading to the world the gorgeous Chinese culture.

As for Ezra Pound, there are two reasons why he turns to the East and translates classical Chinese poetry. The first is the background Pound was in. At the turn of the twentieth century, English literature was dominated by conservatism. Unable to bear the monotonous and dull Victorian poems, Pound hurled himself into transforming British verse and into saving tottering civilization by injecting into it the cultures of the past and the alien. In the process of his exploration, Pound ran into classical Chinese poetry in which he found great interest and was greatly enlightened. The second reason is that Pound is the advocate of the Imagist Movement. He finds values in classical Chinese poetry because classical Chinese poetry is, by virtue of the ideographic and pictographic nature of the Chinese language, essentially imagist poetry. Therefore, classical Chinese poetry satisfies his poetic intent to some extent. By translating classical Chinese poetry, he hopes to make it clear that the presentation of individual images and the superposition of images can help regain immediate experiences. The Imagist Poetics has greatly influenced him, making him manipulate translations to serve his poetic innovations.

As Xu and Pound have different purposes of translating classical Chinese poetry, they have different criteria for their selection of the source text. Xu aims at introducing the best part of Chinese culture to the world. So long as a poem is beautiful and represents a certain aspect of the essence of Chinese culture, Xu is ready to work on it. But it’s not the case with Pound. In the 150 poems in Ernest Fenollosa’s manuscripts-the resourse where Pound obtains notes about classical Chinese poetry, he carefully selects 19 poems, the images and poetic sentiment of which he feels may best represent and promote his Imagist Movement.

==REFERENCES==

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Written by --[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 03:00, 16 December 2021 (UTC)